The writing is convenient and flowing, and has great flexibility, variability and flexibility in penmanship. In fact, this is all in terms of the changes in the form of dot painting, including fat and thin, square and round, hidden dew, long and short, twists and turns, etc., all of which are expressed through flexible and changeable brushwork. The side is square, the middle is round, the heavy is fat, the light is thin, the shun is dewed, the reverse is hidden, the twist is curved, and the lift is folded. If we are confined to the idea of "the center of the pen" and abide by one law, it will inevitably destroy the characteristics of the round and changeable style of calligraphy. Let's talk about the three characteristics of the pen for calligraphy:
1. The middle and side are interoperable
The seal method should be mainly used in the center, and the regular method should be used as a flank, and the pen should be used in the center and the flank.
The so-called "center" refers to the brushwork in the process of moving the brush, the front is hidden in the painting, so that the center of the pen often walks on the middle line of the dot painting. It can not be simply understood as the hidden head and tail when sending and closing the pen, disappearing the hidden end, and not seeing the traces of the beginning and end. As Wang Xuzhou said in "On the Leftover Words of Books":
The so-called center striker is said to be in the strokes, flat and upright, only intentionally. and its established, end like a rope. In this way, the pen does not lean up and down, does not deviate from the left and right, but can strike in all directions. The pen is sharp in all directions, and there is nothing wrong with it. The so-called Tibetan Feng is the center, which is the middle ear of the Feng Tibetan painting.
When the pen is in the painting, it can produce a round, thick, full and powerful effect, and the front is in the painting, such as the muscles and bones of people; The side is on both sides, like the texture of a human being. The texture is delicate, and the muscles and bones are contained, so that the middle and the side can be covered and the left and right sides are disease-free. Therefore, the pen used for calligraphy, regardless of the square circle, should be based on the center, which is a basic **. Because the writing with the pen is faster, in the process of constantly starting and ending the transition, the pen is always transformed into the side of the front, to skillfully use the center, it is not easy, the key is to adjust the front, can rise with the fall, then there is no stiffness and lying disease. Wang Peng's "Calligraphy Tube" says:
The principle of writing, but the word "center" is exhausted. However, when people first put down the pen, they did not say that they were in the center, but although the pen was in the middle, a line of pen was lying down. If there are many transitions, it is purely a lateral (deviant) front. The ancients put pen to paper and circled left and right, and even connected three or five characters in one go, straight and unsuccessful. Therefore, he can concentrate on the spirit and live with each other, that is, the so-called gentleman and the middle of the time.
Although this passage is a bit excessive, it can also be glimpsed that the ancients attached great importance to the use of the pen in the center.
Although the pen used for writing is mainly in the center, in order to write conveniently, smoothly and flexibly, it should also be used as a flank. The so-called "flank" refers to the slight side of the front when the pen is written, and it is mostly square. Where the dot painting begins and ends, hooks, waves, turns to see the edges and corners, and shows the edge, it is necessary to have the side. The flanking pen has the following characteristics:
1) Use more point method to start the pen on the pen, take the side (point method) to take the momentum, and build the front pen. Or the sharp edge enters sideways, and the pen falls on the trend, and the paintings of the front are mostly exposed.
2) At the time of the turn, use more lifting, and then make a point, so the turn is multi-sided, clean and clear.
3) When making points, there is more side potential, and the force is more important when paving.
4) When hooking, the pen barrel is slightly inverted, and the pen is in an oblique state, but the pen body must still remain obliquely upright.
5) When holding the pen, the pen barrel is slightly tilted to the right rear, and the pen is slightly upturned, taking its advantage.
From the above five characteristics, it can be seen that the flank has the characteristics of convenience in the pen; At the turning hook, it has the characteristics of Fang Jun; In the middle of the painting, it is still necessary to hide in the middle of the painting; Closing the pen, the front by **. When you pour it together, you will have a magical change in penmanship.
When the ancients wrote a book, they must focus on the center, and use the flank, with the center to take the strength, and the flank to take the beauty. Looking at the ink of the previous sages, there is no one who does not use the side forward, even if the ink of the famous "Sacrifice Nephew Manuscript" has a "seal atmosphere", it also shows the side of the pen from time to time. Even a painting is all biased, the pen goes out, the pen belly is on the paper, and then it is inherited by the front, even one for it, there is a command wishful thinking, surprisingly winning. Liang "On the Writing" says:
Yu Li Guan Jin Right Army, Tang Ou, Yu, Song Su, Huang Fateh and Yuan Ming Zhao, Dong Ergong authentic works, there is no one who does not strike. Special Xu Hao's pen is slightly hidden in the sharp ears, and why is it not expensive?
Contrarian pen down, sharp edge side in, slightly revealing the edge, the most profound meaning, this is the ancients to write the pen characteristics. It is to stand on the bone, and the side is to take the state. When moving the pen, the wrist swings left and right with the gestures, tossed up and down, in all directions, the pen is full, the wind and bones are natural and strong, and the body is naturally round and lively.
