There is neither a panacea nor a rigid procedure for copying and learning calligraphy. In this way, is there no rule to follow? Of course not. Calligraphers at all times and all over the world have created many treasures of calligraphy art for us and accumulated rich experience in calligraphy learning, among which copying and pasting are the two most basic methods. Most of the predecessors practiced calligraphy like this: first, choose a tablet as a template, carefully ponder the stroke characteristics and structure of each word, copy it repeatedly, and master its writing method skillfully to reach the realm of "handy"; On the basis of this family integration, we will learn from others, learn from others, develop others, and create our own unique style. "Without rules, there would be no Fiona Fang". Beginners should start with copying, that is, covering the copybook with a thin layer of transparent paper to practice. This method is suitable for beginners and can also be used to practice new posts, and it is suitable for mastering the position of glyphs. It's like finding a traction person as soon as you learn to walk. Of course, it also includes "painting red", double hook filling, shadow imitation and so on. When you are proficient in copying, copy again, step by step, and don't scribble at will. When people paste or copy posts, they often use a grid to do it. This grid is called "Green". Mi Zige, Tian Zige and TIC-tac-toe (also called Jiugongge) are often used in Grim. Using the grid method, it is easier to find the position of each part of Chinese characters in the grid, so that we can easily see the size of each part. Regular script is the basis of calligraphy learning. The predecessors compared regular script to "Li", running script to "Xing" and cursive script to "Xing", because regular script is neat and standardized, it can be used as a model and is the basis of various fonts, and various printed fonts and artistic characters are also transformed from regular script. There are many kinds of strokes in regular script, so you should have deep skill in using the pen. My regular script skills are not deep, and my writing and cursive skills are insufficient. After practicing regular script, it is easier to master other fonts. Therefore, learning calligraphy should start with regular script, and then practice other fonts when regular script has certain basic skills. Learning calligraphy requires more practice, learning from predecessors' experience and mastering certain methods, but it is more important to study hard and persevere. Calligraphers at all times and all over the world are immersed in hard work. Calligraphy is not mysterious. As long as we practice hard in the right way, we can write. Nothing is difficult to the man who will try. Ou Yangxun's Calligraphy Art Ou Yangxun (557 ~ 64 1) was a calligrapher in the Tang Dynasty in China. After Chen, Sui and Tang Dynasties. The letter is from Linxiang (now Changsha, Hunan) in Chenzhou, Hunan. When I was young, I learned quickly and learned well, and I was the second king of calligraphy. Seeing the danger in the middle, Yu Ping made a book called "European Wind". Together with Yu Shinan, Chu Suiliang and Xue Qi, they are called the four masters of the early Tang Dynasty. I was enlightened since I was a child, and I learned a lot of classics and history when I grew up. The Sui Dynasty was famous for its calligraphy and used to be a doctor of Taichang. Tang Gaozu acceded to the throne, the official gave it. Later, the official went to Yinqingguang to record the doctor. When Emperor Taizong was a prince, he was awarded a bachelor's degree in Hong Wen Pavilion and was named Bo Hai Gong, known as Ouyang Lvgeng in history. Yu Ping, the second king of calligraphy, saw the danger in the middle and made a book by himself called "European Style". Together with Yu Shinan, Chu Suiliang and Xue Qi, they are called the four masters of the early Tang Dynasty. He co-edited the Literary and Art Newspaper with Pei Ju and Chen. Ou Yangxun's calligraphy inherited the legacy of Wei and Jin Dynasties and created his own style on the basis of the Six Dynasties. He used a pen to show the ancient power, so he can be dignified and calm, and the turning point is clean and neat; The heart knot is close, the founder is confused and has extremely strict tolerance, but in the grace and generosity, it has dangerous interests. The