The emphasis of the strokes is on the power of the pen. Liang Qichao, a famous scholar in modern times, stressed the importance of pen power to calligraphy in an article: "Writing is all about pen power, whether there is pen power or not, and determining the quality of words." And the presence or absence of pen power, as soon as you write it, you can immediately see it. ”
How do you use a pen to show strength? Sun Guoting, a scholar of the Tang Dynasty, said: "All the wonderful things are returned, and the backbone must be preserved." When he says bone qi, he refers to the inner power of the pen and the power of the dot painting on the paper. Sprinkle some ink spots on the paper at will, that spineless, there is no power; a person who cannot write with a brush and drags the pen across the paper like a brush to paint, is also spineless. The correct way to write with a brush is to hold the pen straight, and the pen is at a 90-degree angle to the surface of the paper.
So how do you show strength in your lines? There are many ways to do this, but here are just two that are easy to understand.
01
Use more centers. The center is to write with the pen shaft straight, keeping the main millimeter in the center of the stroke to be written, and the vice millimeter on it naturally falls on both sides of it. The center forward uses a pen, and there are bones in the words, which also appears smooth and natural. The opposite of the center is the flank, which is to tilt the main millimeter on the side of the line, appearing sharp and dangerous.
02
Cleverly pressed. This is an important means of creating a sense of force rhythm in the brushwork. Lifting is to gently lift the pen upwards with force when writing; pressing is the opposite, pressing down with force. Lifting the pen can make the line appear delicate and powerful, light and smooth; pressing the pen makes the line thick and powerful, dignified and calm.
The thickness or thinness of the various lines in a word, or light or heavy, is mainly obtained by this method of lifting and pressing hard.
It is not an easy task to deal with the two opposing methods of force. The writer, lifting the pen up or down on time, also has to deal with another pair of different methods of exertion: line and stay, that is, a force to move forward, a force to stop or not so fast. This situation is like a basketball player carrying the ball forward, he claps the ball while running with the ball, this skill can not be achieved overnight.
▲ Qiantuo Seal Book
The frequency of changes varies according to the various types of books. Due to the pursuit of fast strokes, there are fewer changes in the press, and the small grass and the line book are more changed than the wild grass; the Lishu mention is more varied, especially in the horizontal painting with the head of the silkworm and the goose's tail and on the knife. The highest frequency of the mention is the letter of the equivalent. Only the seal book is basically not mentioned to change, and all use the center, not the flanking, because the seal book pays attention to the uniform thickness of the line. But the seal book has its own way of showing power. One of them is to show strength in lines of uniform thickness with fast or slow lines and thick or dry ink colors. The books of the Qing Dynasty seal master Qian Tu (1741-1806) are firm and rounded, the lines are fast and slow, and the ink color is thick and dry, which shows how superb the author is. In his later years, his right body was withered, and his left hand was written with a seal, which was equally exquisite.
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