First, the word is like its person/product first
● Calligraphy and painting are high, the first emphasis on character, the quality is excellent, not only everyone values their pen and ink, but also admires their people. clear. Song Nian "Treatise on Summer Garden Painting"
● The person who establishes the product has a kind of positive light outside the pen and ink. clear. Wang Yu
● And its vast and fallen nostalgia, all of which are in the time of pen and ink, the so-called high quality, rhyme self-victory. Zhang Yuan's Quotations from Shi Tao Paintings
● The ancients on the book cloud: one must have a high character, the second must be the teacher of the fagu, is the law of the book, the scholar learns it, so when he is familiar with his hands, he must first cultivate the virtues to be familiar with the body, the virtue to be familiar with the body, the book to the hand, and so on. "Three Tastes of Calligraphy"
● Scholars have two views: to see things and to see me. Look at things with similar feelings, and look at me with tongde. clear. Liu Xizai 《Art Overview〉
● Mortals have their own special qi and blood, and their bones and bones are different. The heart is dense, the hand is skillful, and the ugliness of the book lies in the heart. Tang Dynasty. Zhang Yanyuan (Essentials of the Book of Law)
● The book of husband is human nature, and the sick must not make Xu: Xu must not make him sick. Eastern han dynasty. Cai Yong (石室神授勢)
● Positive calligraphy, so the right people's hearts also, so idle sacred path also. bright. Xiang Mu (Calligraphy Yayan)
● The old book is also the one who studies the heart; the writer, the writer, the writer also. clear. Liu Xizai 《Art Overview〉
● Academic scriptures all arise from the heart, and their hearts are not right, and they are moved by evil. Liu Gongquan: The heart is straight. bright. Xiang Mu (Calligraphy Yayan)
● Books, such as also, such as their learning, such as their talents, such as their aspirations, in short, just like their people. The book is still young and thick, and the thickness must be based on the heart. Otherwise, the book, though spared from thinness, is only a portrayal of others. clear. Liu Xizai 《Art Overview〉
● It is better to get the time than to get the instrument, and it is better to get the instrument than to get the will. Tang Dynasty. Sun Guoting (Book Genealogy)
Those who are high-quality, little by little, have their own clean and elegant atmosphere; although the people under the product are excited and frustrated, they seem to be considerable, and the vertical and horizontal are just violent, and it is inevitable that they will be exposed. clear. Zhu He Tang 〈Linchi Heart Solution〉
● Those who are good at calligraphy and painting have not been unlearned and long-term, and the officials are more famous for their political achievements, so they are valuable in future generations. clear. Song Nian (Summer Palace On Painting)
● Pen sex and ink are based on their human temperament. It is a rational lover, and the first task of the book is also. clear. Liu Xizai 《Art Overview〉
● Hands and divine luck, art from the heart. His ambition is in the book, Xuan's crown cannot be moved, the poor cannot be bent, and he has learned it for the rest of his life. surname. Zhu Wenchang (Continued Book Break)
● When you want a book, when the audience listens to it, and the mind is straight and harmonious, it is in harmony with the mind, and the mind is not right, and the book is oblique; the spirit is not harmonious, and the words are upside down. Tang Dynasty. Yu Shinan's Treatise on the Pulp of the Pen
● Academic scriptures all arise from the heart, and their hearts are not right, and they are moved by evil. Liu Gongquan: The heart is straight. bright. Xiang Mu (Calligraphy Yayan);
● Books, such as also, such as their learning, such as their talents, such as their aspirations, in short, just like their people. The book is still young and thick, and the thickness must be based on the heart. Otherwise, the book, though spared from thin turbidity, is only a portrayal of others. clear. Liu Xizai 《Art Overview〉
● Those who are high-quality, little by little, have their own clean and elegant atmosphere; although the people who are high-quality are excited and frustrated, they seem to be considerable, and the vertical and horizontal violence are inevitably revealed. clear. Zhu He Tang 〈Linchi Heart Solution〉
● Looking at the heart of heaven and earth, pushing the love of the saints, then in doubt, the slander of confucianism and confucianism in the Eastern Han Dynasty. Zhao Yi "Non-Cursive"
● Joy is qi and the word is comfortable, anger is thick and dangerous, mourning is depressed and the word is tight, and happy is flat and beautiful. If there is a heavy and light feeling, then the words are also deep and shallow, and the changes are endless. Yuan. Chen Yizeng 'Hanlin Tips〉
