The History of China's Calligraphy holds that Oracle Bone Inscriptions is the expression of his childhood calligraphy, which is concentrated in Zhong Dingwen and bronze inscriptions in the Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period. The Qin Dynasty unified the six countries and practiced "calligraphy with the same language". Calligraphy marked by Xiao Zhuan and Gu Li has matured. By the time of the "official change" in the Han Dynasty, the calligraphy of the Three Kingdoms in Wei and Jin Dynasties had matured and the art of calligraphy had become a magnificent sight.
Calligraphy learning has certain rules. For example, if you understand the "six methods of creating characters", your understanding of seal script will be more accurate; Knowing the "Eight Methods of Permanent Characters", you will have a deeper understanding of running script. These "laws" are the elements to understand calligraphy art and aesthetic interpretation. However, "there is no first in literature, and there is no second in martial arts." There is no "trick" and no dead frame in the study of calligraphy art. As for the definition of the success of calligraphy, it remains to be discussed. According to Mr. Wang's point of view in the article "Four No's in Learning Books", I also put forward my own views.
You can learn from ancient times to modern times. "Take the law to the top" is a lesson summed up by history and has stood the test of time. The calligrapher represented by "Zhong Wang" set an aesthetic model of the art of running script, but it is undeniable that later North Song Sijia also reached a considerable height. Naturally, the ancients should learn, but they can learn today, because, first of all, we must make a clear idea. Han Yu once said in Teacher's Commentary that "a disciple need not be inferior to a teacher, and a teacher need not be superior to a disciple". In the same way, "it is not necessary to be inferior to the ancient, and the ancient need not be virtuous." This is not to distinguish between ancient and modern times, but to show that the essence of calligraphy art is not limited to ancient and modern scales. The art of calligraphy in Song, Yuan, Ming and Qing Dynasties did not live under the Tang Dynasty at that time, and the calligraphy of natural modern people may not be inferior to that of the ancients. Secondly, be clear about what to learn today. Learning is based on pen and ink. Now there are many calligraphers with a strong sense of innovation. They only talk about comprehensive cultural and artistic details, which are not as profound as the ancients on the whole. Moreover, many people are too utilitarian and have a superficial understanding of calligraphy, and they are only "ugly books" or "beautiful books". At the moment when the art of calligraphy seems to be very prosperous, we can see the impetuous atmosphere of calligraphy learning from a negative perspective.
You can give an inscription. The earliest calligraphy art is preserved in the form of inscriptions, such as Oracle Bone Inscriptions, which is the historical evidence of the early days of writing. As a young calligraphy art, it has endless artistic imagination space in composition and knife cutting. Secondly, the stone carving masters are also a group with high artistic accomplishment. They are skilled in knife work and have strong reproductive ability, which can be "copied" to a great extent. Of course, there is no lack of re-creation when individual inscriptions are made. I believe many calligraphers know the story of Yan's calligraphy inscription, but this treatment is to make the processed words more perfect. For calligraphy learners, what they have learned is the best model, and there is no need to demand its "distortion". A calligrapher with a solid accomplishment can identify the calligrapher's works from the overall tablet, otherwise it is difficult for a calligrapher full of criticism to look straight at so many peeling and incomplete tablet bodies before and after the Han and Wei Dynasties. Calligraphy is a "living" word, and it is more important to learn from calligraphers' strokes and strokes. As for the occasional distorted words, don't pay too much attention. Although relatively speaking, the inscriptions show the calligrapher's artistic features more truly, I think all the inscriptions can be presented.
Everyone can follow. In fact, after all, Mr. Wang is right. Calligraphy learning must be self-centered. Su Dongpo said it well: I can't write books with my heart. Huang Tingjian also insisted on his own aesthetic concept and formed his unique personal spear and halberd artistic style. As for what we can learn from, it is also a fact, because history always makes waves, washes sand and passes down truly classic and eternal things. It is necessary for us to follow the great calligraphers of ancient and modern times and listen to their comments on their predecessors' calligraphy, so as to chew and inspire aesthetics. There are mountains outside the mountains, and there are people outside the people. After all, Dong Qichang was a great influence on calligraphy aesthetics in the late Ming and early Qing Dynasties and even later generations. It is very helpful to read his comments on the artistic aesthetic cultivation of predecessors. On the other hand, learning does not always meet the essence, and sometimes it will meet some dross or very mediocre materials. Sometimes detours are a bad thing. An old frontiersman loses his horse—a blessing in disguise. The detours in art sometimes lead to more far-reaching progress, and the adversity in art often stimulates more amazing creation.
Points can be fixed or dispersed. As an experience, it is really "chewing vegetable roots, you can do anything." However, the vegetable root is not delicious, and there are thousands of calligraphers' works. The predecessors took Lanting as the standard and racked their brains. They will never get out of the cage of sacrifice, which may be the result of fixed points. However, professionals like Mr. Tian Yingzhang can also make achievements in contemporary European sports. Generally, calligraphers in ancient and modern times do not focus on one kind of calligraphy, but emphasize two colors, learn from others' strengths, and finally integrate themselves. There are primary and secondary points in this, but for a point, definite dispersion is a dialectical relationship, which is the primary and secondary points of contradiction. Art doesn't have certain rules, it just needs to be justified. The key is to stand firm, have your own aesthetic taste, and avoid drifting with the tide.
I don't want to challenge the class teacher, but I just want to sort out my thoughts in this way, which is also for the reference of experts. I don't quite understand Mr. Rong's original intention, but I'm sorry if I missed it.