In my opinion, there are five difficulties in learning the seal script method. First, today is too far away from the era of transferring to another country, and it is easy to create an insurmountable historical gap. There is a "generation gap" when there is a difference of 20 years. What will happen if the difference is two or three thousand? The most typical phenomenon is that people who are good at seal script law can proportion their shapes, while those who are poor at it can't even grasp their shapes, let alone have elegant charm. As for those with good personality and innovative spirit, there are very few. Secondly, in the initial era of Zhuanli, the ancients did not leave any written explanations about techniques and aesthetics, and occasionally there were only a few words of calligraphy in the process of inheritance, which was often irrelevant. Modern people's understanding of the ancient style of seal script mostly comes from the inscription, annotation and writing experience of Qing people, which is far from enough to understand the original seal script represented by various learning modes. Thirdly, the evaluation of the original appearance of seal script works by later generations is based on the aesthetic experience of epigraphy rubbings, and epigraphy characters are influenced by calligraphy technology, which has the attribute of "secondary finished products" and cannot accurately reflect the true state of writing. Moreover, the ancients summarized the aesthetics and techniques of seal script in different categories. The ways and expressions of expressing opinions often need to learn from the experience and feelings of the popular seal script or Xing Kai cursive script at that time, among which there are naturally many mistakes and fallacies. Fourth, in the primitive era of the transfer, the practicality of words was the first, and beauty was subordinate to the norms of words. People don't have artistic needs purely for aesthetics, let alone how to put themselves into their works. Then, how did a large number of classic seal script works and their rich and varied personality styles come into being in the Qin, Han and Three Dynasties? Can the theoretical propositions with universal significance such as "expressive and lyrical" and "words are like people" in traditional calligraphy thoughts be reflected in them? If so, how did the ancients do it? If not, how should we treat this theoretical defect? How should we treat the seal script works of later generations? How many similarities and differences can be proved between the two? Fifth, up to now, how many of the summaries and comments made by later generations on various works of Transferred to Yuanzhou are in line with the historical truth? How many of these things can effectively guide our temporary posting and creative practice? For example, how to study law, how to avoid being out of touch with fashion while being a disciple of the past, and how to define your own problems between the past and the present. While reading, reading posts and looking at all the unearthed writing remains, I think, study and practice writing, revise my understanding and improve my methods at any time, so that academics and art can be integrated.

I put forward the concept of "original ecology", aiming at distinguishing it from the inheritance and transformation of future generations, eliminating the interference of future generations' opinions, directly entering the ancient world of seal script, following its course and experiencing all kinds of original exploration and creation. In other words, the opinions of future generations can inspire us, and also affect our independent thinking and preconceived ideas, so that some unique meanings in the works are filtered out or there is a big deviation. For example, the Qing people only pay attention to the aesthetic style of specific works when commenting on the eight-point official script of the Han tablet, and never delve into its origin. Of course, there are many factors worthy of attention, and we only choose a simple phenomenon with the most universal significance to explain it. Cheng Gongsui's official script describes regular script in the first half and official script in the second half:

If it's eight o'clock printing, it's very different. It's divided into white and black, and the chess is arranged in stars.

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It means that the eight-part essay in Shangshu is different from the official script. They should be evenly divided into squares and cylinders like carved seals, and their composition is as orderly as the arrangement of chessboard Puckilo or stars. Cheng Gongsui, a native of the Western Jin Dynasty, is still popular with stereotyped writing, which is naturally familiar. So, why does he emphasize the shallow common sense of dividing lines? Imagine that the calligraphy of the Han people is flat and the calligraphy tablet is square, which is obviously different. The key is that the calligraphy plaque has style, and it is the rectangular block that determines the structure of the font. By extension, Jing Jun, Pei Cen and other full-fledged ci poets converge, while the lyricists contract, resulting in wide spacing and smooth composition. Other phenomena and reasons of inscription calligraphy, such as neat font, standard of silkworm head and goose tail, are also related to the boundary, so I won't say much here. It can be seen that there are many shortcomings in the concept of seal script in Qing dynasty, but today's creation is still continuing its work form, which is bound to make the study of ancient law superficial and empty because of its ugliness and simplicity. I gradually transferred my experience in the study of calligraphy history in Qin and Han dynasties to my post and creation, and gained many experiences different from those of predecessors and contemporary people. I often feel comfortable and I don't have enough kung fu, but I don't need future generations in my opinion.

In this way, the premise is to be able to enter the ancient world of ritual conversion and understand political thoughts, culture and art, social life, and what people of different classes and positions think and enjoy. If we only have general artistic intuition and aesthetic experience, it is difficult to interpret those works completely. My original official script was learned from the Qing dynasty, and I believe their views. Later, all the masters and doctors studied philology, and they read and copied more ancient seal characters, and their experience was very different from before. Then learn the history of calligraphy and calligraphy criticism, and truly feel the joy and harvest of wandering in the original state of seal script. Thinking about problems is often different from reading works. In this way, I started with an overview of the remains of ancient Chinese characters, copied them frequently and massively, and at the same time verified the creation and personality changes of modern exhibition needs, and kept repeating them. Until today, I continue this kind of learning and exploration.

I study seal script, advocate learning from others, clarify my own needs, and clarify the purpose of any work, that is, what to learn from. There are some works I can study, but I don't touch them when I study. This includes: everyone doesn't touch what they have learned, so as not to "write with everyone"; Don't touch the stylized features, such as Li's jade all the way, iron line seal script, Korean's, Tang tablet official script in Wei Bei of the Three Kingdoms; Don't touch decorative calligraphy, such as Zhongshan Porcelain in Warring States, Tian Fa Shen Bei by Wu, epitaphs from Northern Dynasties to Tang Dynasty, etc. , so as not to fall into the painter's stream; Don't touch people with distinctive personalities or habits, such as Zhao, Li Ruiqing, Wu Changshuo, Zheng Yi, Jin Nong, Yi Bingshou and Chen Hongshou.