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As one of the "quintessence of Chinese culture", calligraphy has attracted many people to appreciate and practice. Compared with Peking Opera and martial arts, its threshold is relatively low. As long as you are willing to work hard, you can often reap certain results. Therefore, many people have devoted themselves to it. I wonder if you have ever encountered such a problem: you practice calligraphy every day, and you are very good at it, but you can't write it as soon as you take away the calligraphy.

This is a big problem, because if you can't "be able to enter and leave the post", then no matter how much you practice, it will be "an embroidered pillow" and it will be difficult to put it into practice. So, how can you leave the post and make the ancients' brushwork your own? The answer is two words, one is "remember" and the other is "think".

In other words, you should first remember the calligraphy you have copied, especially the details of the brush strokes, and be clear about them. Then, when you are creating, you should "think" about how the ancients wrote the strokes, how they formed the characters, and how they laid out the composition, and then write it out. If you can do these two things, it is like having a set of "calligraphy programs" and you will naturally be able to "write like a god."

Then, how should we "remember" and "think"? In the Ming Dynasty, Pan Zhicong explained in detail how to "remember" in "Shu Shu Li Gou": "Those who are good at learning calligraphy do not need to spend much paper and ink at first. Take the calligraphy of the ancients and look at it carefully. Close your eyes and think about it. If you have a word in your mind, then pick up the pen and follow it. After the word is completed, compare it with each other, and you will get two or three. After getting four or five, then write more to the best of your ability, and you will be close to the ancients."

That is to say, we don't need to pursue the number of copies blindly, but should first read the ancient calligraphy, observe carefully, and then write it down silently. After writing, compare it with the original. At the beginning, you may only be able to write two or three words, but as long as you stick to this method, you can remember more and more words, and finally you can get the essence of the ancients' use of the pen.

The role of "thinking" is to integrate the brushwork you have "remembered" and put it into practice. How should you "think"? Jiang Kui of the Southern Song Dynasty said in "Continuation of Book of Calligraphy": "I have read many famous ancient calligraphy works, and all of them are full of vitality, as if I can see the author's writing skills at the time."

This means that when Jiang Kui was appreciating ancient calligraphy, he saw the differences in the use of the brush and the rich movements, and he could not help but think of the state of the calligrapher's brushstrokes when he was creating. When we are copying calligraphy, we should also learn to restore in our minds how the author wrote this word, whether it was lifting or pressing, whether it was heavy or light, whether it was side or center, whether it was happy or sad, etc.

Therefore, if everyone can deepen the training of "remembering" and "thinking" when copying calligraphy, copying calligraphy will no longer be "half the result with twice the effort", and you will be able to handle even the most difficult works with ease.

What do you think about this? Feel free to leave a message in the comment section to discuss!