● People are ugly in appearance, and the attitude of a gentleman and a villain cannot be hidden, and there is a reason for words, and the temperament of a gentleman and a villain must not be deceived. Books have clumsy work, and the heart of a military gentleman and a villain must not be messed with. Su Shi's Treatise on Books
● Gao Yun is affectionate, strong and strong, and the lack of books can not be used. clear. Liu Xizai's "Art Overview";
● The husband of the book, the rest of the heroic, the urgent matter of the article. Although it is the Tao, the wise and the unworthy can be learned, but the virtuous are always many, and the unworthy can always be less, and it is not good that the unworthy can be done and the wise can abandon it! surname. Zhu Wenchang (Continued Book Break)
● The lady's spirit is in all things, and her heart is in a hundred skeletons. Therefore, the heart is born, the moral manifestation is the economics, the tree is the xunyi, the establishment is the discipline, the propaganda is the article, and the luck is the handwriting. bright. Xiang Mu (Calligraphy Yayan)
● Personalities are different, temperaments are different, strokes are lucky, and evil and righteousness take shape. bright. Xiang Mu (Calligraphy Yayan)
● Therefore, with morality, deeds, articles, and style writers, there is no shortage of people, people who discuss the world, admire their people, benefit their books, and the books are immortalized throughout the ages. clear. Zhu He Tang 〈Linchi Heart Solution〉
Second, copy the introduction / step by step
● Beginners are not outside the copy. The book has its penmanship, and the copy book has its shelf. If you copy it for a long time, you can see more, understand more, discuss more, and be flexible. clear. Zhou Xinglian"Linchi Pipe See"
● Only beginners have to copy, but also to save their hands, easy to achieve, must be the ancient famous pen, put a few cases, hanging on the right, day and night, thinking about the reason for its use of the pen, and then can be copied. Southern song dynasty. Jiang Fu's "Continuation Book Spectrum"
● Lutai Cloud: Painting is not ancient, such as walking at night without candles, there is no way into it. Therefore, the first learning must be based on the ancients. clear. Qin Zuyong's "Painting Of Jinliang"
● The method of studying books is not taught orally, and must not be refined. The big thing is to approach the ancient ink, arrange the interstitial frame, take care of the broken pipe, break the book and break the paper, and have kung fu. bright. Xie Jin", "Learning Calligraphy"
● First learn between the frame, the ancients called the knot also; the shoulder frame is clear, then learn to use the pen. The shelf can see the stone stele, and it is necessary to use the pen to make the original. clear. Feng Ban's "Blunt Book"
●The method of linchi: no outer knot, with a pen. The work of the knot is in the learning power, and the magic of the pen is related to the spirit. Gou Fei read more ancient books, more ancient stickers, integrated in the chest, not easy to command Ruyi also. Can be like the autumn eagle Bo rabbit, blue and empty, eyes full of light, with the method of the pen to get it! clear. Zhu He Tang 〈Linchi Heart Solution〉
● Therefore, the study book has no intention, like the children of the old family, but follow the rules and regulations, and warm up for life. clear. Qian Yong's "Book Studies"
● Scholars, who know the skill of using the pen, must especially look at the ancient stickers, arrange the structure, be dense between the lines, take care of the ups and downs, are becoming clumsy, and all of them are silent in their hearts, so that when they write, there is no point and one painting, not self-posted, and then they can start a family. clear. Feng Wu's "Calligraphy is Turning"
● Former senior government public knows: Those who have not yet established a family in the book should be related to the ancient stickers, no matter what the stickers are, they are enough to model my pen strength. clear. Liang Zhangju "Learning Characters"
● To learn books, you must follow the steps of the ancients, do not rely on the people of the times. To learn from the ancients, we must obtain their bones, and do not look at them. clear. Liang Wei 'Ping Shu Sticker》
● Whoever comes to the ancient book must be calm and patient, and have its own effect for a long time, and must not stop at a shallow taste, and see the difference and move. clear. Liang Zhangju "Learning Characters"
● Take the law from above, only get from the middle, everyone says it. However, in the highest realm under the heavens, everyone wants to reach it, but not everyone can reach it. clear. Zhou Xinglian"Linchi Pipe See"
