Appreciation of pictures of students’ soft pen calligraphy works

Calligraphy is a unique traditional art in China, which refers to the method and rules of writing Chinese characters with a brush. Many schools offer calligraphy courses with the purpose of training students to practice calligraphy from an early age. What I bring to you below is the student's calligraphy work. I hope you like it. Appreciation of students’ brush calligraphy works

Pictures of students’ brush calligraphy works 1

Pictures of students’ brush calligraphy works 2

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Pictures of students' brush calligraphy works 4

Pictures of students' brush calligraphy works 5

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Four-character secrets and top ten techniques for writing calligraphy in brush calligraphy

After choosing the copybook you like, the next step is to follow the copybook to make the calligraphy. So, how to make the calligraphy? How? What is the correct way to post posts? Today we will take a look at these techniques to help everyone establish a correct understanding of post postings and develop good post posting habits.

1. Quietness

This includes people being quiet and calm. Before posting, you must sit upright, with your waist naturally straight, your knees and shoulders the same width, and your body a fist away from the table, so that your blood vessels can flow smoothly. The clear air rises, the turbid air sinks, the spirit is full, the spirit is calm, the mind is free of distracting thoughts. This is the first essential point for practicing calligraphy. Perhaps the fitness effect of calligraphy is also related to this.

2. Close

means to put the copybook as close as possible to the place where you start writing, so that you can clearly see the weight and position of the strokes, and it is also easier to compare the written words with the copybook. To detect problems in time, beginners should emphasize physical similarity before pursuing spiritual similarity, and should not insist that they are spiritually present because they are not similar.

3. Slowness

It means that the writing speed should be slow. This slowness is relative. Only when you write slowly can you write well. Beginners should slow down when writing, but Be careful not to stagnate, and speed up appropriately after you become proficient.

4. Accurate

That is, the stroke thickness and position are accurate. This can only be achieved under the first three conditions. Beginners must first achieve the similarity in form and then gradually master the characteristics of the calligraphy style and master the rules. The weight, length, and density of each stroke should be consistent with the calligraphy. (It is recommended that the size of the characters written beforehand should be close to the characters in the copybook)

1. What is written beforehand?

When we started to learn from the ancients, we put the rules of the ancients in On the desktop, writing a post is about learning the rules, nothing else.

In the post, you have to show some weight, virtuality, shade, and positive expression. These are microscopic changes and emotional things, and macroscopic things cannot be left out. This is the key, otherwise there will be nothing. Dealing with it logically will make it seem unruly. Therefore, the appearance of things follows the principle, that is to say, the shape, structure, and stroke position of the characters follow the principle. From the word principle, that is, the character principle of Chinese characters, it reflects the rules and regulations; while the pen comes from the book, which reflects the It's interesting and interesting.

These are two principles. The external form is clear at a glance, and you can tell at a glance whether it conforms to the rules; the pen used is the essence of calligraphy. Thickness, length, speed, and the thickness of the ink are all requirements of calligraphy itself and determine the flavor of the calligraphy. The pen used is different. Determining different tastes, the glyph structure is a rational requirement and a requirement for the physical beauty of Chinese characters. It must be rigorous. Whether running script or official script, this is the basis of calligraphy. These are two different principles. Lintie is learning this theory and principle. .

2. What do you want to do in the current training?

How to face it. No matter what kind of post, no matter how you choose after getting it, you should form a scientific training model based on what you get during training. It should be purposeful and use research and analysis methods to repeatedly experiment, inherit and consolidate. The strokes should not be single, simplistic, thin or dry, but should be three-dimensional, round and vivid. This requires you to find countless different ways of writing the same stroke, compare, imitate, integrate and refine, find out the uniqueness and individuality in the comparison, and find out Different forms and expression techniques of the same stroke.

When creating, take the glyphs on the stele and use different techniques to express them, that is, use the glyphs of the ancients, but not necessarily his techniques. The technique determines the style in creation. If the technique changes, the style will change, and the technique is There are many, Zhang Qian and Xian Yuhuang are one kind, ritual vessels are one kind, and Cao Quan is another kind. If you use them in the same work when creating, you will be a big name. If you purposely solve problems one by one like this during training, no one will be able to catch up with you in three, five, ten or even twenty years. Therefore, training means making thoughtful and purposeful choices.

