Law 1 The first point is correct
Tang Taizong commented on the penmanship cloud: "The fu point should be made of edges and angles, avoid round and flat, and noble and flexible," The first point should be in the posture of the dragon's eye and phoenix's eyes, the state of the mountain falling stone, settling in the center of the whole word, the edges and angles are prominent, and the spirit of coolness is the key to the point pen technique.
Law 2: Change of Mind
Li Yangbing commented on the penmanship cloud: "The fu point is unchanged, which is called the cloth chess. "In a word, the point pen should be the most important, and those above two points should take care of the changes, each has its own form, and should be connected from beginning to end, echoing each other. If it is straight and similar, and uniform, it is not a book.
Law 3 Point vertically
There are vertical people on the top and down, when thinking about whether it is straight, such as straight, and then thinking about the position of the pen. The dots are vertically opposite, there are those in the middle of the word, and there are those who are around the word. The so-called straight pair is for the center of gravity to be vertically opposite, and must not be biased. This method should be thought before the book, visually measured position, followed by the hand.
Law 4 straight to positive
In a word, there are two verticals, both vertical should be vertically aligned, if it can be corrected, the character body does not fall. However, one of the two verticals must be firm and vertical to establish its momentum, while the other is slightly inclined to the left to dissolve its plate. The method of correctness is based on the center of gravity, if the two strokes are stiff, the charm will be lost.
Law 5 Is straight to the right
All those who are straight in the middle should be vertically strong and manage the trend. Whether the hanging needle is hanging, there is a hook or not, bending the body is a big taboo. The Right Army theory directly said: "The cold valley that is tight as a spring shoot is also." Emperor Taizong also said, "For the sake of Shubinu, your battle is heroic." "Although the middle straight should be vertically strong, it must be slightly to the right, so as to make it rigid, and italic and line the same."
Law 6 Bottom vertical oblique position
Where the vertical is below, it is not all centered, or biased to the left, or sideways to the right, more on the right side, and less on the left. Those who are not in the center, when they are not strong, they must fall down. The bottom vertical pen points to a direction, the observation should be refined, the observation should be meticulous, its position should be determined by the overall situation, and its form should be selected by the word posture.
Law 7 Horizontal pen equidistant
Where there is no point, skimming, and twisting between horizontal pens, the spacing is basically equal, and its method is the same as the "vertical pen equidistance method." ”
Law 8 Vertical pen equidistant
Where there is no dot, skimming, or twisting between the vertical pens, the spacing is basically equal, that is, the letter is the same, and the line book is the same. Although the vertical spacing is equal, its width and narrowness should vary with the glyph, and cannot be uniform. There are those with different character potentials, when there is a right tilt to the left, the difference between yin and yang thickness, or hanging needles, or hanging dew, slow and rapid, change is caused.
Law 9 Accepts the exhibition on the top
Up and down, down and up, all the words of the upper and lower knots must choose one. The upper receiver is feminine and gorgeous, with modesty, to avoid and stay on the ground; the lower exhibitor, masculine and bold, with a majestic pen, is strong and plump with opening. Yin and yang are frustrated, Yanmei is vigorous, staggered and produces strange momentum, corresponding to the strong and strong.
Law 10 Up and down
The exhibitors, fluttering and free, to show off their spirit; the lower receivers, doubtful and steady, to mark their modesty. Stroke of the pen, should be anxious first and then slow, when the urgency is not urgent is for stagnation, when slow is not slow for floating.
Law 11 Upward and downward slanting
For those who are upright, the vertical pen must be vertical; for those who are downward, the center of gravity should not fall. The upper one flattens its potential, and the downward oblique one takes its plate. Where the upper and lower zigzags are knotted, it is necessary to pay attention to the oblique, when the oblique is oblique, when the regular is correct. Oblique but not upside down, positive but not stiff, seeking its momentum in the middle, taking its stability in the oblique.
Law 12 Upward slope downward positive
Where the upper and lower knots are zigzags, the upper and lower ones are the most. The upper is called down by oblique, and the lower is constricted and presented as concession. Gu Pan corresponded, and his spirit was continuous. In the fluttering flight, it seeks its solemnity, and the stability and simplicity exist in the wind god. Yin and yang are in motion, and the body is shaped.
Law 13 Below
Where there is a word of apostrophe opening and wide stretching, it is advisable to move up to meet it below. Moving up is hugging tightly, falling down must be disjointed. Those who move up, the hook and loop are coiled, tight and strong; those who fall, the middle palace is scattered, weak and slow.
Law 14: Closing left and placing right
Where there are left and right knots, most of them are left and right. A single character, if placed on the left, its shape must change, to converge and inferior to the right, "lin", "double", "crystal" that is.
Law 15 Left oblique right positive
Where the left and right structures are mostly left and right, the left oblique is the call, the right is the response, there is no response, the word is bound to die, there should be no call, and the water without a source cannot stand. The caller takes the position by obliqueness, and the responder calms the spirit with peace. Moving left and right steadily, the book should be late.