● Shi Huyun: The study of books must be a person who has received the true works of the past, and can carefully look at the method of repetition of his strokes, if you only look at the stele, you can only get calligraphy and painting, and you will not see the spirit of his brushwork, and finally improve in the south. Southern song dynasty. Chen Que 's Negative Xuan Ye Lu'
● Stone carvings cannot be learned, but self-books make people carve them, and they are no longer their own books, so they must be viewed in the true works, but they are interesting. Northern song dynasty. Mi Fu's "Famous Sayings of Haiyue";
● Therefore, those who get famous traces know at a glance what is home, and those who are attributed to their own family throughout the text, the true deeds are also. Looking at the book of why the family, carefully seek those who have not seen the law of the predecessors learned by the family, imitate the book. clear. Bao Shichen's "An Wu Treatise"
● Copy the book from time to time, you can get the shape. It is necessary to take more ancient books and look at them carefully, so that they can be immersed in the gods, but they are in a wonderful place. But the mind is not mixed, but the way into God. Northern song dynasty. Huang Tingjian's Treatise on the Book
● Whoever comes to the ancients will always ask for its resemblance, peel it off for a long time, and take the appearance of the gods. clear. Wang Shu's "On the Book of Teng Language"
● Every time you practice a sticker, you will make the penmanship chapter penetrate into the liver, and after each change, you will make your heart feel like there is no previous sticker. Accumulation of strength is a long time, accustomed to the quality of the behavior of the various families, the temperament is all running under the wrist, although it is known that the ancient is an apprentice, in fact, it is self-cherishing. clear. Bao Shichen's "Art Boat Double Series"
● Linshu is easy to lose the position of the ancients, and more of the ancient penmanship; Moshu is easy to get the position of the ancients, and more loses the ancient penmanship. Southern song dynasty. Jiang Fu's "Continuation Book Spectrum"
● Beginners are like books, slowly write their posture, busy to lose their rules. advance. Wang Xizhi's Twelve Chapters of the Treatise on the Pen
● When I was studying, I did not look at the script in the spin, and I imitated the painting one by one, but I walked, lived, sat, lay down, played, and studied with my eyes. Over time, there is naturally an enlightenment. Faith and intention to move the pen, do not feel its subtlety, Si for good learning. Southern song dynasty. Chen Que 's Negative Xuan Ye Lu'
● And the beauty of a food, only to feast on its day, if you look at it and realize it, it will be moistened for life. Tang Dynasty. Zhang Huaiguan's Treatise on the Six-Body Book
● To learn the books of the ancients, it is necessary to obtain their divine bones, bold strength, lifeblood, and not to look like disciples and not to seek deeply. clear. Liang Wei's Treatise on The Study of Books
● Copying and employing labor is the main point of learning books, but it is necessary to first ask for the meaning of the ancients, then use the pen, and then look like a line. clear. Zhu Luzhen's "Essentials for Learning Books"
● Do not mud the ancient law, do not cling to their own opinions, but only live. clear. Zheng Banqiao
● Copying the ancients is not in the opposite, but in the gods, the eyes are knotted, spotless, similar but not similar, inconceivable. bright. Shen Hao (Painting Dust)
● Since the transport in Fugu, Lingu must have me. When the two are combined, they are both beautiful, and if they are separated, they hurt the spirit. clear. Wang Shu (On the Book of Teng)
● Although my book is not very good, it is self-innovative, and it is not practiced by the ancients, which is a fast one. Northern song dynasty. Su Shi (On the Book)
● The study book must come from the ancient stickers word by word, otherwise there is no book. Early detachment, must be the rules, the first sect family, profound. Following the beauty, the change is fervent. Si did not hide his temperament and opened his own door. clear. Liang Wei's Treatise on The Study of Books
● Whoever imitates must concentrate on one family, and then use the overview of each family to speculate, naturally eating in the chest and mastering under the wrist. Long-term vision, high interest, gathering the crowd to think that they have, to get to the group situation. clear. Zhu He Tang 〈Linchi Heart Solution〉
● To learn the books of the ancients, we must first specialize in one. As for the letter and the stylus, it is all-encompassing, and then it can be eclectic, and it can be submerged in the multitude, and it must not be a family of its own, and it will be like it, only for this family, and it will waste all its efforts. clear. Wang Shu (On the Book of Teng)
