Chinese calligraphy is divided into hard pen and soft pen. A hard pen is a fountain pen calligraphy, and a soft pen is a calligraphy brush.
Hard-pen calligraphy is practical and beautiful. We recommend regular script: Tian Yingzhang, Lu Zhongnan, Gu Zhongan, and Qian Peiyun; running script: Gu Zhongan, Qian Peiyun, Wu Yusheng, Shen Genhong, and Gao Jiexi. The above are all the calligraphy of everyone. Their calligraphy is quite satisfactory and has the flavor of the times without losing the beauty of tradition. In today's hard-tipped calligraphy world, many copybook authors are commercially packaged. At first glance, they seem to have great names, but their handwriting is mediocre. You can check out the works of the authors recommended above on the Internet. They are definitely skill-based. And copybooks can basically be bought in general bookstores.
Chinese calligraphy and copybook selection are very important.
In terms of fonts, there are seal script, official script, cursive script, running script, and regular script, as well as what is commonly known as "Wei stele style", which actually refers to regular script with official meaning. You should start with Which style to learn? In terms of font shapes, there are large characters, medium characters, and small characters. Which size should I choose when practicing? As for style and genre, there are more. Is there any problem with this step by step? Are there any rules that are easy to learn? It should be said that there is. Any kind of learning must go through a process from easy to difficult, from shallow to deep, from simple to complex. This process is gradual. It conforms to the laws of people's thinking and the laws of mastering knowledge and skills, so it is also the scientific law of learning. The question is how to apply it to learning calligraphy. Let’s not talk about the step-by-step problem of mastering structure and calligraphy during writing. We only talk about the problem of fonts and glyphs.
In terms of fonts, some people advocate starting from official script or Wei stele, believing that learning official script and Wei stele is beneficial to training basic skills. Of course, it’s not a bad idea to start by studying Wei Bei, because it already belongs to the category of regular script. If you start practicing from official script, it is naturally possible to only master the official script style. But if you start from official script to master the basic skills of structure and calligraphy, which will become the basis for mastering each style, I think it is better to start from regular script and start from the current beginners. You see, most people start by learning regular script, which consists of five styles: seal script, official script, regular script, running script, and cursive script. The structure of regular script is exactly at the middle stage. It evolved from the official script. If the regular script is straight and slightly flat, the Jia Bo Teng brushwork is the official script. Making the regular script simple and fluid is called running script, and writing the running script in a simple and cursive form is called Jincao. If you start from official script, it will be difficult to master the writing techniques of regular script, because the writing techniques of regular script are richer and more complex than official script.
It can be seen that practicing the basic skills of regular script can serve as the basis for practicing various writing styles. Once you have a foundation in regular script and mastered the frame structure and brushwork of regular script, you can get twice the result with half the effort by writing Wei stele, official script, running script, cursive script, and even seal script. Regular script can also enrich and change the structure of Wei stele and official script, such as Zhu Suiliang's regular script; regular script can infiltrate human running script and cursive script to increase flexibility, such as some of Zhao Mengfu's regular script stele characters. Some beginners are eager to practice running script and cursive script. Because they do not have the basic skills of regular script, although they can write "flying like a dragon and the phoenix", they do not have the basic rules of fonts and the basic skills of dots and strokes. As a result, they get half the result with half the effort and take detours.
As for the font sizes of large, medium and small, which one is suitable for beginners? Generally speaking, it is better to start practicing with Chinese characters, that is, characters that are two inches square, such as Liu Gongquan's "Xuanmi Pagoda" and "Shence Army Stele". It is easy to see the effect when writing small characters for the first time, because the font size is small and the intervals between strokes are small, making it easy to grasp and control when writing. However, if you are used to writing small characters, when it comes to writing large characters, the distance between the strokes of the frame structure will be large, and it will be difficult to master and control the strokes when writing. It is likely that phenomena such as loose spacing or uneven closeness will occur. When writing characters that are two inches square, you have room to stretch when writing large characters, while writing small characters is easier to master.
