As an art form that carries emotions, the core of calligraphy lies in the use of dot painting as the carrier, and the quality of dot painting directly affects the artistic appeal of the work.
Among them, the "central brush" is regarded as an extremely important technique, which gives calligraphy a sense of strength and three-dimensional beauty, which is often referred to as "bone power" or "pen power".
The so-called "circle" is one of the important criteria for the aesthetic of calligraphy, which means that the lines are full and three-dimensional. When Xu Xuan of the Southern Tang Dynasty wrote the seal script, through his exquisite pen skills, the ink color penetrated and expanded from the center to the periphery on the paper, forming a change of shade levels, so that the dot painting showed a three-dimensional effect similar to that of relief, which was derived from the "central pen".
"The pen used by the center" has been highly respected by calligraphers throughout the ages, and Shen Yinmo and others even advocated that every point of painting should be based on it. The key step to achieve this goal is to skillfully operate the brush, which is embodied in the three links of "vertical front, paving, and reversal".
"Vertical front" is the basis for ensuring that the center of the pen is written. When the soft pen touches the paper, if it is not adjusted, it is easy to lie down and drag, resulting in flat and thin lines. Only by lifting the tip of the pen and keeping it upright can the center of the pen always remain **strip**, producing a deep and heavy feeling like a cone painting sand. Dong Qichang, Ni Sumen and other calligraphy masters have emphasized the need to "afford" when starting the pen, so that the gesture is strong and powerful.
"Paving" is the process of unfolding the pen and penetrating the back of the paper. After the pen tip falls vertically on the paper, the wrist is adjusted to fully stretch the pen and achieve a "round foot on all sides". Bao Shichen pointed out in "Art Boat Shuangji" that whether it is at the beginning of the stroke or in the middle of the stroke, we must pay attention to the tiling of the brush to ensure that the lines are full and powerful, and to achieve the realm of "ten thousand millimeters of force".
"Reversing" is a key move to maintain the center at the turn of the stroke. During the writing process, especially when turning, the stroke of the pen can easily deviate from the center line, causing the line to become "flattened". At this time, through the clever lifting and conversion, first lift the pen to return to the painting, and then press the pause slightly to avoid the phenomenon of deviation and maintain the "round" potential of the line.
Liu Xizai's exposition in the "Outline of the Book" reveals the importance of the use of the press, which can be used in combination to create high-quality lines that are neither too heavy nor too light.
The three elements of "vertical front, paving and commutation" do not exist in isolation, but are interrelated and synergistic organic wholes. By practicing these three techniques, calligraphers are able to make the pen fully flexible, so that each dot painting is full of power and penetrates the back of the paper.
Mi Fu once said: "The pen, although as thin as the sideburns are also round; No pen, although thick as a rafter is also flat. This sentence vividly illustrates the pivotal position of the pen in the creation of calligraphy.
Only by deeply understanding and skillfully using the method of "vertical front, paving, and reversal" can we truly comprehend the intrinsic beauty of calligraphy lines, and then sway out works full of vitality and rhythm.