● If you keep it alone and copy it, you will have a habit for a long time, or even not far away. Gou can know that its drawbacks cannot last long, so it is self-written and spirit-opening, with the rules of the ancients, opening up its own life, not attacking and not following the rules, but naturally entering the voice, you can imitate the ancients, that is, you can pass on the future generations without a locust: and then become a portal for me. clear. Shen Zongqian (Mustard Boat Paintings)
● Learn only one family, and learn nothing but to be a slave to others; the leaders of the crowd belong to me, and Si is Dacheng. "The Essence of Hanlin"
● The study book must be near the Tang Tablet, when it reaches the extreme key, and then returns to the Jin people, then the shen yun has its own backbone, otherwise it is round and soft, and it is written as a weak word. clear. Liang Wei's Treatise on The Study of Books
● Those who study books today should take the Tang Tablets as their ancestors. There are many Tang people, short, long, fat and thin, each with a second realm; the Song people have fewer categories, Cai, Su, Huang, rice, and all have hair defects. Scholars must know also. clear. Qian Yong's "Walking in the Garden"
● The old Takumoto and Takuma essence are fat and thin, and the spirit is sufficient, and it is important to write the law, the pen is not legal, even if the ink of the ancients is not there. clear. Liang Wei's Treatise on The Study of Books
● The ancients did not learn to copy the books, zhang guren books in the wall, look into the gods, then the next pen with the will. The study book is complete, and the oxygen in the heart is not tacky, and then it can be done, showing people a trick. Huang Tingjian of the Northern Song Dynasty
● Therefore, there must be a law in learning, and there is no body in the form of success, and if you want to explore its mysteries, you must first know its door. There are those who know their doors and do not know their secrets, and there are those who do not know their own laws and have their abilities. Tang Dynasty. Zhang Huaihuan's Treatise on the Six-Body Book
● The nearby people do not know their own strength, specializing in the near body, it can be said that the number of classics forget the ancestors, and they can stand on their own feet! clear. Fan Gongmian's "Outline of Calligraphy"
● In modern times, it is not necessary to learn from the ancients, but to abandon the Tao of fate, to remember the name, or to learn not to support, smell and widowhood, resulting in success and waste of spirit. Self-non-Taoist inspiration, do not learn to be new to the present, and learn books to be ancient and simple. clear. Fan Gongmian's "Outline of Calligraphy"
● In recent times, scholars have studied many modern books, but have not studied ancient books, and they have a good attitude and a weak temperament, but when they merge with the ancients, they will not feel it; it is not enough for the ancient people to have a similar scale without passing on the law of the people's hearts. surname. Zhou Xingji's "Floating Collection"
● Learn half and sprinkle half, and not learn all; unless you want to be perfect, you can't be complete, and you don't have to be all. clear. Zheng Banqiao;
● Scholars are more important than cautious, and should not be deceived by the ancients. clear. Wu Dexuan's Essay on the Book of the First Moon Building
● The unkind scholar, that is, the sage learns from the excesses, so it is hidden in one song. Those who study "Lan Ting" in this world, more so. Northern song dynasty. Huang Tingjian's Treatise on the Book
● The origin of the ancients' penmanship, its most different, the most consistent. Li Beihaiyun: I am sick. Seeking the same in different places, not seeking similarities, and those who are similar are sick. clear. Yun Shouping's "OuXiangguan Painting"
● At the time of the next pen, if you imitate the ancients, you will have less spirit; if you do not work hard, you will not get rid of the common disease. All the nobles are proficient in it, and the heart and hands are corresponding, and the Si is beautiful. Southern song dynasty. Jiang Fu's "Continuation Book Spectrum"
● Force to the place of composure and pain, in order to take the god of the ancients, if you blindly imitate the ancient law, and feel that the carving is too much, you must take off the imitation of the path, out of the machine shaft, gradually mature, is to create plain, so that the ancient law is good at the end of the pen, and then pass on the gods. clear. Song Cao's "Calligraphy Covenant"
● Copy the ancients, eat the ancients, and start a family alone. bright. Li Liufang