If you want to achieve greater results than others, you must have thoughts that are different from others. Under the premise of such different thoughts and concepts, choose a method that is different from others and determine a scientific method. Training mode, and then you will have results that are different from others. That means writing with your brain instead of your hands. On the other hand, we also need to analyze our own crux and treat headaches. But if the headache is caused by athlete's foot, we should cure the athlete's foot first and prescribe the right medicine. For example, if you learn cursive script, you should first learn running script and pass it through running script. Practice techniques such as turning, lifting and pressing, retracting and releasing, echoes between strokes, the connection between upper and lower characters, etc. After practicing well, cursive writing will just be a matter of cursive technique. Strictly speaking, cursive script cannot be learned, because from the original state it is generated, it is an extremely emotional thing. Refining the glyphs, pens and techniques from cursive script is the right way. This is a matter of method.

3. Writing is not about being more but about being right, not about the law but about the reason. You must pass the single word test and you cannot just copy the text.

The technique of running calligraphy is that the previous stroke controls the next stroke, and the next stroke follows the previous stroke. Your writing method is to do this regardless of that, and that regardless of this. The previous stroke of running script is the beginning of the next stroke, and the next stroke is the ending of the previous stroke. The strokes of running script have destroyed the concept of regular script stroke by stroke. It may be three or five strokes. Each stroke of a stroke is internally connected and controls each other. Therefore, writing does not depend on more but on rightness, not on law but on reason. If your writing is not logical, then there is a problem with the law.

This is especially true for cursive writing. For example, in this painting of "Shupu", his thinking, observation and ability to grasp the writing are very high, but he is not very skilled. You should pay attention when learning cursive writing. Cursive writing, especially the practice of some typical symbols, must be strengthened and practiced specifically. A symbol should be solved and understood thoroughly in half an hour, and can be used for the rest of life. Why not, but when writing, you must pay attention to becoming natural and natural. It's not hard.

There is another phenomenon. Post copywriters often pursue quantity. They copy a post over and over again without using their brains to think about it, resulting in copying. This makes it difficult to make progress. Some exaggerated strokes must be eliminated, as they are part of his personality. Such exaggerations appear empty and unlearned. Every word must be written proficiently. First write it into the elephant, then write it proficiently, and then back it. You must learn to pass the single-character barrier and cannot just copy the text. Now you have to change the way. Just write a word five or six times. Write it twice. Be sure to write it into the image, and then find the feeling, such as writing it from behind, see if you can remember it, and then use the pen. Movement training, refining writing from aspects such as speed, reality, proportion, etc., training in a targeted and purposeful manner, and writing every word thoroughly, that is, from raw to familiar to memorized to various transformations, constantly Refining it, and finally letting it go, you can write it in an advanced way.

4. The core things of calligraphy will never change.

The core things of calligraphy will never change. No matter how you write the words, the key parts must be controlled. You don't have to worry about the exaggeration. It depends on the middle part to determine the Chinese square characters. This is the case for any one. All exaggerated strokes are not controlled, irregular and unrestricted. Where did the changes in the ancient herringbone come from? In fact, the exaggerated strokes are allowed to be exaggerated. The different degrees of exaggeration lead to different styles, also in the square. , different steles and different posts all have the same rule, that is, formal beauty. The basic structure of the essential part is dead, and there are only subtle changes. This is a principle. It doesn't move, and what determines the style of the characters is the exaggerated differences in those places that can be slightly changed. This is a basic rule.

The reason why some characters cannot be written well is because the inner strokes are not written well. The inner parts can be different in thickness and size, but they must be arranged evenly. You can exaggerate or reduce the proportion. But it must be written evenly, requiring interest and change. You must first have this principle and master this principle before making changes. For example, for this character "Zhang", we draw a square. The parts within the square are the core parts and are unchanged. If some strokes of "bow" and "long" are changed inside the square to add some interest, wouldn't it become Zhang Qian or Xian Yuhuang? If the second horizontal stroke of "bow" and the third curved stroke of "bow" Exaggerate the hook to the left, and then exaggerate and stretch the "long" horizontal stroke to the right. Wouldn't this become a ritual vessel or Cao Quan? By analogy, the same applies to other characters. Therefore, the post writing method needs to change, the observation method needs to change, the thinking needs to change, and the training model also needs to change.

