Learning Calligraphy: Shen Yinmo on Calligraphy

Author: Shen Yinmo
Publisher:
Publish Date: 2006-08-01
Features: Mr. Shen Yinmo was a renowned calligrapher and poet in China, skilled in regular, running, and cursive scripts, particularly excelling in running script. He admired the calligraphic art of the Wang Xizhi and Wang Xianzhi of the Jin Dynasty and extensively collected the strengths of famous calligraphers from various dynasties, thereby establishing a unique and elegant personal style. Mr. Shen was adept at brushwork, offering profound insights into brushstroke dynamics and techniques. His advocated theories and calligraphic art had a significant impact on the modern calligraphy community. This book compiles practical and helpful excerpts of Mr. Shen's writings on calligraphy, which were originally scattered across different publications or published as standalone books during the 1950s and 1960s. It is supplemented with selected works of Mr. Shen's calligraphy and images of famous works mentioned in his texts, aiming to provide readers with a deeper understanding of his thoughts. To promote Mr. Shen Yinmo's calligraphic philosophy and benefit more calligraphy enthusiasts, his writings on calligraphy have been recompiled and published. To help readers better understand Mr. Shen Yinmo's calligraphic philosophy, this book includes selected works of Mr. Shen Yinmo's calligraphy, as well as images of works by mentioned in the text, as supplementary content. Mr. Shen Yinmo was a renowned calligrapher and poet in China, skilled in regular, running, and cursive scripts, particularly excelling in running script. He admired the calligraphic art of the Wang Xizhi and Wang Xianzhi of the Jin Dynasty and extensively collected the strengths of famous calligraphers from various dynasties, thereby establishing a unique and elegant personal style. Mr. Shen was adept at brushwork, offering profound insights into brushstroke dynamics and techniques. His advocated theories and calligraphic art had a significant impact on the modern calligraphy community. This book compiles practical and helpful excerpts of Mr. Shen's writings on calligraphy, which were originally scattered across different publications or published as standalone books during the 1950s and 1960s. It is supplemented with selected works of Mr. Shen Yinmo's calligraphy and images of famous works mentioned in his texts, aiming to provide readers with a deeper understanding of his thoughts. To promote Mr. Shen Yinmo's calligraphic philosophy and benefit more calligraphy enthusiasts, his writings on calligraphy have been recompiled and published. To help readers better understand Mr. Shen Yinmo's calligraphic philosophy, this book includes selected works of Mr. Shen Yinmo's calligraphy, as well as images of works by mentioned in the text, as supplementary content.
One must first begin by imitating, which is an unalterable starting method. However, I do not advocate tracing over thin or oil paper with a copy, nor do I recommend writing with nine-grid paper. Why? Because the method of imitation is merely to help beginners compare with the copy and have something to rely on, so as not to be at a loss. But one must not forget the most important thing—developing personal creativity. If one merely relies on tracing, it will hinder the free development of one's own expressive ability. Writing with nine-grid paper out of habit will also make one feel uneasy when facing a blank sheet of paper, resulting in disorganized writing.
It is best to first examine the copy you intend to imitate carefully, looking at every stroke and stroke multiple times, and then begin writing from it. At first, focus only on the beginning and end of each stroke, feeling the experience of each stroke, and once there is some resemblance, pay attention to their arrangement. In the early stages, it will naturally be difficult, and it will not be easy to reap the benefits of the copy. However, after a considerable period of "heart and hand following," combining mental and physical effort, one will gradually approach the copy. After some time, one will unconsciously integrate the brushstroke dynamics and intentions of ancient calligraphers with one's own mental and physical movements, even when writing independently without the copy, there will be some similarities. This is because one has learned to apply its brushstroke dynamics and intentions flexibly. Only when this is achieved can one consider it a certain achievement.
Mi Yuanzhang believed, "Carved inscriptions cannot be learned; one must view the original to appreciate the charm." Once a character has been carved, it inevitably deviates slightly, and the starting point of the stroke is easily damaged by the carver, making it difficult to see how it was originally written. The starting point of the stroke is the most crucial part—it is the "needle passing through the needle" point. If this part is unclear, learners will waste much effort in guessing. However, except for carved inscriptions, there are no ink traces of from the Wei, Jin, and Southern and Northern Dynasties periods remaining in the world. Only written Buddhist scriptures are ink traces, and they are all in small regular script. Tang Dynasty calligraphers' ink traces of include Cui Suiliang's large-character 《Yinfu Jing》 and 《Brother Kuan Zan》, Yan Zhenqing's 《Self-Inscribed Announcement》, and Xu Hao's 《Zhu Juchuan Announcement》P34