● If you cling to stereotypes and are stuck in your chest, you will not be able to participate in the use of the living method, although you can participate in the living method, it will also have a certain difficult situation. Unrestrained and abrupt, not beyond the scope, the so-called division of the ancient and not the mud in the ancient, then get it. clear. Zhu Hetang "Linchi Heart Solution"
● Writing a book must be advocated by oneself, but it is not without learning from the ancients; it is necessary to look at the real handwriting, but it is not not not to learn the inscription. clear. Feng Ban 〈Blunt Yin Shu Shu Zhi〉
● Can talk to Stow! Eastern jin. Wei Shuo's "Pen Array"
● The ancients had a saying; learning from others became the old people, and they became realistic from the beginning of their own family. Northern song dynasty. Huang Tingjian's Treatise on the Book
● Six points of study; one temperament, two talents, three dharmas, four copying, five hard work, and six knowledge. Sixth, we must have everything to start a family. clear. Zhu Luzhen's "Essentials for Learning Books"
● Writing a book to give play to their own spirit, the first Mo sent people under the fence, where copying each family, but stealing its pen, irregular shape also. In recent times, every time he has visited a house, he has stopped imitating his strokes; as for the intention of entering the mind, he does not understand it at all. It is necessary to know that there is an end to those who are like it, and there are infinite those who appreciate the taste of God. clear. Zhu Hetang "Linchi Heart Solution"
● Therefore, Si Weng has the saying that "false seeds are circulated and swept away", and he is the most meritorious beginner. If you have already entered the court, you should know: instead of passing away, it is better to live than to live. clear. Zhu Hetang "Linchi Heart Solution"
● Calligraphy has no secrets, only pen and knot ear. The use of the pen has been passed down recently, and the ancient method of knotting characters has been exhausted. Changing the ancient law must have a place to win over the ancients, and they do not know the ancients, but it is really not a book to say that they do not take the ancient law. clear. Feng Ban's "Blunt Book"
● If the distribution is less clear, that is, the thinking is clever, the use is not familiar, it wants to be strange, it is not learned to go and learn the trend first. bright. Xiang Mu's Calligraphy Yayan
● Those who can read books, only have to figure out the numbers, and they become their own. Without him, concentrate for a long time, understand his use of pen, ink and the method of knotting, for the mainland to use the ear. clear. Zhu Hetang "Linchi Heart Solution"
● Whoever learns books can get one of them, and can pass through the rest... Northern song dynasty. Ouyang Xiu's "Test Pen"
● When learning to write in italics as a teenager, it was the first level of hand. clear. Liang Wei's Treatise on The Study of Books
● All writers must be familiar with The Wei and Jin books, and they will be able to do so in their hearts and gain the brushwork of the ancients. If you want to learn cursive writing, you must be authentic, know the pen to the back, then know cursive calligraphy, cursive is not difficult to work. Northern song dynasty. Huang Tingjian's Treatise on the Book
● Those who are good at writing in ancient times must first write the law, and gradually as far as the grass is practiced, they will not deviate from the right. surname. Ouyang Xiu's Collected Writings of Ouyang Wenzhong
● To learn the book, it must first be written in italics, and the writing must be preceded by large characters, and the book is completed, but it is written in cursive. Those who learn cursive calligraphy first learn the chapter grass, know the history of the side, and then change into a grass sage. Those who learn the seal must also write in letters, and if they are familiar with the front, they will be easy to force. Those who learn eight points first learn the seal, the seal is both familiar, and the square learns the eight points, which has an ancient meaning. bright. Fengfang "Learning Calligraphy"
● Whoever learns to write, first learn to write... If you are a beginner, first read a big book, not from an early age. advance. Wei Shuo's "Pen Array"
● The size of the ancient sticker font is quite different. For example, the old man with the young grandson, the length is uneven, and the affection is really persistent, and the pain and itch are related. Qing Bao Shichen's "Book of An Wu"
● The beginning and contraction of the book must be vigorously frustrated, the penmanship is acquired, and more Pro Tang pastes are attached to strict its structure. clear. Liang Wei's Treatise on The Study of Books