Fifth, we must learn to express our thoughts. When creating, you need to learn and use them flexibly

When writing couplets, the characters should be written in such large sizes and the strokes should be bolded. The thickness of the strokes on the original post is like this, but you exaggerated the characters five or ten times, and only The strokes are exaggerated twice or even remain unchanged. This is not good. When creating, you need to learn and use it flexibly. You need to make some adjustments when creating. For example, this word "painting" is light at the top and bold in the middle. Then the style of the ritual monument should be highlighted at the bottom. This will do.

Your post lacks a process of coming to mind. Just follow the writing and write in the image. They are similar but no matter how you look at them, they still look alike, and then no matter how you look at them, they still don’t look alike, somewhere between similarity and dissimilarity. When we digest the ancients, this kind of likeness and dissimilarity is not a superficial likeness and dissimilarity, but a spiritual and principled likeness and dissimilarity. That is to say, you are lacking a link. You did not digest the meaning when you posted the post. Of course, there is also a method for this digestion, such as the word "glue". You see, after writing it, it looks like it, it definitely doesn’t look like it, it doesn’t look like every specific stroke, but the beauty is still the same. No matter how you change it, as long as you use dots here to deal with it, it will still be the same. This doesn't seem microscopic, but macroscopic. You must understand the principles. It is useless to copy the ancients directly. Copying the ancients is brainless. You just have the hands of the ancients. You must have the brains of the ancients. You must stand on the basis of the ancients and learn from the principles of the ancients. After learning the principles, methods, standards, laws, basic techniques, etc., you must become a processing plant yourself. You must think, research, and test, and scientific testing, reasonable testing, etc. Only experiments can be effective experiments, so they can be used in creation.

6. Don’t make calligraphy craftsmanship or patterning, but restore its natural state

The ancients were not creating when they wrote. Traditional culture was based on Confucianism, and Confucianism respected etiquette. , You must be measured when you speak and do things, you must walk with posture, and you must bow and speak the law in everything you do. It is a kind of restriction. Feudal rule is the kind of restriction determined by the ruler. There are too many restrictions, and the development of Chinese calligraphy has always been It has never left the consciousness of the rulers, so there were many rulers in the Northern and Southern Dynasties, and there are many kinds of Wei stele. The emperor admired Wang Xizhi. For more than 1,700 years, people have known that Wang Xizhi's calligraphy was good. This was all based on the consciousness of the rulers. So, what it pursues What is beauty? It is not the pursuit of weird beauty, but dignified and harmonious beauty. Dignified beauty means standing and sitting, solemn and solemn, and harmonious beauty means all the changes in calligraphy such as virtuality and reality. In the theory of Yin and Yang, harmony comes from the coordination of Yin and Yang. Therefore, the harmony of yin and yang is the flavor of calligraphy, while dignity and rigor are the upright atmosphere and the core of calligraphy.

Why can’t many people start a family while practicing calligraphy? Is it because they think that doing calligraphy is their own business? I just write like this. As long as I feel good about it, I can write whatever I like. In fact, if people write I have no idea. It would be noble if they were all ancients. Therefore, calligraphy is a big culture. The interest of Zhang Qian's stele lies in the shape of the characters, the fun aspect, and the changes in the staggered positions of the strokes. It is not a change in the strokes, but a change in the structure of the characters. It is the destruction of proportion and the position of the strokes. It's not a matter of gestures. Cao Quan is a matter of gestures but Zhang Qian is not. Once you understand this, you must restore this natural state when writing.

Cao Quan Monument

In addition, the formal beauty of official script is strong. There is no need to enhance this formal beauty, otherwise the calligraphy will be craftsmanized and patterned.

