Tian Yingzhang Calligraphy Tutorial Regular Script Strokes and Components Techniques

Author: Tian Yingzhang
Publisher:
Publish Date: 2002-05-01
Features: The easiest way to learn the spatial structure of Chinese characters is to first practice the radical components. Since any Chinese character is composed of radicals, as long as you master the writing methods and key points of the radicals, the spatial structure issue becomes easier to solve. At the same time, the practice of radicals must be combined with the overall character to ensure that the same radical is treated differently in various characters. It should be noted:
1. Whether it’s basic strokes, radicals, spatial structure, or overall layout, in addition to practicing a lot, one must also observe, which is what we commonly call "reading the calligraphy." The "calligraphy works" should not only be studied through copying but also through close observation, so that one can memorize their brushwork, structure, and posture silently. This should be a necessary discipline and essential process for calligraphy learners. We do not advocate the creation of calligraphy without basic skills or advocate shallow and ignorant so-called "innovations" or self-proclaimed "schools."
2. On the premise of ensuring correct brushwork and a dignified, steady manner, it is essential to improve the speed of writing. Of course, writing too quickly may result in a floaty and slippery style, but writing too slowly or too gradually may also become clumsy and rigid, deviating from the practical purpose of calligraphy.
3. The model characters in this collection should not be written too large or too small when practicing, as the size of the character determines the thickness of the strokes, the form of the structure, and the brushwork. It must be understood that large characters are not simply enlargements of small characters, and small characters are not simple reductions of large characters.
4. In this tutorial, where (x study hours) is noted, it refers to the learning time in the classroom, not the self-study time after class. However, calligraphy practice cannot rely solely on classroom time. More and more effective practice should take place after class. These can be arranged by teachers or learners based on their actual conditions and progress. The principle is to advance without omission and to maintain both progress and quality.
5. From the perspective of calligraphy as a profession, the compiler has included some traditional full forms, variant forms, and written forms commonly used in calligraphy throughout history in this tutorial. This is done to enable learners to better, more accurately, and more comprehensively master the traditional calligraphy knowledge and techniques of Chinese characters, fully inheriting the calligraphy heritage of our nation. It is hoped that when calligraphy teachers from various units use this textbook to teach students, they will clarify that calligraphy textbooks are not for learning to read, nor is it necessary to follow the style of printed characters in computers or typewriters. In reality, it is an undeniable fact that those who can write full characters well can also write simplified characters well.