characteristics of European books can be summed up by the word "danger and strength". At that time, the title of Ou Yangxun had already spread overseas. He, together with Yu Shinan, Chu Suiliang and Xue Ji, is called "Four Schools in Early Tang Dynasty", and his calligraphy style is called "European Style". With Yan Zhenqing, Liu Gongquan and Yuan Zhao Mengfu in the Tang Dynasty, they are also called the four masters of regular script. The Tang Dynasty was the heyday of calligraphy. When it comes to regular script, words must be called Yu, Ou, Chu and Yan. At first, his books were borrowed by students. Later, he borrowed the brushwork of the epitaph of the Six Dynasties and created his own style. His regular script is bold and sharp, clear and handsome. According to legend, Ou Yangxun's calligraphy works have eight styles, especially seal script, which won the reputation of Fiona Fang. Because calligraphy is simple and elegant, it overflows into regular script, which is natural and bold, and the stippling is wonderful. Moreover, because of its extensive knowledge and delicate and precise regular script structure, it has become a generation of talents. His representative works of regular script handed down from generation to generation include: the inscription of Liquan in Jiucheng Palace, the tablet of Huangfujun, the tablet of Huadu Temple and the tablet of Yugong. Generally speaking, Ou Yangxun's regular script has the following two characteristics: First, Fang Bi is the main stippling, and the iron painting is a silver hook, so it stands tall and has the reputation of being "like a halberd in an armory", but the world only knows one side of it, but it doesn't know its pen circle. Its writing style is angular and sharp, which is really a misunderstanding. Guo Zongchang's "Stone" said; "People all know that stationery has changed the Jin method, but they don't know how to tie a knot with a pen from Gu Li." The middle part of his calligraphy is extremely vigorous, but the hook angle is just right and rhymes; Second, its structure is steep and tight, with the horizontal position leaning upwards and the vertical position leaning backwards, which belongs to the oblique drawing tight knot. Wang Wenzhi's "The Monument to the Fast Rain Hall" says: "Ouyang takes danger as the level and is extremely positive." It is precisely because of its inevitable risks that improper study can easily hurt elegance. Ou Yangxun's regular script seems strange, but it is actually positive, seemingly square, but actually round. Among the inscriptions on Ou Kai, especially the inscription on Liquan in Jiucheng Palace is particularly rigorous, which is difficult to learn because of its concentration. Mi Fei once said, "Ouyang is like a new patient, with a haggard face and hard work". Yu Gong Bei, also known as Wen Yanbo Bei, was written by Cen Wen. The whole monument has 36 lines, each with 77 words. The seal number is "Tang Dynasty dedicated to the right servant of Shangshu shooting the public and the public monument", which was written in the eleventh year of Zhenguan, when Ou was eighty-one. This tablet is easy to write in regular script, easy for beginners to use, and there are many copies, so I choose Jiaqing Neifu Collection. According to Wang Zhuanghong's "Essay on Supplementary School Monument", "This is the old collection of Bilingyan Mountain Museum. After being convicted, he entered the Inner House./kloc-0 was obtained in Shanghai in 1958 and is now in the Shanghai Museum. " This volume is rich in pen and ink, tough and exquisite in paper. Later, Wang Shu, Weng Fanggang and Wang Wenzhi wrote this book. It was perfected in the Northern Song Dynasty, and now it is photocopied and published in Fu Zi for the benefit of calligraphy lovers. Calligraphy theory, the "Eight Laws of Ou Yangxun", has unique opinions. Mason Lee's 84 laws in Ming Dynasty and Huang Zi's 92 laws in Qing Dynasty are instructive. Its "eight decisions" are: (points) such as the peak falling rocks; (Yoko) is like the new moon in the sky; (horizontal) like a thousand miles of clouds; (Vertical) Long live the withered vine; (Jiange) If Jinsong falls, it will fall on a cliff; (folded) like a crossbow of hosts; (left) If a sword breaks a rhinoceros horn; A wave of strokes is often repeated three times. Ou Yangxun-Characteristics of Calligraphy Style Ou Yangxun's calligraphy is characterized by the fusion