Chu Suiliang of the Tang Dynasty said in "On Books": "Use the pen to draw sand like a cone."
Later generations have a variety of understandings of "cone painting sand", to understand that the center uses a pen to mostly, requiring the pen to be vertically so that it is hidden, calm, and ......powerfulWait a minute. However, this interpretation is often contrary to the views in ancient calligraphy theory. Since this theory was proposed by the Tang Dynasty, we should stand on the aesthetic height of the Tang people to ** this issue.
Cai Yong's calligraphy nine potentials original text:
The husband's book originates from nature, nature is established, and yin and yang are born; Yin and yang are born, and the situation is out. Hide the head and protect the tail, the force is in the word, the pen is forceful, and the skin is beautiful. Therefore, it is said: the momentum is unstoppable, the momentum is unstoppable, but the pen is soft and strange.
Mrs. Wei's "Pen Array" said: "Those who are good at pen power are bonely, and those who are not good at pen power are meaty; Those with many bones and micro-flesh are called tendon books, and those with many flesh and micro-bones are called ink pigs; Those who have more strength and abundant tendons are sacred, and those who are weak and have no tendons are sick. ”
Quoting two passages of calligraphy by Cai Yong and Mrs. Wei, both of them use the human body texture as a metaphor for calligraphy, the beauty of skin and the abundance of bones.
Books originate from nature, and vitality is the breath of calligraphy. A person's physique is naturally the embodiment of vitality: when a person is old, his muscles will loosen his hips and move uncomfortably; The athlete has strong muscles and a strong body, giving people a feeling of sunshine and vitality.
The beauty of the skin and the abundance of bones and muscles probably refer to the vitality of calligraphy through the strength of the pen through the round and thin lines, and the strength of the muscles and bones should be contained in the dot painting.
Another key point in the last two books is to use the pen force, in the end, the ancients pursued a kind of round and thin line texture, and the corresponding book body dot painting should also have the corresponding pen changes, because of the special structure of the brush, the pen is soft, and the pen will be spread out, the ancients were by twisting the mangs to wrap it and the pen, so that the pen can enter the paper without being dry. Therefore, "cone painting sand" probably refers to the soft pen twisted to make it hard like a cone, and the painting sand is the next pen force, through the friction of the paper to achieve twisting, which should be the core of the Jin and Tang Dynasty brushwork.
The ancients used the pen to change, change at will, move the pen to lean on the side, as for the pen in order to make the pen straight, this theory should not be entangled, let go of the way of thinking, in line with the ancients calligraphy theory is more practical.