Calligraphy practice has to pass six levels
1. Pass the center pass well.
What is a center? Cai Yong, a calligrapher in the Eastern Han Dynasty, once said, "Let the heart of the brush always run in the middle of the stippling", so that the stroke of the brush runs in the middle of the stippling. This is the center. "It's a hard-to-find conclusion that writing a book is expensive. I used to have only some superficial perceptual knowledge of the concept of using a center pen. I didn't know why. The neat and clean side has jagged edges, or one side is thicker and the other side is lighter, and the three-dimensional effect is not strong. Later, during the pre-study process, I strictly followed the requirements of the center pen. After a period of pre-study, I accidentally discovered that The previous phenomenon gradually disappeared, the three-dimensional sense was enhanced, and the stippling became more rounded and elegant, and it was only then that I truly experienced the feeling of the center forward using the brush. With the gradual deepening of the training, my understanding of the center forward also It has deepened. I found that it is good to use the pen in the center, but in addition to the seal and official scripts that must be kept in the center, if the Kai, Xing, and cursive characters are also written in the center, will they lack a kind of interest and charm? With this Doubts, for further analysis and learning, I consulted some books and treatises of famous experts, only then did I understand the principle that nothing can be applied mechanically; The ever-changing dialectical relationship between the pen of the center forward and the winger.
Second, pass the Tibet Frontier Pass well.
The so-called Zangfeng refers to using the reverse front to start the brush, and the back front to close the brush. The nib is hidden in the strokes, and the stippling is strong and straight, giving people a feeling of restraint, vigor and calmness. Zangfeng is particularly important in seal script, official script, and regular script, and the stippling of seal script and official script is almost a stroke of Zangfeng. Therefore, Tibetan Feng must train and master the brushwork. When writing, I follow the brush strokes, so that the written characters are exposed everywhere, and the edges and corners of the stippling are prominent everywhere. There are many broken brushes, which are shaped like folded wood. When I started to study Han Li "Zhang Qian Bei", I felt quite strenuous. In the face of difficulties, I made up my mind to practice hard according to the basic essentials of using the brush in Tibetan style. Finally, after a month, I found it difficult to get used to it. close. When I was writing "Yan Qinli Stele", the characters I wrote at the beginning had no taste of "Yan". What is the reason? After observation and analysis, it is found that the main reason is that the starting and closing of the brush fails to achieve the hidden front. The horizontal painting, especially the long horizontal and vertical dew, cannot form a "dead bone" shape, and the long writing does not reflect the "silkworm head and swallow tail", etc. Effect. Once the problem is found, the key is to practice according to the requirements of Tibetan front and back strokes in italics, find out the rules, develop the feeling, and make it a habit. Only in this way can we write stippling similar to Fatie. Only when the stippling and writing are like, can you get the likeness of the characters, and only when the characters are like, can you write the magic of the font, and then you can really enter the post. Later, in the process of practicing, I also realized that Zangfeng and Lufeng are twin brothers. In a word, Zang and Lu often complement each other. If it is hidden, it will be hidden, and if it is exposed, it will be exposed. The combination of Zang and Lu will have a natural character. , Beautiful, vivid look and charm.
Three, pass the pass.
The thickness of the strokes is changed in the action of lifting and pressing, which is the key to writing a good stipple. Liu Xizai once said that "every book needs to be pressed by the pen and lifted by the pen", pointing out the continuity and necessity of pressing and pressing in the process of using the pen. The process of writing is actually the process of raising and exchanging. When the strokes of the pen are running on the paper, they are always handed over by lifting and pressing, coupled with rich changes in severity and urgency, so that the stippling can have the vitality of life, and can produce wonderful charm and vivid images. If the lines of the written characters are consistent in thickness, they will be no different from hard-tipped characters, without any charm and aesthetic feeling. This is due to the lack of mention of stippling. It is easy to grasp, but difficult to put it up, and it is even more difficult to submit it on time. In order to enable myself to better master the technique of mentioning and pressing, I selected some characters that are basically formed in one stroke and have obvious characteristics of mentioning and handing over to practice, such as "Jin". , "Zhe", "Qi", "Crane", "Zhi", "Quality", "Capital", "Shao", "Wet", "Disadvantage", -etc. At the same time, pay attention to the training of some stippling that is light in, heavy pressing and light out, such as the willow leaf-shaped skimming painting and the pressing painting of light entering and heavy pressing to close the brush, etc. After training, you can master the rules and characteristics of these model characters and stippling.