of regular script of Han Li and Jin Dynasties, as well as the inscriptions of the Six Dynasties, which can be said to be widely adopted by various schools. The main characteristics of Ou Yangxun's calligraphy style are rigorous and neat, vigorous and powerful. Although the font is a little long, it is white, neat and rigorous, and the middle palace is tight. The main pen is elongated, bold and unrestrained, dense and well-organized, in all directions, delicate and vivid, just right, coordinated in color, structured, upright and vigorous. Most of the fonts expand to the right, but the center of gravity is still stable. Ou Yangxun studied Wang Xizhi's calligraphy in his early years. It is said that he once spent a large sum of money to buy the Map of Gui Zhi for Wang Xizhi's godson and studied hard day and night. Later, he extensively studied the inscriptions in the Northern Dynasties, and at the same time absorbed the strengths of some calligraphers at that time and integrated them to form a unique style of vigorous and rigorous statutes. Ou Yangxun's calligraphy is characterized by neatness, literary grace, vigor and detail. Bao Qing Chen Shi once said: "The European fingering is solid and powerful, all-round and true to external forces." In other words, the European word emphasizes the power, and the strokes written are strong, not too thin or too full. Each pen is too long plus one point, too short MINUS one point, the weight is appropriate and the length is appropriate. The use of European characters also pays attention to the strength of the middle part of strokes, and some horizontal paintings look full in the middle part and appear "neutral"; The main strokes of some characters extend outward, showing the compactness of the middle palace, especially the vertical painting on the right side, which often exaggerates and extends upward. These unique strokes show their superhuman courage. The European style is characterized by thinness, strength and danger, and this monument is the most distinctive among European books. It takes off the faces of two kings and has a unique style. Sun Chengze's Summer of the Gengzi in the Qing Dynasty stated: "Its brushwork is divided into Chinese characters, which is a satisfactory book. Wang Yuanmei is more dangerous than historic sites. Yang Qingjing's "Learning Books" says: "The European book" Huangfushengchen Monument "is the most dangerous, and Zhang Huaiguan's" Book End "says that its forest is like an armory spear, so it is." Qing Weng Fanggang tried his best to restore this monument: "It is the first way to learn from Tang Kai. If we don't start from here, how can the shelf structure enter Jiucheng and Huadu? "This is Weng's well-meaning words. Beginners can learn from the European style, which is mainly based on fine hard characters. The Tang Dynasty commented: "The eight schools of Da Zhuan, Xiao Zhuan, Li, Xing, Cao and Kai did their best." "Flying white crown is absolutely superior to the ancients. "Tang Li Simiao's Back of the Book records that" it is difficult to compete with cursive script, such as getting water from withered dumplings, greedy rabbits to go to holes, and hating less strokes. "In Song Dynasty, Su Shi attached great importance to the small letters of European books, and wrote:" Yang always took books as the foundation, and was strict in drawing people, especially small letters. Fei loves European cursive script. He said, "Cursive script will be wonderful and moving next year." . The ink that has been passed down to this day includes iron, iron and money. Among them, Meng Diantie has a variety of structures, which can best show the strength, danger, sharpness, spear and halberd of European books. The inscriptions written by Ou Yangxun are handed down from generation to generation as follows: ① Inscription on Liquan in Jiuchenggong. The monument was erected in the sixth year of Zhenguan (632) and was made for him in his later years. The inscription is solemn and solemn, and the statutes are strict. Because of its strong brushwork, strong fiber and rigor, it has become a model for learning calligraphy. (2) Huangfushengchen Monument, built in the early years of Zhenguan, has thin and hard strokes and rectangular characters, which fully displays the preciseness of European books in the process of creating momentum. (3) Taming, a Zen Master with Four Uses in Hua Du, founded in the fifth year of