If you want to write good calligraphy, you must have certain cultural accomplishment and knowledge. However, knowledge can nourish calligraphy, but it cannot replace calligraphy. After all, calligraphy is an art that requires long-term practice to master. Just like, just because you are a teacher engaged in calligraphy research and teaching, it does not mean that you can become a calligrapher. Many scholars today are inherently deficient in calligraphy and have not put much effort into it. However, because they like to dance with writing and ink, they call themselves calligraphers. In fact, their calligraphy is unremarkable, just writing brush calligraphy.
Calligraphy requires knowledge and skill, but also requires spirit.
Wang Sengqian, a calligrapher of the Southern Dynasties, said in "Praise for the Intention of Writing": "The wonderful way of calligraphy is the spirit and inspiration first, followed by form and quality. Only those who combine both can be introduced to the ancients." Spirituality originally refers to people. The expression and brilliance of the face refers here to the spirit, style, temperament, interest and meaning revealed in the stipple lines of calligraphy and its structural combination.
A good calligraphy work is like an energetic person standing in front of you, exuding charming charm and brilliance with every gesture and smile. Therefore, expressing the soul and pursuing the harmonious and beautiful combination of pointillism lines and space have always been the highest realm that calligraphers strive for. A good calligraphy work is always eye-catching and dazzling!
So, how can we make a calligraphy work sparkle?
Ming Dynasty calligrapher Zhu Yunming once said: "There is merit but no nature, the spirit is not born, there is no merit but no merit, it is flashy and unreal." He believes that the art of calligraphy should "hold the splendor and wear the reality". Only by seeing both merit and skill, and mastering the skills, can we reach the wonderful state. It can be seen that for calligraphy to be brilliant, on the one hand, it must undergo long-term training of ancient sages and famous monuments, and be proficient in the eight methods. This is the premise and foundation, the so-called "gong". On the other hand, the creative mentality is calm and comfortable. When creating, the mind and hands are smooth, forgetting both things and myself, writing out the true feelings and integrating one's own academic cultivation and aesthetic taste. This is the so-called "nature".
Learning requires a serious and rigorous attitude and calm and thoughtful thinking, while the creation of calligraphy art requires surging passion. Scholar calligraphers are often burdened by their own knowledge and worry about each stroke. As a result, their calligraphy works are stiff and dull, like a patient's listless writing. Those who write poorly are even more "like rows of calculations". Become a cheesy wordsmith. This is what Zhu Yunming criticized as "meritorious but not meritorious".
Cai Yong, a calligrapher of the Han Dynasty, said in his "Bi Lun": "The calligrapher is also about scattering. If you want to write, you should first let go of your arms and let your emotions run wild, and then write. If you are forced to do something, even the Zhongshan Rabbit will never be able to do it. It's so good." It can be seen that in order to break through the "bottleneck" of calligraphy, calligraphers need to "let go of their arms and let their emotions run wild", enter a state of selfless freedom, do whatever they want, and write their true temperament, which is the so-called "spirit".