There are many famous regular script writers with different styles. Some are rich and graceful; some are compact and steep; some lean sideways and graceful; some are tall and strong;... Beginners can choose according to their own personality and preferences, in a direction that is conducive to practicing basic skills and developing themselves in the future, or they can also consider which style is beneficial to practice based on work needs. Nowadays, many people practice calligraphy and often choose works from Ouyang Xun, Yan Zhenqing, Liu Gongquan, and Zhao Mengfu as models. In addition, the inscriptions written by Yu Shinan and Zhu Suiliang in the Tang Dynasty are often used as models for practicing basic skills. Naturally, you don’t have to stick to these schools to practice the basic skills of regular script for the first time. There are many well-written steles in the epitaphs, such as the "Longzang Temple Stele" and "Dong Meiren's Epitaph" from the Sui Dynasty. You can also practice it.
3. Characteristics of the four calligraphy styles of Yan, Liu, Ou, and Zhao
Yan, Liu, and Ou were all calligraphers of the Tang Dynasty. The Tang Dynasty was the heyday of regular script, and they were good at regular script. There are many families, and these three can be said to be the representatives of regular script in the Tang Dynasty. Although their styles are different and each has its own characteristics, their regular script is well-regulated and rigorous, making it suitable for beginners to receive basic training in structure and calligraphy. The calligraphy of Zhao Mengfu in the Yuan Dynasty pursued the brushwork of the Jin and Tang Dynasties. It has a tight structure and elegant style, and is also very popular among people. The structure and calligraphy characteristics of these four calligraphers are introduced as follows:
Ouyang Xun was a calligrapher in the early Tang Dynasty and was famous for his regular script. "Old Book of the Tang Dynasty" says, "When I first started to learn Wang Xizhi's calligraphy, he gradually changed his style, and his writing was powerful and vigorous. It was a masterpiece for a while. When people get his rulers and tablets, they may regard them as models." This shows that his calligraphy was used as a model in the Tang Dynasty. The structure of the European character is leaning on the side, that is, the stroke arrangement is to lift the right shoulder slightly upward, and the dots and strokes are very close and dangerous.
The so-called strange dangers are that the dots and dashes are horizontal and vertical, diagonal, long, short and thick, and the changes between virtual and real are clever and just right. A slight change will destroy its integrity. The brushwork is mainly square, with sudden twists and turns, sharp edges and corners, and strong strokes. It forms a sinister style with tight structure, strong brushwork and solemnity. This is suitable for practicing basic skills. However, it is precisely because of his tight and sinister structure and brushwork that it is difficult to change this style. Among his regular script works, "Jiucheng Palace Liquan Ming" is the most famous. In addition, "Huadu Temple Stele", "Huangfu Yan Stele", and "Yu Gonggong Stele" can also be written on his own.
Yan Zhenqing was the most creative calligrapher in the Tang Dynasty. He left more than 20 regular script inscriptions, which shows his continuous exploration and change of his calligraphy style. The character Yan has a flat structure, looking at the person from the front, and the body is plump like a Shandong man sitting upright with his lapel folded. This is the characteristic of the front structure of the seal and official script. The strokes are symmetrical and even, light horizontally and heavy vertically. The two vertical strokes in the square frame are written in an arc shape, like two bows pointing outwards. The brushwork is mainly round, soft yet firm, so-called iron wrapped in cotton. The transitions and pauses are mainly made with round strokes that do not reveal the main point. The horizontal strokes are generally reversed and leveled out, and the main point is rarely revealed when the stroke is finished and paused. Forming a majestic and majestic style. When learning Yan characters, firstly, be careful not to write loosely in structure; secondly, be careful not to just focus on the richness of dots and strokes, but strive to express the inner strength of the strong muscles. Many of his inscriptions have survived, including the early "Duobao Pagoda Stele", the later "Yan Qing Li Stele" and "Yan Family Temple Stele". The style of the former is not yet obvious, while the style of the latter two monuments has matured. There are also "Oriental Painting Praise Stele", "Baguanzhai Reward for Virtue", "Magu Immortal Altar", "Ode to Zhongxing", etc. Although the styles of each monument are slightly different, the overall style is consistent.