Second, the fat and thin are appropriate, and the flesh and bone are commensurate
"Fat and thin" is the aspect of the study of the weight of the pen, and "flesh and bones" is the aspect of the study of the shape and quality of dot painting. The book is based on the bones and the flesh of the Lord; Use meat as a way to show off the outside. If the muscles and bones do not stand, what is the fat and flesh? If the form and quality are not there, where does the expression come from? Therefore, beginners must first strengthen their bones, and then seek the fat and thinness of the meat. Correct its bones first, and then maintain its attitude. Ancient calligraphers, due to different personal writing habits, some words are fat and fat, such as Su Shi's calligraphy; Some characters are thin, and they are beautiful in thin and hard, such as Song Huizong's calligraphy; Some words are neither fat nor thin, and neutralization is beautiful, such as Wang Xizhi's book. Although the fat and barren are different, they are all based on strength and bone strength, so as to achieve an artistic realm that is commensurate with flesh and bones.
When writing calligraphy, in the painting, the bones are inside and the flesh is outside, so avoid the disadvantages of explicit. Therefore, those who make good use of the center will be fat and bonely, and thin will have meat. Those who are fat and have bones, although they are fat and clear; The thin and fleshy ones are thin and fleshy. If the bias is used with a pen, the thin will be exposed, the fat will be bloated, the pure bone will not be charming, and the pure flesh will be weak, so the key lies in the skill to the end, and the method of using the pen, just as Yao Mengqi said in "Character Learning": "The work is deep, although it is dry and moist; Energetic feet, thin and fat. ”
The pen used to write should distinguish the fat and thin by the fraction of the millimeter. Generally speaking, it is measured at one-third of the full front. The clear air of the word, all from the end of the pen, the pen body is erect, and then one-third of the pen is fat and thin, then the dot painting is naturally clean and subtle. Where the word is biased to fat, the ink should not be too abundant, the pen should not be too slow, and the full place should be able to be raised, although fat and real; Where the word is biased to the thin, the ink should not be too dry, the pen should not be too fast, and the place where the fly should be caught, although thin and solid. Yan Zhenqing's regular script is still fat, the manuscript line is still thin, it is the best example of a full and a flying, Su Dongpo praised: "Lu Gong has changed out of new ideas, and the thin muscles are like autumn eagles." "Therefore, those who are good at writing are suitable for fat and thin; Those who are not good at reading will be sick of fat and thin. Another example is Su Shi's words are fat, when someone ridicules his words for being too fat, Su Shi thinks to himself: "Short, long, fat and thin have their own degrees, who dares to hate Yuhuan Feiyan." Youyun: "The rest of the book is like cotton wrapped in iron." Su Shi made a line, made good use of the side forward, so the word is fat, but lying and can get up, to close the pen when the front returns to the painting, the pen is extremely active and round, soft on the outside and rigid on the inside, chic and vertical, and there is no "ink pig". Looking at the ink of his "Red Cliff Fu", it can really be said that there are needles hidden in the cotton, although fat but strong. In fact, the fat and thin of the word is often closely related to the penmanship and ink method, and the spirit of the word will be affected if the pen is engraved, flattened, and floating, and the ink is too dry and too dry. Therefore, those who hold the law of death will destroy the heavens.
3. Substitution of dot painting
The pen for writing has greater flexibility and flexibility, and dot painting can be substituted for each other. This will enhance the smoothness of the gestures and make writing easier. It is mainly manifested in the following aspects:
1) Replace the point with the point: such as "of", "special", "big", "times", "rong", "blow", "more", "long" and other words, the last pen in the pen are replaced by points, when the pen is closed or hidden front, or exposed front, although the pen is short and long.
2) Replace the apostrophe with the point: such as the words "Lu", "spring" and "food", the apostrophe in the last pen are replaced by the point, and it still does not lose its original shape.
3) Replace "mouth" with points: such as "choked", "words", "sigh (woo)", "he", "know", "jun", "stay", "sigh" and other words, or one or two points, replace the mouth with points, and appear to be sloppy.
4) Replace points with points: For example, words such as "snow", "wei (for)" and "rain" are replaced by points, but the number of points is reduced, and the tone is concise.
5) Replace apostrophe with points: For example, the apostrophes in the words "not", "dead", "father" and "eight" are replaced by dots, which appear to be uneven and full of changes.
6) Replace the point with painting: such as "for (for)", "無 (none)", "wet (wet)", "鴻 (hong)" and other words, the next four points are replaced by horizontal paintings, which is more convenient to write.
7) Replace "曰" with painting: such as "dry" and "chao", etc., the "曰" in the middle is replaced by painting, which greatly simplifies the complicated strokes.
8) Replace "乚" with "l": such as "flow", "death", "see (see)", "he" and other words, to open with a combination, enhance the flow of the gesture.
9) Substitution of "mouth": such as "臨 (Lin)", "Tu (picture)", "Zhi", "Tang", "Xing (Xing)", "Period", "Regret" and "Zhu (Zhu)", the words "臨 (Lin)", "Tu (Figure)", "Zhi", "Xu", "Zhu", "Xu", "Zhu", """, """, "", "
The generation between dot paintings is a major feature of Xingshu. Through the substitution of dot painting, it can not only enhance the flow and convenience of the pen for calligraphy, but also make the calligraphy more rich in gestures. There are also some characters with intricate strokes in the book. For example, the words "Xi", "chaos", "all", "fu", "lying", "poor (poor)", "meaning", "song" and other words are all through the technique of reducing the brush, so that it is dense and simple, and if used well, it can make the glyph more rich in posture.