Regarding the issue of calligraphy, the reason for attaching importance to calligraphy

Four regular script masters: Yan (Zhenqing Liu (Gongquan) Ou (Yang Xun) Zhao (Zhao Mengfu) Ou Kai strokes: the pen is dangerous, the structure is unique, the backbone is strong, and the law is strict.

"Lanting Preface" is Wang Xizhi's! The original has been lost, and the current ones are imitations or rubbings.

"Two kings" refers to Wang Xizhi and his son (Wang Xianzhi)!

Lifting the seal? Is it rubbing? (hereinafter ** in the encyclopedia).

The rubbing is made by covering the surface of the inscription with wet paper and pressing it into each indentation with a rabbit quill brush. (Another method is to cover it with dry paper and apply a rice or flour paste before pressing.) When the paper is about to dry, cover it with a mat dipped in ink.

The paper is then removed from the stele. Since the black ink has not touched the indentation, the rubbings are white-on-black. (If the inscription is engraved in letterpress rather than intaglio, the black and white positions are reversed.)

This rubbing-making technique is evident at the same time, even if it does not predate the invention of printing in China. Many scholars argue that woodblock printing should be an evolution of engraving and impression technology; For printing, it is to carve a convex image in the opposite direction on the wooden board, then apply ink to the protrusion, and then cover it with paper, which is actually the reverse operation of the rubbing method.

The author of "Orchid Pavilion Preface" is Wang Xizhi.

Wang Xizhi: The words are either dignified and fresh or floating like floating clouds, and the representative work is "Orchid Pavilion Preface"!

Ouyang Xun: There is a difference between horizontal and vertical weight, and there is a three-dimensional effect!!

Lan Tingxu is Wang Xizhi's.

The two kings are Wang Xizhi and Wang Xianzhi.

1: Strong and powerful, the law is strict.

2: Ouyang Xun, Yan Zhenqing, Liu Gongquan, Chu Suiliang (the four great calligraphers of the early Tang Dynasty) 3: Wang Xizhi.

4: Wang Xizhi, Wang Xianzhi.

Comrades, the four regular scripts: Ou Yan Liu Zhao.

What's wrong?

Calligraphy is an elegant art, Chinese culture up and down for 5,000 years, inheritance and accumulation, which shows its charm!

As art, it does not exist independently, and culture gives it connotation. Calligraphy is not writing, she is full of emotion and has content. Throughout the ages, which calligrapher has not danced and inked, endowed poetry with affection, and sent affection to landscapes.

Learning calligraphy is a beautiful enjoyment. Not only does she bring visual effects, but she also resonates with the heart.

Learning calligraphy can improve the quality of the people; Writing calligraphy well can write the aesthetics of the Chinese nation. A history of calligraphy and a history of culture have been in decline and prosperity together, and have remained unchanged for thousands of years. The prosperity of calligraphy is the prosperity of the country and the prosperity of literature.

From ancient times to the present, the unique role of Chinese calligraphy in the preservation, dissemination and development of Chinese spiritual culture is irreplaceable. As far as Chinese culture and civilization are concerned, the study of Dacheng Academy still depends on the inheritance of the art of calligraphy to a certain extent.

From Wang Xizhi, Ouyang Xun, Zhang Xu, Huaisu to Su Shi and Huang Tingjian, each of these great calligraphers in Chinese history is also an excellent poet, writer, and scholar, with few exceptions. Whether it is the literary style in the "Self-Narrative Post" or the spiritual temperament in the "Orchid Pavilion Preface", in fact, it is not simply a matter of calligraphy skills and skills, but is closely related to the calligrapher's spiritual realm, cultural character, and life feelings. Therefore, the prosperity of calligraphy is linked to the prosperity of culture, calligraphy carries the creation of culture, and culture ensures the continuation of calligraphy, and the two complement each other.