Liu Gongquan was a calligrapher in the late Tang Dynasty. His calligraphy was very famous at that time. The "Old Book of Tang" said that his calligraphy "The Vajra Sutra stele in Ximing Temple in Shangdu has Zhong (Yao), Wang (Xizhi), His calligraphy is "the style of Ou (Yang Xun), Yu (Shi Nan), and Lu (Cambodian)". He also said that his calligraphy "is charming in style and unique in its own way". It can be seen that his calligraphy was influenced by the Erwang Calligraphy School in the early days, and later became his own style. Song Jiangkui's "Xu Shu Pu" said: "The combination of Yan and Liu is different from that of the ancients, and the brush is used to restore one side, which is regarded as a change in calligraphy by the two calligraphers." This shows that the two schools of Yan and Liu combined and used brushwork different from the two schools in history, and carried out changes and innovations. Liu Shu has a slightly odd side structure than Yan Shu. The right shoulder of the strokes is upward, the left is tight and the right is relaxed, but it is not obvious, and it is generally balanced. The central part of the structure (referring to the center part of the strokes) is tight, the limbs are stretched out, and the dots and dashes up, down, left, and right extend outward, but the central part, which is the stable center of gravity that supports the characters, is extremely tight. The brushwork adopts a combination of square and circular strokes, with horizontal strokes going in and out horizontally, and when the stroke is finished, the strokes are paused and pressed down, giving the impression of a silkworm's head and a swallow's tail. The pen is thick and heavy, and the two vertical strokes in the square frame are slightly curved due to the influence of Yan characters. Except for some horizontal strokes and long strokes that are more slender, the other strokes are relatively well-proportioned.
Generally speaking, the character Liu is influenced by the character Yan, but it is not as thick and thick as the character Yan. It is stronger and straighter than the character Yan, giving people a close and strong aesthetic feeling, reflecting the so-called "willow bone" spirit. Liu Shu The strokes are powerful and vigorous, horizontally, vertically, hooking, skimming, and holding, and each has its own set of procedures for entering, turning, and closing the pen. There are more than ten kinds of his regular script stele inscriptions. The early ones include the "Diamond Sutra" which was unearthed in Dunhuang and spread to France. The representative works in the later period include "Mysterious Tower" and "Shencejun Stele". These inscriptions best reflect the characteristics of Liu Shu and are the best models for learning Liu Shu. The rubbings of other works are greatly damaged, making it inconvenient to study.
Zhao Mengfu was a great master of the Yuan Dynasty. Historically, it is said that he was the best in seal script, Fenli script, Zhen script, Xing script, and cursive script. Zhen Xing script was especially the best in the contemporary era, and Xiaokai script was the best among all books. Zhao Shu studied Zhao Gou in the beginning, Wang Xizhi and Wang Xianzhi in the middle school, and Li Beihai (Yong) in the later period. Basically, he is the school of calligraphy of the two kings. The body is horizontal, stable with left tension and right relaxation, the right shoulder is raised, the horizontal strokes are smooth in and out, and the end is paused. Sometimes it is a running calligraphy style. Square pens are mostly used. The angles are obvious. The strokes are of equal weight. Generally, the strokes are thick and heavy. , The brushwork is skillful and elegant, with a sense of elegance and charm. People who learn the character Zhao are likely to like him because he has a beautiful body but weak bones. He has many regular script works, such as "The Monument of Emperor Shi Danba", "The Record of Three Gates" (ink version), "The Record of the God of Fortune", "The Monument of Zen Master Hu Qiulong" and so on.
In addition, it must be noted that beginners mainly practice regular script, but there is no end to learning. How can we master the basic skills before learning other styles? Of course this cannot be absolute. If you have already mastered the basic calligraphy skills of Xue Jia Yi, you can start practicing handwriting at the same time. You can practice other styles at the same time. This can be based on your personal preferences and actual needs, such as running script, official script, and Wei stele. It is highly practical and can be used for bookmarks, headers, etc. Plaques, couplets, etc. It’s just that cursive script and seal script are currently mainly used for viewing. Because these two calligraphy styles do not add explanations, it is difficult for ordinary people to recognize them.
4. Other inscriptions on stele and calligraphy for practice practice
Generally speaking, all kinds of calligraphy inscriptions can be used as a reference for practice, but for beginners, they should choose the ones that are suitable for practice. Works with basic skills and distinctive styles are good as practice models. There are many inscriptions on inscriptions in various calligraphy styles and styles. Here are some of them for reference.