Law 16 Equal division
Chen Yi once discussed Shuyun in "Hanlin Essentials": "It is advisable to wait for the right one, and it is appropriate to wait for the middle one." "Where there are left and right structural words, there are those who avoid giving in and those who are equally divided. Equal equal division is to divide the high and low equally, width and narrow equally, and not one side is too high and one side is too small. Although there is a response, each half is accounted for in order to be plain.
Law 17 Left and right symmetry
All those who have left and right and those who have a twist should be smooth and symmetrical, and their height, low, length and shortness should be literate. Before the apostrophe is out, first think about the position of the pen; the weight of the pen should be based on the length of the apostrophe. Gu Pan echoes, and the pen is connected. If the skimming is asymmetrical, the center of gravity will be unstable, and it will inevitably be dangerous.
Law 18 Main Pen Spine
There must be a stroke in the word that is the Lord, the rest of the pen is the guest, the Lord does not stand, the guest does not follow, the Lord is unstable, and the guest does not rely on. The main pen bears its backbone and trees its center of gravity; the pen is attached to its flesh and blood, supplemented by its decoration. The guest of honor and guest looked after each other and stopped on all sides. Right Junyun: "The book of desire first constructs the strength, and then dresses." "However, the main writer must not be long and lose short, stronger than the crossbow and lack of tenacity.
Law 19 Tightening of the Middle Palace
Qing Bao Shichen's "Yizhou Shuangyi" Yun: "Wherever the word is dense and oblique, there must be a spiritual knot, it is the palace in the word, but the middle palace has in the real painting, there is in the virtual painting, there is in the virtual direction, and it must be judged in the spirit of the word..." The middle palace, the core also, the middle palace tightens, the remaining pen is extended, the word is the core, the collar is spread, and the charm will be born.
Law 20 Contraction longitudinal
This is a commonly used method, and the study of books is not contradictory. The contraction is its longitudinal extension, and the vertical extension is the reverse contraction. One exhibition and one harvest, the spirit flies, does not show and does not receive, slow and weak. Bao Shichen said: The font exhibition "like an old man with a young grandson, the length is uneven and the affection is straight, and the pain and itch are related." "But do not swing it recklessly, it is impossible to measure it all, to show off with little knowledge, to be full of intentions and not to care about mistakes."
Law 21 Silk adhesion
The turn is adhesion, where the spirit of the word is knotted, and the line and grass are especially so. Qing Jiang and the "Authentic Calligraphy" Yun: "No word can be without force, no method can be without force, that is, the wire is also powerful, and the force is injected into the tip of the pen and comes out with peace, such as those who are good at dancing poles, those who are good at the pole, those who are good at using guns, and those who are good at using guns, and the force is also in the tip of the gun." "The strokes are bones and bones, the threads are the blood veins, and although the true deeds are different, the dharma is the same."
Law 22 Oblique hug interspersed
The two parts are the most taboo to stay away, far away, far away, away from the scattered, especially the two oblique interspersed. Although the shape is oblique, the body posture does not fall, and although the appearance is biased, the center of gravity does not move. Shoulders hugged, interspersed with each other, scales and feathers staggered, echoing the curve. There should be a rhythm in the oblique posture, and there should be a little spirit in the hug.
Law 23 Size is unique
In a book, whether it is italics, grass, seals, or affiliations, its characters must have a size, and those with many strokes should be large, and those with small strokes should be small. Big characters should not be small, and small characters should not be made big, but should be natural and natural, and each should be perfect.
Law 24 The apostrophe is uneven
Those who have more than one word are most afraid of the shape of teeth and the shape of the track. The pen should be issued differently, pointing differently, or vertical or closed, or light or heavy. The scales and feathers are jagged and staggered. Qing Fengwu's "True Biography of Calligraphy" in yun: "In a word, there is also a heavy (chong) pen, which cannot be changed." "The book is expensive and does not leave its original, and the words are still new and do not contradict its source."
Law 25 Three echoes
Whoever has three parts should look forward to it and avoid it. If there is only one book, it must not become its monolithic word. The book is in a hurry, and it must not be disorganized.
Law 26 Hook Dagger Blade
Bao Shichen said: "The hook is a toe, like a person's toe foot, its strength is not in the foot at the beginning, suddenly caused, and the full force is injected into the tip of the foot, so the hook is not broken, it cannot be used as a fluttering setback, and there is also the righteousness of the loss." "In the kaifa, the hook body should not be long, like a dagger blade. The ancients said: "Steep and powerful." ”
Law 27 Encircle without blocking
Encircling without blocking and not being trapped is the common law of "mouth". All books with large "mouths" should not be blocked too tightly, too tight to make people have a sense of rigidity and stagnation, especially in writing books, and the ancients had the saying that "interest is not to be carried out".
Law 28 Stroke increase or decrease
The ancients had many exquisite methods in different writing and post writing, and the addition and subtraction of strokes was intended to seek beauty, but it has been recognized along the tradition of learning, and it cannot be created indiscriminately and cannot be analogous. Yuan Chen Xuan Zeng Yun: "Those who are too complicated are subtracted, and those who are too sparse are supplemented, and the ancients must be like the ancients, but they can be used for ears." ”