Sample Student Reflection of Learning

I found it fascinating how he sought out his answer to improving his calligraphy – he decided to look to commentary and was able to find stroke methods that better represent Wang Xi Zhi’s.

Katie Depaolo, Student

It is amazing how much the personality of a calligrapher can be seen in their calligraphy style, and I hope to properly learn the stroke methods Master Wu teaches us to be able to take the next step to express myself through calligraphy.

Kyra Swantkowski, Student

Personally, I learned some calligraphy when I was in elementary school, and started with the standard script. Like what Master Wu mentioned, this script required a standardized way of writing. I had to learn how to write each stroke by the pressing lifting method and practice by repetition. Because of this exposure, I believed that pressing lifting was the foundation of all script, so Master Wu’s idea that Wang Xizhi’s style deviated from this method was a new concept for me. I am interested in learning more about how his methods differ and make his works unique and widely studied by calligraphers throughout history.

Qiya Qi, Student

从老师写两个“永”字的方法来看，提按笔法与王羲之的笔法确有很大的不同，譬如说王羲之的笔法很大一部分用到手腕的力量去摇动和转动笔杆。但是其中具体的细节技法我们还只见其一斑，未曾深入学习。

Judging from the way Master Wu wrote the two characters “永”, the lifting and pressing brushstrokes are indeed very different from Wang Xizhi’s brushstrokes. For example, Wang Xizhi’s brushstrokes largely use the strength of the wrist to shake and rotate the pen. However, we have only seen a glimpse of the specific details and techniques, and have not studied them in depth.

Aurora Tan, Student

Works like the “Jade Forbidden Scripture” and the “Recipe of Calligraphy” provide invaluable insights into traditional techniques and philosophies. These texts serve as bridges between ancient wisdom and modern practice, offering guidance on everything from brush techniques to character structure, which is why Master Wu thinks that they are important for all calligraphers to reference and read.

Arianna Gravatt, Student

对于节势和裹束，吴老师进行了更深度的讲解。字由筋节骨肉皮血组成，分别代表字中不
同笔画和笔画之间的构成。像人的身体一样，虽然一些身体部分可能不相邻，但是有筋络
把所有的部分连接起来组成身体。在王羲之的作品中，我们可以看到笔画之间是有连接的
。筋线，骨线，和肉线连接采用的就是把字想象成人体的方式。不仅每个字的笔画之间有
连接，使字呈现出一个整体，字与字甚至句与句，段落与段落之间也有这样的连接。王羲
之通过这样的方式，加上和书法技和审美的配合，才能写出连贯的书法作品，让读者沉浸
在他的书法节奏中。

Annie Zhao, Student

在学习中，我了解到书道需要通过书法史、技法理论和美学书论来进行深刻的理解和修行。而书艺与书技的区别在于前者强调艺术的审美表达，后者则更加注重书写技法本身。书艺侧重于裹束结字的美学法则，通过用笔、联势和形体的设计，展现书法的质感、力量感、节奏感和韵律感。而书技则更加讲究用笔的方法，如执笔、腕法、永字八法和墨法的运用，以及识势的技巧，通过精细的笔法来实现笔势的变化。 在吴老师现代书法与王羲之书法方式的对比展示下，我对现代书法与王羲之 的摇腕起倒书法有了更深入的理解，感受到书法历史脉络中的技术传承与审美变化。正如邱振中所提到的，书法不仅仅是一种技艺，它是一种文化心性的表现。通过今天的学习，我更深刻地体会到了书法的精神内涵，理解了书技、书艺、书道、书风之间的密切关系，以及它们共同构成的丰富书法世界。

Zixing Yu, Student

I learned many things in the second class of Master Wu’s calligraphy lecture. He
explained the importance of layers in Chinese calligraphy. These layers include
techniques, aesthetics, and philosophical paths. I learned that to master calligraphy,
one must combine these elements. It is not enough to focus on only one layer. For
example, knowing how to hold a brush or write a stroke is not enough without
understanding the beauty and meaning behind the art.

Marcia Sun, Student