Calligraphy is a beautiful art, which can not only make people's calligraphy more and more beautiful, but also cultivate people's mood and make us study in a calm environment. But in today's society, many people have gradually lost interest in calligraphy, and feel that calligraphy is too old-fashioned and outdated. Calligraphy is a 5,000-year history of China, a tradition of China, a pride of China and a symbol of China. Since we are descendants of China, it is necessary for us to learn this art well. But how can we learn calligraphy well? I believe many people will have such questions in their hearts. In fact, it is not difficult to learn calligraphy well. What you care about most is your interest, attitude and method in calligraphy. In the journey of life, everything you do needs to be faced with a good attitude and correct methods, and of course learning calligraphy is no exception! First of all, I think in our spare time, we should not only increase our extracurricular knowledge of Chinese, mathematics and English, but also learn more calligraphy. Especially the stories of calligraphers, while reading, we should accumulate the know-how of writing and learn from the perseverance of calligraphers. I believe you will benefit a lot after reading it. In addition, we should use more spare time to read some calligraphy books and calligraphy works to cultivate aesthetics. What kind of words look good and how to write them well? The stroke spacing of a word should be uniform. In the same big box, the stroke spacing of words with many strokes is definitely smaller than that of strokes. There is only one way to achieve uniformity, that is, to write smaller words with fewer strokes. As can be seen from the calligraphy works of famous artists, no two of his words are the same size. Characters with many strokes look good when written, so calligraphers like to write traditional Chinese characters. The most important thing to learn calligraphy is to cultivate interest in calligraphy. If you have no interest in calligraphy, what's the point of practicing calligraphy? If you want to improve your interest in calligraphy, you should take part in more meaningful calligraphy activities ... while cultivating your interest in calligraphy, you should also pay attention to whether you have a correct attitude towards calligraphy. If your attitude is not correct, will the written words improve and look good? So please treat calligraphy with a correct attitude. Calligraphy, the soul of China's history, will be passed down forever in the future. Students, let's learn this art well together! We should firmly believe that calligraphy is the pride of China people. It will never be out of date, and it will welcome our new generation of successors with a brand-new look. On the correct writing posture and brush in calligraphy teaching, the core content is nothing more than writing posture and writing, writing method and font structure. It is very important to master writing style and structure, and writing posture and writing style should also be the foundation. Although it can't be said that students' poor handwriting practice is completely attributed to the wrong sitting posture and wrong writing, we ignore this important link of students' writing. It is always incomplete. Judging from the current basic teaching of calligraphy, the correct sitting posture and writing with a pen are often ignored or unsatisfactory in the teaching process. For dignified sitting posture and correct writing, we need to start from at least three aspects: first, correct writing posture is undoubtedly beneficial to the health of growing teenagers' bones and eyesight; Second, whether the sitting posture of writing is correct is closely related to the correct use of brushwork. Thirdly, the graceful posture of writing is also an integral part of the beauty of calligraphy. According to the author's observation, it is rare for students to sit a foot away from their desks and beat their chests, no matter from school calligraphy classes, calligraphy classes or calligraphy competitions. You know, beautiful handwriting, beautiful pen holding and sitting posture all give people the same beautiful enjoyment. On the contrary, watching some students write is not only not beautiful, but also like suffering. So, what are the main reasons for students' writing posture and writing situation at present? There is no doubt that it is directly related to the coach. Because students are students, how to teach is bound to produce how to learn, how to accept and how to behave. From the macro perspective of calligraphy education in China, there are few specialized bookstores and schools, and the sources of calligraphy teachers are varied and mixed. Even a large number of basic calligraphy books and calligraphy textbooks have misunderstandings in writing. This incorrect posture and writing should be a long-standing spontaneous folk tradition (including incorrect writing, of course). Therefore, in the process of implementing the operation, students are bound to be at a loss about their own strokes. Ambiguous brushstrokes and tight hands make students' attention in a state of high tension. Because of nervousness, students' fingers, palms, wrists, elbows, shoulders, back and even muscles are bound to jump tightly. The head is very close to the paper, thus forming a vicious circle. The worse you write, the more nervous you are. At this time, most students are not writing, but drawing characters. They don't write one word at a time, but draw a stroke many times. Over time, habit becomes nature. Obviously, this runs counter to the "rules" of formal traditional calligraphy. According to the scientific and traditional writing posture theory, it is generally necessary to achieve: "feet are safe, full, head is straight, body is straight, armpits are empty, arms are open, elbows are raised"; The basic essentials of "pointing to reality, palm deficiency, palm vertical and wrist flat" seem to be that you can find all relevant books when you open them, but it is another matter to really understand their connotation. We might as well interpret the basic essentials listed above one by one, and it is not difficult to get some corresponding enlightenment: First, the safety of feet. If the writer is compared