I would like to ask about the paper used for hard pen calligraphy, and some norms of writing

(1) Calligraphy tradition and hard pen calligraphy innovation

Calligraphy tradition is an open concept, broad and vague. In the past, the calligraphy tradition, that is, the "two kings", Yan Liu, Ou Zhao, the Yong character eight methods, or "Lanting Preface", "nephews manuscript", "Zhangqian monument" and other writers calligraphy. In fact, the traditional content of calligraphy is vast and profound, the scope is wide and boundless, and the dimensions are rich and colorful. In terms of calligraphic styles, the oracle bone script, the big seal script, the small seal script, the official script, the regular script, the running script, the cursive script, as well as the countless calligraphic styles derived and evolved therefrom, all belong to the scope of the tradition. From the viewpoint of calligraphers, all the famous and unknown calligraphers of all times, all the influential and non-influential calligraphers of today, all the professional and non-professional brush calligraphers around, are the inheritors and embodiments of the tradition. From the technical point of view, all kinds of brush strokes, ink strokes and chapter strokes that have been explored and formed over the years belong to the traditional level. From the theoretical point of view, ancient and modern scholars and scholars left behind the calligraphy monographs, book theory articles are also the traditional scope of calligraphy.

Tradition is the true source of artistic innovation. The history of art development in ancient and modern China and abroad has proved this basic law. Italy's "Renaissance", from the ancient Greek and Roman art to find the source. In the Qing Dynasty, Kang Youwei, Wu Changshuo, Yu Youren and other great masters found their own calligraphic art language from the traditional calligraphy, and became unique masters. Before the Qing Dynasty, the great calligraphers were no different: Wang Xizhi, after following Mrs. Wei's calligraphy for many years, traveled to the famous mountains and rivers and watched countless famous steles before he realized the new style; Mi Fu, before the age of thirty, "set the ancient characters", visited all the steles and posters, and made his own style; Wang Duo, "one day to do posting, one day to make a book", always in the tradition of the calligraphy. Wang Duo "practiced posters one day and wrote one day", always looking for nutrients in the tradition. He Shaoji in the discussion of the calligraphy of Banqiao, there is a passage of calligraphy of this inheritance said very clearly: "Banqiao word imitation valley, between the orchids and bamboo mood, especially interesting. Shan Gu's calligraphy originated from Huai Su, Su Shi got the law from Zhang Chang Shi, and its marvelous exterior does not see the traces of starting and stopping."

Leaving the deep tradition, do not study, research and reference, want to carry out a "new calligraphy creation", in fact, is a fool's errand. Just like a foreigner who does not understand Chinese calligraphy, want to create a new calligraphy is unattainable. Today, we see a lot of hard-copy calligraphy enthusiasts, not properly from the traditional force, innovation, seeking strange and weird, is ultimately no water, no wood.

Traditional things are not always good. History has been eliminated a lot of book style, such as "ghost book", "fairy book", "bird book", "insect book "Ghost Book", "Immortal Book", "Bird Book", "Bug Book", "Dragon's Claw Book", "Tadpole Book" and so on, are the dregs of history. Today we learn from tradition with hard pen, must be abandoned. Can not be superstitious tradition, copy and paste, engage in simple "fetishism". For example, with a pen directly practicing the male strong and flexible Yan regular script is not very suitable; with a hard pen (such as bamboo pen and so on) writing huge list of impractical; with a pen on rice paper creation is not necessary to explore; with a pen writing knife and axe chiseling, the outer square of Wei, out of the practical value and so on. And should be based on the study of tradition, make full use of contemporary civilization to provide a variety of favorable conditions, to play their own subjective initiative, to create a new work of the times.

(2) The style of the times and the innovation of hard-copy calligraphy

"The style of the times" is the soul of the innovation of hard-copy calligraphy. The tide of the times drives everything to develop and change, and the art of calligraphy is no exception. Throughout the history of the development of Chinese calligraphy, every tiny change, all marked with the mark of the times. The development and evolution of Chinese calligraphy in terms of writing materials, writing forms, writing methods and artistic styles are directly or indirectly influenced by the level of development of productive forces, socio-economic structure and ideology in different eras and regions, as well as by the psychological and spiritual conditions of the nation. During the Yin and Shang dynasties, people created oracle bone inscriptions in divination and rituals; during the Warring States period, the seven warlords competed for the throne, and the seal scripts of the bells and tripods of various countries were different; the first emperor of Qin united the world, and caused Li Si to create a unified and standardized Small Seal Script; and the saying that "the Jin Dynasty was characterized by rhyme, the Tang Dynasty by method, the Song Dynasty by meaning, and the Yuan and Ming Dynasties by style" also illustrates that the different eras have had a far-reaching effect on the formation and development of the style of writing. The influence of different eras on the formation and development of the style of calligraphy is profound.

People are people in society. Different times and different societies have different effects on the creation of calligraphers. Because of this, every calligrapher in every era will have their own creative pursuit. We can take the techniques from the works of our predecessors, but we cannot directly take the mode of expressing our mind when creating. At the same time, the artistic spirit and style of our predecessors cannot be reproduced today. This is because the spirit and style are naturally formed under various complex conditions such as politics, economy, cultural upbringing and life experience in a specific historical period. With the development of history, the spirit of the art of calligraphy changes its connotation according to the times. Because of this, it is difficult to maintain the consistency of spirituality among different people in the current era. The purpose of learning calligraphy from the past is to learn from the experience, to be nurtured, and to improve one's knowledge, so that one can create one's own art by combining one's own temperament with one's own cultivation under the material and cultural living conditions of the current era. Lack of personal independence and profound education, even if you insist on practicing, you can only get the external form of the former calligraphy, but not its spiritual connotation.

Today, we are living in a new era of reform and opening up. The high degree of development of productive forces, the comprehensive progress of science and technology, the rich and colorful way of life and the active renewal of the concept of thought, the interpenetration of various arts, will have a far-reaching impact on the development and innovation of calligraphy. Hard pen calligraphy innovation, must grasp the era of high efficiency, fast pace, multi-form, big integration as the basic characteristics, to reflect the era of humanistic thinking, aesthetic interests, values for the spirit of the style, supplemented by the calligrapher's own learning, style, state of mind, in order to create a reflective of the times, reflecting the times, with the individuality of the hard pen calligraphy works of art.