Fourth, pass the turning point.
The use of "turning point" in calligraphy is very important. "Zhuan" is a brushwork that uses a pen to write circles and circles without square corners and corners. The essential point is that the pen does not stop at the joints of the turn. "Fold hairpin stock" is the most widely used brushwork in seal script, running script and cursive script. "Folding" is the opposite of "turning", and it is a stippling method for writing squares. The folding method is often used for the starting point of Yifang pen calligraphy (the means of starting the pen in regular characters), the closing point, and the junction of horizontal and vertical strokes. This method is mostly used in Kai and Li scripts, and Xing and Cao are also seen from time to time. In terms of practicing "Zhuan", I mainly selected characters with obvious characteristics in "Shu Pu", such as "Si", "Hui", "Yin", "Guo", "Wu", "Xi", "Hu", Practice the upper part of "Li" and "Cui", the right part of "Han" and "Title", the lower right part of "Wall", and the lower part of "Qi". At the same time, pay attention to the training of retaining meaning in certain transfer paintings. "Zhuan" is the most basic way of writing lines, cursive, especially grass. Only after mastering the "Zhuan" method can one write cursive characters in one stroke and write cursive characters running and flying. For the practice of "folding", I specially The characters with "Changheng", "Tian", "Men", "Bei", "Yi", "日", "月", etc. in "Yan Qinli Stele" and Wang Xizhi's "Shengjiao Preface" were selected as examples. The words are practiced according to the essentials of "folding", and good results have been achieved.
Five, pass the speed off.
The speed of the pen is very important in writing. The urgency and slowness of brushwork are the main reasons for the different styles of works and the changes in rhythm and rhythm. The slowness and heavyness of the writing take its strength, and the rapidity can be smooth and vigorous. The quickness and slowness of the brushwork must be organically combined in order to achieve a more ideal effect. Otherwise, if you blindly act slowly, you will lose your air, and if you blindly rush, you will lose the situation. It is a mistake to think that "fast" is the best expression of proficiency. It is even more wrong to think that the essence of "cursive script" is to be fast. I practiced it with such mistakes at the beginning of my book learning. As a result, I couldn't write the "form" of the original script, let alone the "spirit". After learning from the pain in the distress, after some thinking, I realized that the speed of calligraphy is different. The writing speed is different for different fonts and different stippling. And rhythm, in order to get its "shape" and "spirit". Generally speaking, the writing speed of seal script, official script, and regular script is relatively slow, the speed of line and cursive writing is relatively fast, the speed of horizontal and horizontal strokes is relatively fast, and that of vertical strokes and strokes is relatively slow. Slow, can be heavy, can be light", after repeated training, with the gradual proficiency in the use of urgency and rhythm in writing, and slowly enter the stage of "do whatever you want" with ease. You will also realize the truth of "you can be quick and fast, so you can take the gods, and you should be late, and you will lose your power instead".
Sixth, pass the severity level.
The lightness and weight of the brush directly affect the style, characteristics and artistic effect of the work. If you use a light brush, you will feel relaxed, beautiful, elegant, and elegant; if you use a heavy brush, you will feel calm, clumsy, concise, and simple. The weight of the brush is mainly based on the size of the "strength", and this strength depends entirely on the control of the strength when using the brush. This kind of strength is the force that people feel when the sharp edge of the brush rubs against the paper. If the brush is not empty, it will lack roundness; if the brush is not solid, it will lack composure. Dedicated imaginary pens are almost slick; dedicated real pens are dull and clumsy. From the perspective of brushwork skills, its weight, virtual reality is a pair of unified and opposite contradictions, and there is an inseparable connection between them. The so-called intergeneration of fiction and reality, in order to achieve this, one must be good at using the brush through hard training. In order to better use the strokes, in the temporary practice, we must pay great attention to the operation of the strokes, and grasp the proportion of its virtuality, reality, and weight. Supplemented by the high pen holder in the past, use the cantilever force and arm strength to push the pen forward to spread the pen; pay great attention to the pen and pen to the end with force, such as the last stroke of "skimming" painting and similar "autumn" and "fire". After hard training, the strength and texture of stippling lines will be significantly improved.
The elements of using the pen in the above six aspects are not independent, but complement each other. Only by combining them organically in the process of writing can we create high-level works.