The advanced level of official script should weaken the beauty of form, rather than strengthen it. It should completely become a natural writing state, increase the gentleness of the pen on the paper, and increase the flexibility while being gentle, just like music. , with speed, urgency, severity, strength and weakness. Today's calligraphers mostly write in one mode, which is the most troublesome. They may be brilliant for a while, but this kind of brilliantness cannot be maintained for three years. They just focus on the beauty of form and become stereotyped. Like Xian Yuhuang, Beiyin has become more and more simple and simple. What is simplicity? It is straightforward. It is simple, so simple that there is no idea. This kind of simplicity has no idea at first glance, but if you think about it, the idea can be There are more. Therefore, there are two states of real art: one is the mature state, which is completely rational, regular, and legal; the other is irrational, where the art has not matured and has rules but is not rigorous. Like a child walking, he still has trouble walking, but those few steps he takes are so cute.

We are now pursuing the rational, rigorous, and regular things in art. As a kind of norm, it stipulates the attributes of the ontology, such as uprightness, dignity, and solemnity. But the half-baked energy and unmodified energy of art are the interest, realm, and taste of art. Is it mature for a two-year-old child to perform an action? Is it immature? When he speaks, the priority is unclear, but you feel that his actions and words are interesting, fun, and cute. This is the immaturity and immaturity you are pursuing. Something reflected in childishness. We should not keep our eyes fixed on contemporary calligraphers, but should pay more attention to the inscriptions to find and restore their natural state from the inscriptions. For example, the "Sun Zhongyin Stele" unearthed in Gaomi, although smaller in scale, has simple content and lovely charm. , which is the most advanced among Han monuments.

"Sun Zhongyin's Epitaph" unearthed in Gaomi

The greatest contribution of the Qing Dynasty's official script is to turn the inscriptions on the stele into ink, and turn the engraved characters into written characters , the writing quality itself is a way of reduction, which is the only thing that the Qing Dynasty has, and another one, such as Zheng Gukou's clever energy, Chen Hongshuo's unrestrained energy, Deng Shiru's peaceful energy, Zhao Zhiqian's solid energy, Yu Quyuan's gentle energy, etc. You can learn anything interesting, but the real rules still have to be learned from Chinese, and the calligraphy methods still have to come from Chinese steles. That is to say, the final grasp of the principles still has to be learned from ancient times.

7. Stele Yin and Stele Yang-the complementarity of taste and law

Han steles are divided into Stele Yang and Stele Yin. The background knowledge is of great help to us in reading and writing posts. You need to be able to read things. The yang of the stele is the main text, which is for others to read, and the yin of the stele is the explanation. Ancient people always carved the front of the stele in a standardized and rigorous manner, while the back was casual and not so restrictive. The yang of the stele to the outside world was the rule. Yes, it doesn’t matter when it comes to the negative side.

The positive side of the stele in the Eastern Han Dynasty's "Xianyu Huang Stele"

The main text is written on the positive side of the stele, and a description is written on the negative side of the stele, such as who paid for it, who carved the words, etc.; The first is that if the main text cannot be written, they will be written on the inside of the stele. Like the ritual stele, there are so many words that even the sides of the stele are used. The inscriptions on the stele are usually in rhyme, four-character rhymes, which are catchy to read. At the same time, it is also a style for engravers. There are two types of Han seals in terms of knife skills, one is rigorous, and the other is urgent, such as the general seal, which is made temporarily and must be cut out immediately without modification. Form a quick seal.

It's a sword technique. Therefore, the east and west of Bei Yang should be regarded as norms and laws, and the curiosity of Bei Yin should be regarded as a method of change. When studying and studying Bei Yang, it is to learn the rules and learn the rules. The writing method is rigorous, fastidious, and delicate. Standards such as the collection of pens are the ultimate in stele, and the taste of learning is generally imitated from stele yin. The former is strict in rules but has poor taste and is rigid, while the latter is strict in rules but tastes wonderful. The two complement each other exactly. Although the rules and regulations of Bei Yang are rigid, they also tell you a sense of change. Although this consciousness is not as lively and light as Bei Yin, you can use the state of Bei Yin's pen to change the state of Bei Yang. The behind-the-scenes ideas are used to eliminate the rigidity of the previous approach. However, blind exaggeration and thickening are actually not changes, but just make people see a kind of confusion and ambiguity in our thinking. When you understand these, you will learn Beiyang's rigorous rules and standardized techniques when writing posts, and you will also learn Beiyin's straightforward personality and artistic taste. The combination of the two will make the work solemn but not rigid, and light but not frivolous. .

