Mi Fu's "Shu Su Tie" Running Script Large Character Spectrum

Author: Lu Youzhu
Publisher:
Publish Date: 2004-05-01
Features: This book has the following editing characteristics: First, it is highly practical and meets the needs of beginners in calligraphy, with easy-to-use features. The authors who compiled this calligraphy character manual are all teachers who have long been engaged in calligraphy teaching. They are not only diligent calligraphers with successful creations but, more importantly, they have rich experience in teaching calligraphy. They can start from the practical aspects of calligraphy teaching, draw on the strengths of others, and provide targeted analysis and explanations that fit the actual learning process of students. This ensures precision and effectiveness, addressing problems directly and effectively. Their analysis is concise, straightforward, and easy to understand. They tell you where the difficulties in learning calligraphy lie and where details are easily overlooked, as well as how to overcome challenges and improve shortcomings. This focused approach will inspire and help beginners in calligraphy to gain insights and make progress.
Second, the book is arranged in a progressive and systematic manner, making it easy to learn and teach. For example, in the character manual of the Qinli Stele, the stroke techniques are taught starting with horizontal strokes, followed by vertical strokes. A horizontal and a vertical stroke together form the character "" (shí). Next, diagonal strokes are introduced, and adding a long diagonal stroke forms characters like "" (zài) or "" (zuǒ). The character "" (piàn) is based on the foundation of horizontal and vertical strokes, combined with a diagonal stroke. This step-by-step approach is logical and interconnected, moving from simple to complex. In practical learning, it starts with the easy and progresses to the difficult, making it especially suitable for beginners in calligraphy. Even kindergarteners would enjoy this progressive teaching method. The same principle is applied to the arrangement of other character manuals.
Third, the editing of this book combines vertical and horizontal elements organically, making the content more comprehensive. Most character manuals follow a single-line structure, focusing only on vertical arrangements—starting with stroke techniques, then moving to component structures, and finally discussing overall composition. However, in calligraphy teaching practice, we have found that many excellent calligraphy teachers combine stroke techniques and structural analysis. For instance, when teaching a basic stroke, they demonstrate its position in a character, its length, weight, and whether it should be straight or curved. This integrates vertical and horizontal elements organically, giving beginners a structural understanding even when they first encounter strokes. Since Chinese characters are an organic whole, stroke techniques and structure are closely related. In teaching, we often separate them for convenience, but in reality, they are inseparable. This is especially true in cursive and semi-cursive scripts. Zhao Mengfu once said, "The use of the brush is timeless, while the structure varies with the times." However, this is not entirely accurate. The use of the brush is not timeless, and the structure is not only time-dependent but also varies with changes in stroke techniques. Over the centuries, countless calligraphy works have displayed diverse styles and appearances, all rooted in the use of the brush. The brush techniques of Yan Zhenqing differ greatly from those of Emperor Zhenzong of Song, and are also distinct from those of Wang Duo and Zhang Ruili.
Therefore, combining stroke techniques and structural analysis aligns more closely with the essence of calligraphy art and the realities of calligraphy teaching. This can be seen as a new attempt and breakthrough in calligraphy education.
This series of Grand Calligraphy Character Manuals also has another feature: it analyzes and explains the typical characters from a single work by an ancient calligrapher. It provides both a stroke-by-stroke breakdown and an overall grasp of components, structure, and composition. The original calligraphy is enlarged and printed in relief for easy observation and appreciation. Each volume focuses on one work by a calligrapher, and when combined, the entire series forms a magnificent collection. It covers five major styles— Seal, Clerical, Regular, Cursive, and Semi-Cursive—creating a perfect combination. Readers can purchase the entire set to grasp the big picture, avoiding repetition and waste from buying individual volumes. Alternatively, they can buy single volumes as needed, using them independently, which is convenient for readers at different levels.
We also hope to gain the understanding and support of teachers, parents, and all calligraphy enthusiasts.