● If the temperament is thin, the physique is not large, the academic ability is limited; if the talent is inferior, it is limited to learning, and it is not easy to get started; if the law is not possible, the years are accumulated in vain, and the effort is in vain; if the work is shallow, the strokes are sparse and it is difficult to achieve in the end; if there is little copying, there is no teacher, and the posture is coarse; if the knowledge is short, it wanders in the present and the ancient, and there is no prejudice in the chest. clear. Zhu Luzhen's "Essentials for Learning Books"
● For the first time, you don't have to spend a lot of ink. Take the ancient Tuoshan book and play it carefully and look at it well, both complex, back to paste and ask for it. Learn and think, think and learn, if there is a situation in your heart, and then hold it closed and chase it... clear. Song Cao's "Calligraphy Covenant"
● The calligraphy is prepared in the main book, overflowing into the grass. If you fail to write the book, but you can practice the grass, you have not tasted the zhuang language, and if you let it go, there is no way. Northern song dynasty. Su Shi's Treatise on the Book
● Xu Changyun: Or ask the magic of calligraphy, how can it be ancient? The magic is in the writing, so that it is smooth and smooth, and it is not restrictive; secondly, to understand the Fa, it must be taught orally, and it must not be excessive. The so-called penmanship is also, secondly, in the arrangement, not slow and not crossed, and the coincidence is appropriate; secondly, it is reasonable to be sensible and consistent with the rules; secondly, the paper and pen are excellent. The five are ready, and then they can qi the ancients. Tang Dynasty. Cai Xi's "Treatise on the Book of Law"
● When you first learn a word, you can't make up your mind, think of the word first, and it is intended to be in front of the pen. Correct his hands and feet once, learn the situation twice, make it like the book three times, add it moistly four times, and pull it out every time five times, so that it is silent. advance. Wang Xizhi's "Theory of Gestures"
● If you study the general schools, then the words are clumsy, the pen is more wrong, when the continuous one is broken, when the broken one is reversed, the back is not recognized, the end is not known, the conversion is not realized, the pen is used at will, the pen is given shape, the mistake is reversed, and the opposite is a novelty. Southern song dynasty. Jiang Fu's "Continuation Book Spectrum"
● Beginners must be organized, and they will have something to do, and they will seek advice because of the image. In the end, when you meet, you will do nothing, and you will be proud and forgetful. Therefore, the image knows the mind, the image cannot be found, and the heart cannot be separated. bright. Xiang Mu's Calligraphy Yayan
● The lady's work book must be taught by the teacher. It is necessary to first know the test situation, but it can be added to the work; if the merit is clear, it is delayed; if it is delayed, it is not tied; it is necessary to be restrained and dead, and it is perversion; the purpose of perversion lies in the struggle; the reason for the struggle is to be different; the change of the abnormal form is not drowned; the desolation is gone, and the spirit is brilliant; the brilliance is almost as subtle, and there is no way to escape. Tang Dynasty. Zhang Huaijuan's "Jade Hall Forbidden Scriptures"
Third, the form and god depend on each other / the artistic conception is important
● The shape of the person, his form also; the god, its radiance also. surname. Yuan Wen
● The shape, the texture of God; the god, the use of form. If it is, the form is called its quality, and the divine sound is used; the form and the god must not be different. Southern dynasties. Fan Zhen's "TheOry of Divine Annihilation"
● God is also form, and action is God. If it is the form that exists, the god exists, and the form shoots the god destroys. Southern dynasties. Fan Zhen's "TheOry of Divine Annihilation"
● The god is outside the form, but the form is in the spirit. The shape is not vivid, and its loss is the plate; the shape of the life is similar, and its loss is sparse. Therefore, it is necessary to ask God to be outside the shape, and to take business in the shape. bright. Inexpensive
● Take the shape of the meaning, do not ask for anything. Therefore, to gain its form, it means to overflow into form; if it is lost, what is the meaning of the cloud? bright. Wang Lu
● The key to learning books is to take only God, and qi is better, if the image is physical, although it is similar but there is no spirit, it is the ear of the person who does not know the book. surname. Cai Xiang's Collected Writings of Cai Zhong, a scholar of the Song Duan Ming Temple,
● The heart of the book, advocating cloth calculation, imaginative cutting, intended at the end of the pen, the unseen phase; the phase of the book, the twist and turn, the majesty of the spirit, the pen at will, both the heart of the form. bright. Xiang Mu's Calligraphy Yayan