8. There should be no problems in writing, and always maintain an upward state in creation

Inheriting and creating, writing is to inherit, write what can be digested, and have a purpose and purpose. When you come to it thoughtfully, when it is over, it is the second creation of the ancients. Why do those young and middle-aged calligraphers who have achieved some success disappear after three or five years? When they study, they keep their tail between their legs. When they start to submit their manuscripts, they can even find 800 people to read and ask for advice. After all, they have been published once or twice. For the first time, I became it by myself, and when I submitted my manuscript again, I didn’t look for anyone to read it. Then I came up with my own customary techniques. I wrote according to my own habits, and the ancient methods were less. When I wrote again, the ancient methods were less, and I became more accustomed. , the ancient method of writing is basically gone, and it’s all about myself. Then I can’t get published no matter how I submit, and I will start to curse tomorrow. There are very few people who have won awards for five consecutive years in the calligraphy world and who have been at the forefront of creation for five consecutive years. Basically, they disappear after three or four years. There are very few people who can persist for ten years and win every time in creation. .

Over the past twenty years, how many calligraphers who became famous in the 1980s are still at the forefront of creation? One slap is not enough; how many calligraphers who became famous in the 1990s are still at the forefront? , if you can count ten, that’s pretty good. Why? It’s all because of the problem in the post. Artists in Chinese history, not to mention art masters, as long as they can be left in history, they must meet three conditions: first, they are always in an upward state in creation from the beginning of their debut until their death; second, they are always in an upward state in creation; All his creations, including the expression of personality and the formation of his own appearance, are a sublimation based on tradition, rather than destroying the traditional model; thirdly, all artists are thoughtful, not playing with fonts It's about playing with ideas and concepts.

If you want to become a master, you must be insightful and distinguished. You must always be the most active in the calligraphy and art circles, and have a significant impact on the development of art across the country and even the world. Character, that is, a quasi-master, and he has been at the forefront of artistic development from the time he debuted to his old age. He is a man of the hour, leading creation for a lifetime, coupled with social status, unique theories, and his thoughts , Ideas are always ahead of others, like Zhang Daqian, Qi Baishi, Li Keran, Lu Yanshao, Huang Binhong, which master is not like this. Therefore, it is necessary to arm the mind with rules, use a belief to scientifically analyze, train and summarize, take what should be taken, give up what should be given up, and have goals. We know how to do things that others have done, and we will never think about things that others have not done. That’s no good; you have to come up with things that others have not done before, and let them follow you all the time.

9. Learn to understand the Dharma and the meaning, thereby acquiring a principle

Regarding Mi Fu’s practice, look at Mi Fu’s word "Feng", from the direction Up, the first stroke goes up slightly, the second stroke goes down, and the third stroke goes up again. The movement of these three strokes happens to be in three different directions, crossing each other in the direction. This is the direction of movement of the pen, then it Is it simply going up or down? It’s not entirely true. While going up, there is also a slight downward closing feeling. It is wrapped around the pen. This is true for the three strokes, so it combines these three directions of movement. The inner things are added, and the overall upwards are still downwards, and the overall downwards are still a little upwards. Every stroke is vigorous, just like I am pulling you over, and you have to come over but don’t want to come over yet. You are tense, This is the elasticity, a kind of strength, produced by the restricted shape of the strokes.

The former direction of writing reflects directional knowledge, while the latter's (stretching or twisting) writing reflects an inner strength. What is reasonable? One is to write in the direction of the pen. When it comes out, firstly, the strength is written out, the elasticity and momentum are written out, and the meaning is also written out. As for the length, width, and width, it is not the main factor. Therefore, this is a technical requirement, and this technique tells you not only a state of movement, but also a state of life. Therefore, you must write the words alive and write a state of life, which is a living state. Something, a gasping thing. In this case, as long as this kind of writing is written, no matter how you write it, it will be Mi Fu. Why, it is the use of the pen and habits, the technique of using the pen, the control of the curvature, and this kind of writing gesture. The whole thing is consistent with Mi; If we use another method, for example, this place is exaggerated and this place is also wrapped, it is not rice but Yan. Even if it is Yan, does it have anything to do with rice? It is just something like Yan wrapped in pen. There is a lot, but there is only a little stuff wrapped in rice.