Zhenguan, was Ou Yangxun's masterpiece in his later years. The handwriting is smaller than other inscriptions in European books, and the calligraphy is quiet and vigorous, rigorous and elegant, and has a unique style in finishing. The original stone has long been lost, and there were many pirates in the Song Dynasty. Some people think that the remnants found in the Buddhist scriptures in Dunhuang Mogao Grottoes are early pirated copies. (4) "Yu Gong Wen Yan Bo Monument" was established in the eleventh year of Zhenguan. At this time, Ou Yangxun was 80 years old, but his calligraphy was still excellent. Although the tablet is full of words, we can still see the characteristics of caution and vitality from the intact words. Inscriptions in Ou Yangxun Lishu include Zongshengguan Inscriptions and Square Inscriptions. The calligraphy of the square tablet is between Kai Lee and Kai Lee, which is compact and vigorous, has the style of worshipping the tablet, and shows its origin. According to legend, Ou Yangxun has Preface to Lanting Collection, and Dingwu's Preface to Lanting Collection was written according to the inscription in the European edition. There are heart sutra, nine songs, thousands of words, etc. Ou Yangxun handed down in small letters, but it is difficult for later generations to determine the authenticity of rubbings. Ou Yangxun is ugly, but he is extremely clever. He can read all kinds of books and is proficient in classics and history, especially three histories. Wang Xizhi, a beginner in calligraphy, and Liu Min, a doctor in the Northern Qi Dynasty, gradually changed his calligraphy style and became a unique figure. He was called "European style" and it was necessary for a while. He, together with Yu Shinan, Chu Suiliang and Xue Ji, were called the four great calligraphers in the early Tang Dynasty. People get their trust by letters, but they think they are standardized, so his calligraphy has a great influence on future generations. In the Tang Dynasty, Zhang Huaiguan called his book Shuduan "The eight-body style is perfect, the brushwork is healthy and dangerous, the seal style is especially refined, and the flying white crown is absolutely superior to the ancients. "Ou Yangxun's regular script structure is rigorous, the brushwork is open, and the brushwork is interspersed with moving pens. Ouyang Thirty-six Knot Method, which was circulated by later generations, is the law and method of knot writing summarized from his regular script brushwork, which has great enlightenment to later generations. Ou Yangxun's greatest contribution is his arrangement of regular script structure. According to legend, Ou Yangxun summed up 36 methods to construct regular script fonts, which were named "Ou Yangxun 36 Methods". Although this method is mixed with later generations' explanations or thoughts, a large part of it must be Ou Yangxun's: his research completely got rid of the irregular changes of unstable fonts and entered the level of modeling analysis, and the mature concept of calligraphy structure was truly established. The famous inscriptions handed down from generation to generation include Jiuchenggong Li Quanming, Huadu Temple Monument, Huangfu Birthday Monument and Wenyanbo Monument. Running script ink includes Zhang Hansi, Shang Bo, Dream Drink, etc. One hundred volumes of Literature and Art Collection. The Inscription of Liquan in Jiucheng Palace was written by Wei Zheng, which recorded the discovery of spring water by Emperor Taizong during his summer vacation in Jiucheng Palace. This monument was built in the sixth year of Zhenguan (632). Regular script has 24 lines and 49 words. The inscription on Liquan in Jiucheng Palace was written in the inscription of Yang Ti-ming. The monument is in Linyou, Shaanxi. This monument is square with a stroke of a pen, and you can also see it in the square. The arrangement of calligraphy and painting is compact and symmetrical, and the shelves are open and steady. Gump's Graphite Engraving called this monument "the first official book". The Shang Bo Post did not have any funds, but it was circulated as Ou Yangxun's book. Paper book, 25.6 cm long and 16.6 cm wide. Running script 6 lines, 53 words in total. It is now in the Palace Museum in Beijing. This post was originally circulated as a historical post, and later it was separated and dispersed, which is one of them. Calligraphy is tall and handsome, which