● The word fu takes the spirit as the spirit, and if the god is not as good, there is no attitude; the heart is the bone, and if the heart is not firm, then the word is not strong; with the vice hair as the cortex, if the vice is not round, then the word is not warm. God, the use of the heart also. Tang Dynasty. Li Shimin's "Finger Intention"
● The wonderful way of the book is the first, the form and quality are secondary, and the one who is both can be reduced to the ancients. Southern dynasties. Wang Sengqian "Pen Meaning Praise"
● Therefore, the mysterious way of the book must be possessed by Divine Encounters, and must not be strived for; cleverness must be realized in the heart, and cannot be seen. clear. Feng Wu's "Pen Essence"
● It has a point and a painting, the mood is longitudinal, the middle of Yanya, there is more than enough, the knot is beautiful, similar to vivid, far-reaching, like a god, with the unexpected as the measure, the wonder of the book is also. Tang Dynasty. Zhang Huaijuan's "Commentary on The Medicine stone"
● For the body of a book, it must enter its form, if it sits in shape, if it flies, if it comes and goes, if it lies down, if it is sad, if it eats wood leaves, if it is a sword, if it is a strong bow, if it is a strong bow, if it is water and fire, if it is cloudy, if it is sun and moon, if there is a mirror in the vertical and horizontal, it can be called a book. Eastern han dynasty. Cai Yong's "Nine Potentials"
● Books are born in nature, nature is standing, yin and yang are born. Yin and yang are both born and formed. Eastern han dynasty. Cai Yong's "Stone Chamber Divine Gesture"
● The ancients wrote books, saw the rules at the liaison office, and saw the mood at the spilled place. clear. Zhou Xinglian"Linchi Pipe See"
● To the chicks, short and long, there are like husbands loyal subjects resisting the directness of the festival of the Lord; the moment is turning, but the secret is sparse, there is like the heart of the husband filial piety to accept the caution and final thinking of the long-distance; the yao quality contains the chapter, or soft or rigid, and there is like the husband and the philosopher's line of knowledge and retreat. Tang Dynasty. Zhang Huaihuan's "Book Break"
● The husband's heart is in harmony with the qi, and the qi is in the heart; God, the use of the heart, the heart will be quiet. Tang Dynasty. Li Shimin's "Finger Intention"
● Forming knots, the shape is not as good as the brushwork, and the brushwork is not as good as the weather. "Hanlin Dialect"
● To make the pen fall on the paper, the spirit can rush into it, and the qi rhymes outside. It seems to be raw and mature, the circle is smooth, then the pen has a pen, and the pen has no trace. clear. Hua Lin's Secret of the Southern Sect
● Therefore, there is a penmanship and vivid feelings, and there is ink and liveliness. clear. Ding Gao's "Secret of Photography"
● Gaifa is higher than the intention of the use of the law, the intention is higher than the intention of the law, and the intention is to correct its deity to the Faye. clear. Liu Xizai's "Art Overview"
● Wind god, one beard is of high character, two is good at teaching Fagu, three is good at paper and pencil, four is dangerous, five is clever, six is moist, seven is suitable for the back, and eight is new. Then the natural elders are like the handsome people, the short ones are like the tough ones, the thin ones are like the yamazawa people, the fat ones are like the sons of Guiyou, the strong ones are like the takers, the beauties are like beautiful women, the oblique ones are like drunken immortals, and the duankai are like sages. Southern song dynasty. Jiang Fu's "Continuation Book Spectrum"
● If the word fu takes God as the essence, if the god does not know, then the word has no attitude; with the heart as the bone, if the heart is not firm, then the word has no strength; with the side hair as the skin, if the face is not round, then the word is not warm and moist. Tang Dynasty. Li Shimin's "Penmanship Tips"
● Meritorious and asexual, the spirit is not born; the sex is reactive, the spirit is unreal. "Hanlin Dialect"
● Calligraphy is only in the word clever, clumsy is straightforward and indistinct. bright. Dong Qichang's "Essay on Painting Zen Room"
● Machine, legendary spirit, fun, legendary wind. Less than these two things, it is like a clay man and earth horse, which has a raw form and no lifting. Li Yu's "Casual Love Doll"
● The so-called divine product is also written by my god. bright. Understand Qichang's "Painting Zen Essay"
● Academic knowledge is based on learning immortals, the bell god is the highest, the bell is this, and the bell shape is this.
