Analysis of Ouzhaoji Characters - Character Book

Author: Chief Editor: Datong
Publisher:
Publish Date: 1999-02-01
Features: Preface: Editor's Note: Chief Editor's Words: At the entrance of any traditional art hall, the words "Hard Work" are always engraved. Calligraphy is no exception. However, looking around, many learners of calligraphy, who are deeply attracted to its exquisite artistry, often find it difficult to take the first step. This phenomenon is indeed not uncommon. Is it because their practice is insufficient? Is calligraphy too lofty to reach? Whether it is yes or no, it remains unclear. Indeed, the advancement and maturity of calligraphy are built upon extensive copying and creation. For modern people to imitate the stillness of the past and to interpret the spirit of the ancients with their own intent, time must be allowed for refinement—there is no other way. However, helping learners of calligraphy build confidence in progressing step by step should also follow a clear path. This is the dialectics of calligraphy. In a sense, we inherit from the ancients. The method of collecting characters used in this calligraphy book has given the cold inscriptions a lively appearance. After extensive classroom practice, we found that this scroll format, which preserves the original style while maintaining a unique character, truly resonates with learners of calligraphy. The strength of Yan, the bones of Liu, the precision of Ou, and the smoothness of Zhao are no longer empty symbols. It should be noted that there are many differing opinions on how to start learning calligraphy in recent years. We believe that starting with regular script is the best choice, with Yan, Liu, Ou, and Zhao as the most efficient routes. This has been proven by the footsteps of countless successful learners. This series of calligraphy books is a collection of years of teaching research and practice by several calligraphy teachers. Renowned calligraphy educator and Deputy Chairman of the China Calligraphy Education Research Association, Mr. He Wei, has provided detailed evaluations and analyses for each character in the series, clarifying the key points, difficulties, brushwork, and structure. For a beginner, what could be more fortunate than receiving guidance from a master teacher? In the history of calligraphy, many disputes over brushwork and inscriptions have originated from the debate over stele and script collections. The introduction to Tang regular script has also been criticized for being mostly based on stele styles. Here, I conclude with a seven-character poem, and I believe learners of calligraphy will understand its meaning. Since ancient times, it has been difficult to use all the classics, but the spirit is passed through the skill of the knife and the brush. Do not blame Zhi Yong for sitting in his tower—let the years of ups and downs refine your art. Early summer of 1998