For those who already have the foundation:

  1. Posture:The chin should be slightly buckled, the wrist should be strong, but not stiff, and a little force should be added between the fingers and the pen.

  2. Tools:Look for the kind of softer Langhao, you have to feel the elasticity of the pen, the real Langhao is very soft. Although it is soft, the waist of the pen is required to be strong, and it can stand up by itself when it falls down. If you are lucky, find some old pens from 10 or 20 years ago. In terms of paper, you can look for rice paper that has been used for a long time as creative paper. As long as the money allows, the older the paper, the better.

  3. Temporary posts:We should try to treat running script as regular script and regular script as running script, and we must be able to analyze how many beats there are in the middle of a single character, and the angle and speed of each beat. Immediate engraved editions or rubbing editions can be used as a supplement to ink editions, but ink editions are still the main ones. The scope of copying can also go beyond the Tang Dynasty, but it is absolutely not allowed to learn from things after the Ming Dynasty!

  4. Amount of exercise:It is best to have two hours a day, with nearly a thousand running script and nearly five hundred regular script. At this time, not only the overall speed is required, but also the speed of individual strokes must be increased. It is best to control each character within 6-10 seconds.

  Don't rush to create, take your time, three years of hard work are indispensable.

       Hanging wrists are a must! Please insist, you can't reach wrist level without hanging your wrist. In fact, there is no need to be nervous, you can use chopsticks and a pen, think carefully about how to hold the dumplings. You can start with Zhiyong's thousand-character text. If you want the ink book, the characters can be slightly larger, because our tools can't keep up.

  Dy Arrow thinks that Qin used to write with a hard pen, which is a misinformation, and the Chinese have always used a brush to write. Many writing brushes from the Warring States period have been unearthed, and there were ink and jade books as early as the Shang Dynasty. The "Yu" below the pen, called "bi" in ancient times, is next to the sound of the pen, not the meaning of reed. Mingyin's explanation of the sword of the knife and the official is correct.

       It doesn't matter if the handwriting is good or not, but if the more you write, the more troubled or manic you become, then the method is wrong. There is also a solution, that is to speed up the writing speed a little bit, so that the writing speed will not be too scattered. At the same time, in the process of writing, pay attention to the feeling of the wrist and ignore the criticism of the mind. It doesn't matter if the writing looks ugly, but the writing movement should be in line with the body's naturalness. If the Jiucheng Palace has not entered the country for a long time, can you take a step back and start with Yu Gonggong?

  Jiucheng Palace has very high requirements on the use of pens and characters, and it is often acceptable for copying, but it is difficult to use it freely in actual creation. Although it is a common problem to be out of touch with clinical trauma, it is often more obvious when learning Jiucheng Palace. If a hard attack fails, you might as well encircle and annihilate them. Even if it is difficult to conquer in the end, there may be other gains along the way.

  Focus on answering a few questions:

  1. How do we know how big the original post is?

   Answer: The height of the paper before the Ming Dynasty was about 26 cm, which is about the same height as our 16-format magazine. Therefore, most of the copybooks we print are about the same size as the original.

  2. Which version of copybook should I use?

   Answer: If you have enough money, you can buy Erxuanshe, followed by the cardboard cover of Xiling Yinshe, and the most common one is the one produced by Sun Baowen of Jilin Photography Publishing House.

  3. Can "Jiucheng Palace" be learned if it is so difficult?

   Answer: It is best to learn Ouyang Xun's running script and other inscriptions first, and then write "Jiucheng Palace".

  4. What kind of paper do you use for practice?

   Answer: It is best not to use newspapers for handmade raw edge paper.

  5. What should I do if the entry status is slow?

   Answer: Forcing yourself to increase your writing speed, you might as well practice fast writing strokes and radicals as a warm-up.

   When writing, you must consciously tilt the pen holder at a certain angle, and this angle changes continuously with the pen movement. But it's not like the popular book style to brush characters across the pen! The inclination angle of the pen holder is mainly formed by the inward and outward turning of the wrist. Do not use your fingers and shoulders to operate.

   The frame can be copied, but the brushwork can only be guessed. Since it is necessary to guess the brushwork, of course it is easier to start with the ink. If you refuse to start with ink and insist on learning classical calligraphy, then I recommend a strong medicine for you - write on the facade, stick the paper up on the wall or wooden board, and then write in the air. It will definitely not be a stroke at the beginning, but if you stick to it, you will gain something, believe it or not.

  Let's talk about some theoretical issues: 

   1. "Three thousand watts of weak water" said: "Our calligraphy teacher teaches us to move the brush by pushing it, not dragging it. I have learned this." It is very important that writing should be like sweeping the floor instead of mopping it. Congratulations on meeting a good teacher.

  But we should also refine it: Which part is used to push the pen away? That is, where is the source of the force? Now more beginners are taught to exert force from the arm, and the wrist is relatively fixed, because it is necessary to write large characters. But the consequence of doing so is that the speed of the pen movement cannot be improved, and the force is not straightforward. So we might as well change the form of the theory of "push and hold", and use "translation" and "circle" to distinguish the two methods of brushwork.

  The so-called translation refers to exerting force parallel to the paper surface, which is what Mr. Ruoshui Sanqian said, and it is the most undesirable way to exert force. The circle of "circle turning" is to exert force on a spherical surface that forms a vertical plane with the paper surface, and the center of the circle is the wrist. Those who pay attention to classical brushwork, please think deeply here!

  2. Sanshiwu and Libei put forward the problem of disconnection between practice and creation, which should really attract our attention: why can't the inscriptions on the inscriptions we practiced be transformed into the elements of creation? This is a big problem, and many graduates of the Academy of Fine Arts have not solved it. But the solution is actually not complicated, just write quickly when practicing, and avoid drawing glyphs slowly.

  But why do so many people fall into this trap? First of all, it is too seeking for imagery. I always think that writing should be written in a similar way. In fact, the key is to see if I can grasp the trajectory of the ancients' brushwork. The trajectory of the ancients' pen movement is three-dimensional, and it is not easy to grasp it. It needs continuous speculation, practice, verification, etc. People today like to do physical work and don't like to use their brains, so they can't grasp the brushwork, and they all use it as a copier. The second is that too much attention is paid to visual effects while ignoring physical feelings, especially those who have received western art training, wishing to find out the precise coordinates of each stroke. Most of the mistakes of modern calligraphy lie in catering to the Western habit of focusing on visual impact, while ignoring one's own physical and mental feelings. There are also some wild fox Zen, which mainly advocates the mind and nature, and writes scribbles, and I don't agree with it. The xinxing is too sublime, let's not talk about it for now, let's find out the feeling of the body first and then talk about other things!

   3. Fast brush strokes and stroke quality seem to be a contradiction, but they are actually a pair of friends. Modern people are used to dawdling in tracing words, and once they speed up, they will lose their shape immediately. In fact, since the prosperity of pavilions in the late Qing Dynasty, this disadvantage has begun to occur. It is always believed that writing slowly is better than writing quickly. In fact, on the contrary, without a certain speed as the basis, the quality of strokes cannot be too high.

  The key is how to form this speed? Some masters of cursive script can move their brushes very fast, but the quality of their strokes is not as satisfactory. And the cursive script masters of the Tang Dynasty also wrote extremely fast, and the arrangement of stippling was extremely precise. What is the difference? The power is different. This is like the contemporary people use muscles for boxing, and the ancients use muscles and bones for boxing. The speed is the same, but the effect is completely different. Speed ​​is not everything, without speed is absolutely impossible. The formation of this speed is not formed by using a run-up, but by the sudden force of the wrist.