Copying is an important means of learning calligraphy, especially in the beginner stage, where most of the time is spent on copying. There are also calligraphers who often copy in their later years, even throughout their lives. For example, Hu Xiaoshi and Lin Sanzhi still do daily copying in their later years; Zhao Mengfu and Wang Juesi still indulge in copying Wang Xizhi's calligraphy in their later years. What's more, Li Ruiqing, a Taoist of the Qing Dynasty, regarded copying calligraphy works as representative works of calligraphy throughout his life. Of course, the purpose of copying by beginners and copying by calligraphers are different, and there are essential differences. Beginners copy mainly to lay a good foundation for calligraphy and to have good basic skills. Calligraphers have clear goals and selective copying in order to further deepen and study in order to achieve the final ideal.
The copying we are talking about now generally refers to copying rather than copying. In fact, the so-called copying at that time included two different methods: copying and copying. Copying can also be divided into two methods: tracing and printing. Tracing red means copying on red words printed specifically for copying books; copying means covering copybooks with translucent paper to copy. ?G?This method is generally only used by beginners, but it can also be used for further practice and research. Lin can also be divided into three types: facing, back and mind. From copying to writing, then from facing to back, and from back to thinking, this represents the progress and improvement of calligraphy learning. In spiritual practice, there is a saying of "three turns and nine returns", which means that true practice often requires going from low to high, and from high to low, repeated many times, so as to truly make the work practical and achieve perfection.
Calligraphy copying can be divided into two types: learning copying and practice copying. The former is copying for the purpose of learning and improving calligraphy; while the latter uses copying as a method and means to complete calligraphy works. The former can be regarded as primary copying, while the latter is relatively speaking an intermediate and advanced copying. Just because the purposes are different, the concepts and techniques are naturally different. If it is a learning copy, we usually seek similarity in form first, and then look for similarity in spirit, with the goal of having both form and spirit. In addition, they often adopt a method of abandoning themselves and following others, completely aiming at learning and doing well, and cannot take into account individuality and performance. Creative copying is different. Precisely because copying serves the purpose of creation and personal integrity of calligraphy, it is more important to master the overall methods and laws of calligraphy through copying, and at the same time, it is also necessary to consider combining one's own personality and hobbies. This kind of copying can have more subjective consciousness and thoughts, can pursue spiritual similarities, and can also take into account the factors of combining personal style.
Copying can also be divided into two types: realistic copying and freehand copying. The literal meaning of realistic copying is that it is a method that respects objective objects and emphasizes accurate and realistic reflections. Freehand copying does not emphasize realism and shape, but focuses on getting its meaning and spirit. It can be said that the former emphasizes the similarity in form, while the latter emphasizes the similarity in spirit. Generally, in the initial stage of learning calligraphy, you can focus on realistic copying, emphasizing the similarity of form first. After you have a certain foundation, you will gradually transition to freehand copying. In the mature stage of freehand copying, although the resemblance is not sought at this time, because there is a foundation and skill for resemblance, the resemblance is not sought but a rough resemblance, which has the effect of "similarity but not resemblance" and "similarity in spirit". Whether it is realistic copying or freehand copying, each person's personality and role and performance in calligraphy must be taken into consideration. Conventional calligraphy learning in our country, especially calligraphy learning at the primary stage, generally does not pay enough attention to this point. Emphasizing this point will actually have very serious adverse consequences for calligraphy learning. Many people don't know that the real success of calligraphy must include an important factor in the expression of personality. This is the so-called true "book is like its person" and "people is like its book".
Precisely because people have different personalities, their mental consciousness and movement patterns are also naturally different, which leads to the inevitable differences and changes in the form and breath of writing. If the differences and changes that exist due to different personalities are seen clearly and thoroughly, they can be consciously confirmed and protected, so that they can be fully explored and brought into play.
If you do not pay attention to this, it may lead to confusion and contradictions, fights and frustrations due to differences in personality and learning objects. You may even have bad doubts about your own calligraphy quality and talent, thus damaging your self-confidence in calligraphy learning. . On the contrary, if you realize that individuality is a good thing, and that individuality not only does not need to be avoided, but should also be respected and cherished enough, then you can embark on the best way to integrate copying learning and individuality.
Chinese calligraphy has a long history, with countless famous calligraphy and famous steles. Which one should you start with? Logically speaking, you should choose one based on your hobbies and personality. However, beginners generally do not have the ability or room to choose, and ordinary teachers and counselors do not know how to teach calligraphy according to their aptitude. As for how to identify personality, how to confirm the difference and degree of integration between personality and copying objects. Because today’s discussion is not about this topic, I can only give a brief reminder.
Human beings can be divided into two parts: psychological and physiological. People have their own individual mood and feelings due to psychological differences. This is the basis for the personalized atmosphere of calligraphy. People also have individual shapes and dynamics due to physiological differences. The natural development of this shape and dynamics will naturally affect the shape and dynamics of calligraphy, which is the basis for the individualization of calligraphy forms and styles. In order to achieve a "win-win" between copying and individuality, we must follow the "golden mean" and harmonize and integrate the two phases to ensure that they are both correct. Therefore, people who do not know that success in calligraphy is a success in personality will tend to emphasize the similarity in form and only know the similarity in form. Those who know that the success of calligraphy is the success of personality will put forward the view that "copying does not need to be very similar" and "copying can seek spiritual resemblance". In fact, if the learner's personality is similar to that of the person he is copying, it will be easier for him to have similar appearance. On the contrary, if there is a big gap between the learner's personality and the person he is copying from, the similarity in appearance will be a problem and a big problem. Therefore, I urgently emphasize that calligraphy must study the inner connection between personality and calligraphy, and emphasize that calligraphy education must achieve true "teaching students in accordance with their aptitude."