Yan’s style is more rounded and more seal-like than Mi’s, while Mi’s rounding is less and more subtle. His style is more of a thunderous folding and cutting pen. Therefore, the character Yan is much more connotative and rounded, while Mi is much sharper and steeper. Therefore, the style of art is determined by the brushwork. A slight exaggeration of a certain aspect becomes Yan, and a certain aspect is transformed into Yan. It becomes rice with a little strengthening. It is a change of strokes. We should pay special attention to this gesture character so that we can express the meaning. That is to say, we can use its structural principles and get a kind of reinforcement in your writing. .

What we really focus on when learning is not the technique, but its concepts, principles and principles. When we write a post, we don’t just pick up the pen and copy it. We even hum a tune. Can you write well? We How does the gap in everyone's writing arise? That is, people who write particularly well are definitely experts in studying it. They are constantly researching, analyzing, testing, summarizing, testing, and summarizing again. This is through the glyph structure. Including the study of strokes, calligraphy, etc. to obtain a principle, this is the true sense of the post, unlike some people who say that the post is just a copy of the content, and other elements have nothing to do with the post. Therefore, the point of the post is wrong now. The teacher may not necessarily say it is good when the writing is similar, and the teacher may not necessarily say it is not good when the writing is not similar. This is because the key to good or bad is not whether it is similar or not, but whether it is similar or not. It depends on whether it is reasonable or not.

10. The key to spirit is to grasp the life state of words through dynamic momentum

Regarding the importance of momentum, the post is not about how many images you have, but how Taking into account its external posture and internal character, techniques tell you not only a state of movement, but also a state of life. For calligraphy, discerning people pay special attention to the posture, that is, the grasp of the state of movement. Folk writing generally focuses on the shape and structure of the characters, but professionally speaking, it does not pay attention to the structure of the characters but mainly focuses on the posture and strokes.

A state of movement. A person has a certain strength or posture, which reflects a certain mentality of the person. A word has a certain strength or posture, which reflects the spirit of the word. The appearance reflects a state of movement, but it tells you an inner state. At the same time, it also gives a certain character to a certain stroke or a certain word. This means to bring the characters to life, to write a state of life, to breathe and move, such as this word by Mi Fu: "Sheng", the left is low and the right is high. These three vertical strokes are not straight up or down. Vertical rather than slanted, the overall feeling is like jumping up, and it also has a horizontal momentum. As long as you write out the meaning, master the character posture, and master the movement state, you can write freely. You can write whatever you want. , as long as the character's potential comes out, others will know it is Mi Fu at a glance. Mi Fu is good at creating a dangerous situation. Every stroke is moving and energetic, which is particularly interesting. Therefore, it is necessary to pay attention to the gestures and gestures of the characters to grasp the movement and life state of the characters and show their unique charm.

11. Wang Xizhi’s contribution - providing an aesthetic space for Chinese people to write with a brush Before the Ming Dynasty, there were no long hairs, and the classic posts were basically before the Song Dynasty. Before the Song Dynasty, the first one was no long front, and the second was no yanghao. When writing about Wang Xizhi, firstly, the pen must be hard, and secondly, the writing must be gentle and elegant, that is, it must be subtle and vigorous. Wang Xizhi's main contribution is to provide an aesthetic space for Chinese people to write with brushes, which is to inject a cultural atmosphere, that is, every stroke and every word carries a cultural concept in it. Restricted writing is a kind of rational writing, and it is also a kind of thoughtful writing. Therefore, Wang Xizhi's contribution is this, not that he left a "Lanting Preface" or other inscriptions to future generations. He It's not a technology, it's a theory. Therefore, to study Wang Xizhi, you must first grasp his calligraphy characteristics, calligraphy theory, and calligraphy rules. This is why all calligraphy students cannot bypass him. No matter what the situation, you must avoid Wang Xizhi, because you do not If you learn from Wang Xizhi, you will ultimately lose the elegance of his calligraphy and the elegance of his writing.