is really the best in Ou Yangxun's calligraphy. Appreciation of Ou Yangxun's Calligraphy Works "Jiuchenggong Liquan Ming" Appreciation of Ou Yangxun's Calligraphy Works "Jiuchenggong Liquan Ming" was carved by Song Ming and Tang Dynasty in Ou Yangxun. The rubbings are half-opened, with a vertical width of 209cm and a horizontal width of 13.9cm. 1956 Zhang Mingshan donated the Cultural Relics Bureau of the Ministry of Culture to the Palace Museum. In June of the sixth year of Zhenguan (632), he stood in Jiucheng Palace in Linyou (now northeast of Baoji, Shaanxi). Today, the stone still exists, but it has been scraped away too much and is not what it used to be. Ou Yangxun is a 76-year-old book, and he carved stones in 632 years of Zhenguan. Calligraphy is elegant, vigorous and straight, which not only has the charm of Jin people, but also creates a new look of Tang people. It is the pinnacle of regular script for more than 1000 years. This volume is Ma Xu Li Qi Ben by Song Tuoming, which is the best one in existence. It was once collected by Gao Shiqi and Zhao Huaiyu. Gao was re-boarded in the early Qing Dynasty. And then owned by Zhang Mingshan. The Inscription of Liquan in Jiucheng Palace was written by Ou Yangxun in his later years, which is magnificent and meaningful. I often write with a round pen, which looks smooth and smooth. Write hooks with turning method, with long curve, which is suitable for whole word strong support. All these show the characteristics of dissolving Li with Kai, just as Guo Shangxian commented: "Li Quan is bright, rich in style and round in style, which was brewed by Li in Han Dynasty and Kai in Wei and Jin Dynasties. "Therefore, for thousands of years, this monument has become a model for people to learn regular script. Ou Yangxun's Appreciation of Calligraphy Hans Zhang Tie, also called Ying Ji Post, is a book by Ou Yangxun. Regular script, no money. Paper book, 25.2 cm long and 33 cm wide. This discount is kept in the Palace Museum in Beijing. On the back of the paper, there is a thin line of gold: "Lead the Prince to send a letter to Hans to affix it. The brushwork is steep, sharp and long-driven, and the wisdom and courage also avoid the front. Ji Lin wanted to send an envoy to ask for a book, and when he heard it, he sighed, "Asking for a book has spread far and wide. In his later years, he was vigorous in writing and had the wind of law enforcement. It is not a hollow reputation that the lonely peak rises and is cut on all sides. "The style of this post is basically the same as Ou Yangxun's regular script, and they all win by risks. The center of gravity of the word is on the left, and thousands of strokes are pressed to the right, so that the structure of each word forms a rebellious trend, and then the right force is used to turn the tide. It can be described as "seeking stability in danger is endless fun." Emperor Qianlong of the Qing Dynasty commented: "It is wonderful and more than enough to take advantage of the situation." Ou Yangxun's Calligraphy Appreciation "Hans Zhang Tie" Ou Yangxun's calligraphy appreciation post and post, also known as reading post, are Ouyang Shicun's ink, paper book, 25.2 cm high, 65,438+06.5 cm horizontal, six lines of running script, a total of 53 words. There is a seal of Xuanhe Neifu, on which there is a thin gold word: "In my later years, I was vigorous in writing and had the wind of law enforcement. I rose from the lonely peak and was cut on all sides, which lived up to my reputation." Some people think it was written by Song Huizong Evonne. This discount is kept in the Palace Museum in Beijing. The Shang Bo Post is full of color, vitality and sharp writing. The thinness and elegance in his regular script are transformed into sharp marks here, as if the square brushwork in northern calligraphy is still there. However, the pen and ink are fresh, the brushwork is full and plump, and the style of writing is simple and graceful, which is very different from that of Wang Xizhi or Wang Xianzhi, who was popular at that time. As the A Qing poet Wu Sheng wrote in the postscript of Daguanlu: "The brushwork is vigorous, and the pen and ink are fresh and moist." Ou Yangxun's Calligraphy Appreciates Shang Bo's Body and Ou Yangxun's Calligraphy Appreciates Meng Diantie, whose full name is Zhong Ni Meng Diantie. There is no money, but it is circulated in an orderly manner. It was once