As long as we attach importance to calligraphy, or those Chinese who value self-education and self-cultivation do not abandon calligraphy, there is hope for our civilization. Because the creative activity of calligraphy, even if it is an ordinary practice activity, actually means a kind of education, means a kind of elegant life in the humanistic sense. In the era of globalization, when lifestyles are becoming more and more homogeneous, calligraphy can easily allow us to return to our own national spirit, maintain our own spiritual personality, cultural pride and sense of value superiority, so that we will ensure that we have our own "Noah's Ark" in a materialized and commercialized ocean.

In ancient China, there were no professional calligraphers, only literati, and literati were often well-cultivated, they were widely involved in their lives, seeking up and down, literature, painting, history, philosophy, astronomy, geography, all proficient, and even both civil and military, able to govern the country. Dacheng Academy believes that we can seek help from ancient cultures, from China's great traditions. The spirit of life of the unity of heaven and man, the value ideal of the world for the public, and the gentlemanly demeanor of unremitting self-improvement still have the great effect of beautification and education, and the specific path and road exist in the ancient Chinese characters.

can make the writing look better, and then exercise patience, because patience is not good to practice calligraphy, a certain temperament is improved.

It's actually because of the difference in the hands of the book. What is written by the official and the private is actually the same object, but it has a different effect. In the process of practice, there is no doubt that Gu Li is very efficient than Xiao Seal, and it is not a problem in reading.

The writers of the Qin edict version were mostly lower-level officials, and the edict version was more about practicality, so the writing of the text was not very neat and strict. The official small seal is just a look, it is a rough reference, and the strict standard small seal is only used on important occasions. Therefore, it is conceivable that in fact, at that time, the imperial court may not have been as strict as we imagined.

Because some excellent calligraphy comes from the people, and has been circulated among the people, after the official discovery, it will be collected and sorted, and then the book will be published to carry it forward. Therefore, official calligraphy will be more subordinate than folk calligraphy.

The concept of "folk calligraphy" itself is relative. The purpose of any term is to make a certain problem clear, and if there is "more confusion" as a result, it is better to have more than less, and there is better than nothing. In many cases, calligraphy can only be understood and cannot be spoken, because it has a kind of wholeness, and it is important not to look at it mechanically and one-sidedly.

In particular, the definition of "folk calligraphy" needs to be clarified with the help of the opposition between classical calligraphy, official calligraphy, and famous calligraphy, but it has become extremely narrow. You know, whenever you add a prefix, there will always be a specific meaning, such as "modern calligraphy", "women's calligraphy", etc. "Folk calligraphy" can be used to express a certain phenomenon and exist as a specific category, but at present, there are more and more additional and cumbersome components, and when it comes to overinterpretation, it can even be said that it is becoming darker and darker, which is inevitably contrary to the original intention.

Official calligraphy generally refers to the mainstream elite calligraphers in society, as well as the "calligraphy system" that the government vigorously advocates and uses power to promote it, such as the Chunhua Pavilion Posts and the Sanxitang Scriptures.

The concept of folk calligraphy is a relative concept, there is no absolute folk calligraphy in the world, and there is no absolute official mainstream calligraphy, the two are relative.

Folk calligraphy is more casual, some folk calligraphy has a more common social influence, and it will also become official calligraphy, and some official calligraphy originates from the folk.

The classics have a height, and the foundation and source are always in the folk. The classics can be higher than the folk, but they cannot do without the folk. In the past, classical calligraphy was admired, which was mainly manifested in the legitimacy and systematization of brushwork.

It is undeniable that in the so-called "folk calligraphy", there are indeed some classics, or the resources that can contribute to the acquisition of classics.

The official calligraphy is decent, the folk calligraphy is very casual, and the writing is free and easy.

O his son. Two kings. Who do you say?

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1: Technique 2: Center 3: Knot Character Chapter Method Ink Method 4***5**6 Ouyang Xun.

Yan Zhenqing, like Wang Xizhi, is willful.