It used to say, "by those who learn to start, few have the essence." countless book-wreckers have been trained for three or five years, some have spent their whole lives on fur, and few have reached the height of enlightenment. It is not a lack of talent; it is a call to action that hides the “ceilings” that are beyond the reach of four regular people, from technique to learning, and from experience to heart, each level requires a lifetime of sedimentation。
I. Tactical ceiling: skinny line of “bones”, a child's work
The lines of calligraphy, which appear to be simple and simple, hide the bone power of the "stinking iron" that is the most difficult to imitate by ordinary bookmates. His writings, taken together in the early years of his life, were written at the age of six, and for decades, he had been plowed with a thousand hammers。
His lines are thin, unscathed, unscathed, pens run through, and the writings are very strong, so round and flexible as a “cracking stock” and do not float at all. Many of the book pals are beginning to mimic the “skinny” of the line, but they can't practice the “bones” of the line, either rigid or soft. Because of this bone power, which is not learned at first sight, from childhood to old age, the accumulation of pen ink day after day is a great control over the strength, speed and ink, and is a “touch-in-the-touch” kung fu, which is difficult for ordinary booksellers to learn at the end。
Learning about the ceiling: calligraphy is a “remains” and intellectuals are the soul
It is above all a master of national science, an antiquities expert, a classical scribe, whose calligraphy is only his “residual”. He specializes in literature, history, aesthetics, and studies on the history of calligraphy, the flow of tablets and the evolution of texts throughout his academic career. His golden stylist, not by the technique of emptiness, but by his academic summation of the chinese-word structure; his idea of “seeing the pen through the blade” is to decipher the depth of the inscription。
His calligraphy contains an understanding of classical culture, and every writing, every rag, has an academic basis, and the writing is full of books. Most of the ordinary booksellers, who focus only on pen ink techniques, lack a deep national foundation, imitate only words, but are unable to understand the cultural logic behind the pen ink, not to write the elegance and perforation of the language. As the altar says: “the word of the work is the word of the scholar, and those who have no knowledge are the words of the masters.”
Iii. Review of the ceiling: 100 years of life sank and years of life hidden in pens
It has been a hundred years since the beginning of its existence, from the qing clan's descendants to the dead, from the teaching of books to the teaching of a generation of genres, from suffering and glory, and from the depth of the history of life, which is difficult to compare. His calligraphy style has changed with the stage of his life: the early years are disciplined, the middle years are bright, the old years are old, the old days are old, the old days are old, the old days are empty。
In the late years, the prayer fades away from the desire to work, the writing is loose, the writing is wide open, and the writing is hidden in the ink of peace and peace after the past. This “old-booked” dimension is a gift of years, a deposit of suffering and glory, not acquired through hard work. It is not natural to write about the beauty and weight of the pens of the late years of life when ordinary bookspersons have limited experience in their lives, or are young, or have a shallow experience, and have no knowledge of the end of a century。
Iv. The context of the context of the minority: pure, and supreme of calligraphy
As president of the association and president of the west indies, he has never been a master, humbled and left behind, and he has always had a “pure love” for the doctrine. He does not write for showmanship, nor for fame, but only for the sake of vindictiveness, a sense of record, a lack of utilitarianness, a lack of impatience and a clean, pure and peaceful balance。
And now, many of our bookies, either for the sake of fame or for the sake of merit, are eager to achieve it, to create a flaunting technique, and the pen is filled with impatience and utilitarianness. It's different. It's a natural difference. The calligraphy of working is an example of a “right-of-the-heart” — a parochial state of mind, a post-life practice, a spiritual high beyond the reach of all. That is why so many people are dying, but they are still unable to write the clean and pure part of the pen。
Concluding remarks
The height of calligraphy has never been a single skill, but rather a combination of skill, knowledge, experience and four dimensions of heart. It is the word of the scholar, the word of the old, the word of the pure, and every layer needs to be refined for life. For a bookmate, learning to learn does not have to go beyond it. It is learning to learn ink, to learn how to govern, to learn what is in his heart and mind, to settle himself in the air。