collected in the inner government of the Southern Song Dynasty, and there were two seals of Zhu Wen's "Imperial Book" and Zhu Wen's "Shao" and "Xing". Later, it passed through Jia Sidao in the Southern Song Dynasty. Guo Tianxi said in the postscript: "This is a bold and dangerous calendar, as dense as the halberd of the armory. He has turned back and won the ethos of two kings. His trip to Europe is also the first book. " Appreciate Ou Yangxun's calligraphy works, and appreciate Ou Yangxun's works-the thousand-character running script is a leading figure in the early Tang Dynasty (with Yu Shinan, Chu Suiliang and Xue Qi) or regular script (with Yan Zhenqing, Liu Gongquan and Yuan Zhao Mengfu in the Tang Dynasty). His calligrapher learned from the North Monument, from Wang (Xi annals, county annals) and participated in etiquette and righteousness. His situation is handsome and his attitude is precise. He saw danger in central Pingping, and he had his own face. He is called "European style" in the world. His masterpiece, the inscription of the ritual spring in Jiuchenggong, is even more exquisite, peaceful and dangerous, and cannot be increased or decreased, which has become an insurmountable peak in the history of regular script. In Ou Yangxun's view, everything should be elegant and solemn, and all changes should fully, solidly and completely conform to the written law, and tend to be perfect. Therefore, even if he is bold and unrestrained occasionally, like his "cursive thousand words", he still maintains a statute of no more than one millimeter, not to mention this volume of "running thousand words". Thousand-character writing is very rational, paying attention to primary and secondary, interspersed with avoidance everywhere. The wrist pen is solemn, solemn and compact, and Gao Hua is more muddy but slightly inferior in posture, not as good as his "ups and downs" in the running script dream post, and he is proud again. This is necessary. Appreciation of Ou Yangxun's Works Ou Yangxun —— The artistic achievement of Ou Yangxun's running script Yu Shinan said that he "can get what he wants without choosing a pen and paper". Besides, he can write a good official script. In the fifth year of Zhenguan, the tablet of Xuzhou Cishifang was his official script. His calligraphy, with official script as the most. Examining its pen, it is both round and powerful. "Surprised in the grass, sending between clouds. Another example is King Kong glaring and Lux punching. " Among them, strokes such as vertical hook are still official strokes. The inscription he wrote on the Buddhist stupa of Huadu Temple, the inscription on the grandfather Wen Yanbo and the inscription on Huangfu's birthday are called "the first regular script in the Tang Dynasty". His regular script has a very serious procedure, both in pen and structure, which is most convenient for beginners. The Thirty-six Methods of Ouyang's Structure, which was circulated by later generations, is a structure writing method summarized from his regular script. His regular script "Zhang Hansi's Lu Tie" is long and vigorous. Ink handed down from generation to generation is especially precious. Ou Yangxun's son Ouyang Tong has a family of calligraphers. Both father and son are very famous in the book world and are called "Ouyang". Xiao Ouyang's "Taoist Monument" has a stronger sense of propriety, but it is too revealing and implicit. Ou Yangxun's calligraphy was famous in the world as early as the Sui Dynasty, and spread abroad. When I entered the Tang Dynasty, people and books were old and perfect. However, Ou Yangxun himself was not satisfied with his achievements, and he continued to learn and improve. On one occasion, when Ou Yangxun was traveling, he saw an inscription on Cao Zhang written by Suo Jing, a calligrapher in the Western Jin Dynasty. After reading it several times, he thought it was average. But on second thought, since Suo Jing is a generation of calligraphers, his books will also have their own characteristics. Why not let me get to the bottom of it? So I stood in front of the monument and looked at it several times, only to find the profound and wonderful place. Ou Yangxun sat down beside the stone tablet and groped for three days and nights. Ou Yangxun finally realized the spirit of Suo Jing's calligraphy pen, so calligraphy became more perfect.
Reference address:/article/5970355235 ecca8fc1074055.html.