1. Why do you start with regular script?
We mentioned in the weekly Q&A (Issue 1) on the evolution of calligraphy that regular script evolved from the simplicity of official script and formed The two major systems of Wei Kai and Tang Kai were established. Especially in the Tang Dynasty, regular calligraphy was rigorous, with clear pointillism, eight methods, smooth white cloth, reasonable structure, beautiful appearance, high artistic connotation, and people could learn official script. Learn from others and expand freely. Therefore, it has been officially designated as a designated calligraphy style since the Wei and Jin Dynasties, and has been passed down to form the current universal font.
Secondly, there are many regular calligraphy techniques and calligraphy techniques. According to the statistics of regular calligraphy calligraphers in the Tang Dynasty, there are more than 200 basic brush techniques and structure methods, which is a collection of basic calligraphy techniques. Wang Xizhi of the Jin Dynasty once made the following metaphor about the importance of basic dot painting: "If a painting loses its place, it is like a beautiful woman's disease; if a painting loses its integrity, it is like a strong man breaking an arm (arm). Don't be careless." It can be seen that those who have written the basic dot painting well importance.
Thirdly, writing regular script well is the basic step leading to running and cursive scripts. If the basic skills of regular script are not well written, it will be impossible to write well in regular script and cursive script. This is an iron rule in the calligraphy world. The ancients said: "Kai means standing, walking means walking, and grass means running. If standing is not stable, what is running." This is the truth. The Song Dynasty's "Han Mo Zhi" says: "When a scholar learns calligraphy, he must first learn regular script. He must be prepared for all eight methods and do not attach them to each other." It points out the necessity of learning regular script first when learning calligraphy.
Furthermore, in the history of calligraphy, it is said that regular script has always produced great works, such as Zhong Yao and Wang Xizhi, the originators of regular script, Ouyang Xun, Chu Suiliang, Yu Shinan, Xue Ji, Yan Zhenqing, Liu Gongquan in the Tang Dynasty, and Zhao in the Yuan Dynasty. Meng et al. were first of all masters of regular script, and they also achieved brilliance in other calligraphy styles. To sum up, learning calligraphy starts from regular script. Mastering the basic skills of regular script is the only way to learn calligraphy well.
2. How to choose calligraphy scripts
There are many inscriptions for beginners to choose from. Beginners should pay attention to the following aspects when choosing a template for beginners:
(1) Character size Choose moderation. Many calligraphers suggest that beginners should start with large regular script. We believe that beginners should choose medium regular script that is about one inch square (three to four centimeters). Because large regular script is usually several inches square, and the radius of movement of the brush is relatively large, in order to facilitate the movement of the pen, the elbow is usually used to write. Such a difficult exercise at the beginning is not conducive to beginners mastering pen control skills. Small regular script also has the problem of only practicing finger and wrist skills, and there are inherent deficiencies in stippling and structure. As the great calligrapher Su Shi said: "It is difficult for large characters to be dense and dense, and it is difficult for small characters to be wide enough...". Therefore, only Zhongkai can meet very high requirements in many aspects such as stippling, structure, layout, and strokes. Moreover, when beginners start writing with their wrists hanging, the size of Zhongkai is just within the range of wrist movement. Mainly focusing on wrist movements, it can also be practiced on the fingers, wrists, elbows and other parts. Therefore, Zhongkai is the best font for beginners. After you have fully mastered the basic brushwork and structure of Chinese regular script, you can practice small regular script, and then expand it to large regular script and Bangshu. In this three-year cycle, practice repeatedly and persevere, and you will become a great master.
(2) Select original handwriting, and do not select works copied by predecessors or contemporary calligraphers. Because there will always be errors in what the predecessors copied, although the handwriting of modern calligraphers has matured and formed their own style, they also learned from the ancients and selectively absorbed things that became their own. There are trade-offs, so don’t do it in the early stage. Copy the setter stuff.
(3) Choose representative works of famous artists to copy. There is a big difference between the quality of calligraphy and the inferior ones. "Those who are good at learning will be at the top, those who are good at learning will be at the bottom, those who are at the middle of learning will be at the bottom, and those who are at the bottom of learning will be at the bottom." This is also what Su Shishu, Chairman of the Calligraphy Association, has been advocating. Correct calligraphy thinking. Because if you want to learn from the ancients, you must find a famous teacher, and if you want to become a teacher, you must also learn from famous people. This is the reason. If possible, it is of course better to copy the original work, so that you can have a panoramic view of the calligrapher's brushwork and the subtle changes in the use of ink.
The Tang Dynasty was the mature period of regular script, and there are many Dharma stickers suitable for beginners, such as Ouyang Xun's "Huangfu Jun Stele", "Huadu Temple Stele", and "Jiucheng Palace Liquan Inscription" (it is recommended to have a basic foundation. Come back later), Yan Zhenqing's "Duobao Pagoda Stele" and "Yan Qinli Stele", Liu Gongquan's "Mysterious Pagoda Stele" and "Shenjun Ce Stele", Chu Suiliang's "Yan Pagoda Sacred Preface" and so on.
Start with Ou or Yan and Liu, and then touch on other schools after you have a certain foundation in brushwork. In short, beginners should learn Kaifa first from the easy to the difficult, first from the straight to the straight and then from the dangerous to the straight and then back to the straight, step by step, in order to gain a solid foundation. What needs special reminder is that you should not be too ambitious when studying, practicing this body in three days, practicing that body in five days, and changing them indefinitely. In the end, nothing will be accomplished in three to five years.