In addition to the above-mentioned regular script stele inscriptions, there are also "Yique Buddhist Niche Stele" by Zhu Suiliang of the Tang Dynasty, "Confucius Temple Stele" by Yu Shinan, and others such as "Wang Jushi Brick Pagoda Inscription" and "Master Meng Stele" , "The Monument of Zen Master Tang Guifeng", "The Drunken Old Pavilion", "The Fengle Pavilion" and "The Diamond Sutra" by Su Shi of the Song Dynasty, Huang Tingjian's "Songfeng Pavilion Poems", "The Monument of the Temple of the Lord of Shu", etc.
The small regular script has the sutra writing style of the Wei and Jin Dynasties, Wang Xizhi's "Huang Ting Jing", "Le Yi Lun", "Cao E Stele", Wang Xianzhi's "Thirteen Lines of Luo Shen Fu", and the Tang Dynasty's "Ling Fei Jing" , "Law of Shanjian", "Huang Ting Jing" by Chu Suiliang, "Xianyu Epitaph" by Zhao Mengfu in the Yuan Dynasty, "Fu on the Goddess of Luo" by Zhu Yunming in the Ming Dynasty, "Thousand Character Essay" by Wen Zhengming, etc., can all be used as models for learning small regular script. .
There are more running script stele inscriptions, such as Wang Xizhi's "Lanting Preface", "Tang Huairen's Collection of Wang Zishengjiao Preface", Yan Zhenqing's "Manuscripts for Nephew", "Comments for Fighting for Seats", and "Manuscripts for Memorials to Uncle" , Li Beihai's "Stele of General Yunhui", "Stele of Fahua Temple", "Stele of Lushan Temple", "Chive Flower Tie" by Yang Ningshi, as well as Su Shi, Huang Tingjian, Mi Fu, Cai Xiang, Zhao Mengfu, Dong Qichang and Zhu Yunming Waiting calligraphy post.
The cursive calligraphy includes Suo Jing's "Yue Yi Tie", Ming Song Ke's "Ji Jiu Zhang", Deng Wenyuan's "Ji Jiu Zhang", etc. Today's texts include Wang Xizhi's "Seventeen Posts", Zhiyong Zhencao's "Thousand Character Essays", Sun Guoting's "Book Book", Zhang Xu's "Four Posts on Ancient Poems", Huai Su's "Autobiography", "Eating Fish" "Tie", "Thousand Character Essay", and calligraphy by calligraphers of Song, Yuan, Ming and Qing dynasties.
There are many official script stele inscriptions, among which the famous ones include "The Ritual Vessel Stele", "Shi Chen's Front and Back Stele", "Hengfang Stele", "Huashan Stele", "Cao Quan Stele" and "Zhang Qian Stele" , "Confucius Temple Stele", "Xianyuhuang Stele", "Yin Temple Stele", as well as selected editions of bamboo slips and wooden tablets unearthed from various places.
Wei stele inscriptions, such as the "Twenty Products of Longmen", "The Up and Down Stele of Zheng Wengong", "Zhongyue Songshan Temple Stele", "Diao Zun's Epitaph", "Zhang Menglong Stele" and "Gaozhen Stele" from the Northern Dynasty ", "Zhang Heinv's Epitaph", "Huashan Monument", "Ode to the Stone Gate", etc. Examples from the Southern Dynasties include the "Cuanlong Yan Stele", "Xiao Rong and his wife's Epitaph", "痗 Crane Inscription", "Cuan Baozi Stele", etc.
Seal script calligraphy, large seal scripts such as various inscriptions on bells and tripods, stone drum inscriptions, small seal scripts such as "Taishan Carving Stone", "Langyatai Stone Carving", Han steles such as "Yuan An Stele" and the forehead of Han steles, "Heavenly Law" "God's Prophecy Stele", "Guoshan Stele", as well as seal script calligraphy by Li Yangbing in the Tang Dynasty and Deng Shiru in the Qing Dynasty, etc.
The above are only a few of the popular inscriptions in various styles.