to a tree, "the safety of feet" is equivalent to the firm roots of the tree. The firmness of roots is the solid foundation of trunk. If students put their feet at will when writing, it is difficult to ensure the standard of body essentials. A Qing dynasty's person bag said: "Give full play to all your energy to the extreme, and settle your feet first." "Hold your breath" is the command of mental attitude, and "enough safety" is its premise. Second, fullness, and so on. If students write barefoot, no incorrect posture can make the writer "full". "Plump" means, of course, that the upper waist is in a standing state, which immediately meets the requirements of "straight body". Third, the body is straight. If "keeping your temper" is the command of mental restraint, then "keeping your body straight" and "keeping your head straight" are the external manifestations of the spirit. Mrs. Wei, a calligrapher in the Jin Dynasty, said, "Writing, painting, waving, skimming, bending and folding must be conveyed by our own strength ..." If writing really needs our own strength, then the source of strength is the waist, which shows that standing upright has a deeper meaning. Fourth, the avatar is correct: the direct advantage of the avatar is that you can look directly at the words you wrote with a pen and the position you are facing. When the head is tilted, it will squint, which will cause incorrect writing structure due to parallax, making the head too low and bad for vision. Correct sitting posture will make the writer enter a state of relaxation, sinking and peace of breath, thus eliminating the obstacles of pen tension and achieving the purpose of standardizing writing posture. The writing method and posture are coordinated and interdependent. Without the correct writing method, it is incomplete to have the correct writing posture, not to mention the wrong writing posture will seriously restrict the writing posture. For example, writing requires "palm deficiency" in order to make your fingers and wrists flexible and your elbow and shoulder muscles relaxed when writing. All joints can go up and down together and swing freely. On the other hand, when the thumb is pressed down, the five fingers are tightened and the wrist is tilted, the arms, joints and muscles are bound to be in a state of tension under the chain action of the pen-lifting force, forming a conflict between sports forces. At this time, students often have hand tremors. In this case, we must never talk about "hanging elbows" again. Among the essentials of "pointing solid, palm empty, palm straight, wrist flat, elbow up", "pointing solid" is generally understood as hard grasping, which is easily understood as thumb internal pressure. Just for the simple action of thumb internal pressure and thumb joint protruding outward, just like a machine switch, pressing up and down will get two results. If you press it, it's true, and the protrusion is empty. Reality will die, and emptiness will be soft. The intuitive understanding of palm vertical is that the palm is tilted upward. In fact, this is a big misunderstanding. From the actual test, the palm only protrudes outward at the same time as the thumb joint, which naturally appears to be "vertical" outward. In detail, it is lying "upright", not lying "upright". Vertical wrist just makes the pen wrist anti-joint. Now that the wrist is "tilted", it can't be horizontal. Therefore, only when fingers, wrists, elbows and shoulders are at the joints can pens be easily carried. On the contrary, unless "palm vertical" is wrong in itself. As for vertical writing, it should also be based on joint fluency. Let's talk about holding the press with the left hand, not only for pressing paper, but also for achieving balanced support when bearing weight, and five fingers inward can also achieve the function of holding and holding your breath. There are many different formulations of the traditional pen theory, which can be explained as: (1) longan method: the four fingers are on the side of the pen, and the tiger's mouth between the thumb and forefinger is round, which is called "longan". (2) phoenix eye method: that is, the thumb is close to the index finger, the bottom of the thumb is flat, and the index finger is slightly bent, which looks like a phoenix eye, that is, the "phoenix eye method". (3) Wrist-returning method: If you write "Longan method", the difference is that you can take back your wrist by hanging it in the air, so that He Ji Shao can make good use of this method, which is not recommended because few people use it. (4) Single bag method: it means that only one index finger is placed on the outside of the pen holder, which is similar to the current pen holding method. Su Dongpo, a calligrapher in the Song Dynasty, used this method. (5) Light mining method: Light mining method is to pull out an oil core with a wooden stick, which means lightness and ease. As for "push", it is named because the thumb and forefinger of the pen are together like stirrups. Kicking the lights and turning on the lights also has an explanation. (6) Five-character calligraphy: actively advocated and vigorously promoted by Mr. Shen, a modern calligrapher. The five words are in turn: "disgust, pressure, hook, grid and touch", which is actually the same as "dialing the light" (7) Down tube method: Compared with sitting posture, change the height of the pen, change the angle of the pen holder from the fingertip to the tiger's mouth, and the five fingers are in a straight state, so it is called down tube method. The above writing is not entirely true, and law enforcement is different. But no matter which method, name or proposition is adopted, it is most important to bring convenience to writing. Su Dongpo said that "there is no fixed method in writing, but it must be empty and broad." Some people interpret "there is no fixed method" as random and do not emphasize the method, which is a one-sided understanding. In fact, "being broad-minded" is the method, which is fixed after all, and flexible application is the real purpose. At present, the pen-holding method is highly respected and widely used. Compared with other ideas, the five-character pen-holding method accords with skeletal muscle theory and practical operation, and is scientific and reasonable.