● Books are expensive, and God has the difference between me and God and his body. Whoever enters his body, I become the ancient one, and the one who enters my God, the ancient becomes me. clear. Liu Xizai's "Art Overview"
● The wonder of calligraphy and painting, when the gods will meet, it is difficult to seek the form of the instrument. surname. Shen Kuo's "Mengxi Pen Talk"
● The true inside, the god moves outside, is so gui zhen also. "Zhuangzi"
● However, the wise people have no end, the law is not fixed, and the wind god bone qi is the top, and the beauty artist is the lower. Tang Dynasty. Zhang Huaihuan's "Book Art"
● The overall situation of the book is mainly based on qi; the words have flesh and bones, and the qi is filled with qi, and the spirit is out. Yao with the middle of the rhyme is issued in ink, some in the author, some in the intention, some in the unintentional. Originated in the unintentional, the law is second to the intention, the pen is second, and it is sent under the ink. clear. Zhang Geng
● The outline of the point, the god of oneself, the god of man. clear. Ding Gao's "Secret Tips for Photography"
● Meaning, innate, the book of the book also; like, the day after tomorrow, the use of the book also. clear. Liu Xizai's "Art Overview"
● Writing should be familiar with the hand, the spirit is complete and has a afterglow, and it is a pleasure to be quiet. Song Sushi's "Dongpo Inscription"
● Do not seek similarity, it is the subliminal creation and travel to the heavens; the neighbor only seeks the form, and the desire to be similar is so far away. clear. Yun Shouping's "OuXiangguan Painting"
● The book should be solid and empty, but it should be hollowed out in fact, and there is no one who can leave the paper without penetrating the paper.
● Books should be small-minded and bold. In the micro-organization and words, the large ones are majestic outside the words. clear. Liu Xizai's "Art Overview"
● Pen and ink together, the intention is the top. clear. Wang Yuanqi
● Mysterious meaning, out of the surface of things; deep reason, crouched between the investigation and meditation; what is common sense can be said, what the world's wisdom can measure. There is no unique hearing, unique vision, no silent sound, no invisible phase. Tang Dynasty. Zhang Huaihuan's "Book Art"
● Yang qi is bright and huabi stands, yin qi is large and wind is born. advance. Wang Xizhi's "Shu Tiantai Zizhen Teaching Brushwork"
● There is a pen and ink to say the painting, there is a rhyme of interesting pen and ink, a dashing and flowing rhyme, and it is interesting to become poor. clear. Yun Shouping's Ouxiangguan Painting Zen
● The bottom of the pen is deep and beautiful, naturally has the charm, and has the atmosphere of the book. clear. Jiang Ji's "Passing on the Mystery"
● The qi has a clear and thick thickness, and the grid has high and low elegance. clear. Liu Xizai's "Art Overview"
● The book is still clear and thick, and the thickness must be based on the heart. Otherwise, the book, although spared from thin turbidity, is only a portrayal for others. clear. Liu Xizai's "Art Overview"
● When the ancients talked about the wonders of poetry, they must be calm and happy. But the same is true of books, which are calm but not painful, and they are fat and lack of charm; if they are painful and not composed, they are sloppy and the law is swept away. bright. Fengfang "Book Tips"
● The pen and ink are smooth and the meaning is super ancient. clear. Wu Calendar
● Servant: The text is a simple way to count the words, and the book has seen its heart in one word. Those who want to know the mystery, the first sight, the long-cherished treasure, although the book has been hidden, and the heart is extremely followed, and the lover is still loved, it is for the wonderful. Tang Dynasty. Zhang Huaihuan's "On Words"
● Calligraphy is difficult to match.... clear. Zuo Yinsheng's "Book Style"
● Fu Hanmo and the most wonderful people in the article have a deep meaning to see his aspirations. Tang Dynasty. Zhang Huaihuan's "Book Discussion"
● Sinkers, the next pen does not float, carved into the paper also; fireflies, such as lonely moon flowing days, no clouds also; clear, not thin and cold also; fat, there are also clear qi, in the ancient paste and get it. "Three Tastes of Calligraphy"
● Facing the unpredictable water, making people clear, and climbing the mountain of Wanling is naturally far away. Tang Dynasty. Zhang Huaihuan's "Book Break"
● Where books are expensive, they are interesting... bright. Sun Wenrong's "Calligraphy and Painting Inscription"
● I am good at nurturing my mighty spirit. Warring States Mencius. Gongsun Ugly On
● Where the book is discussed, morale is the first. If the femininity, the soldier's temperament, the village qi, the city qi, the craftsman's qi, the corrupt qi, the squid qi, the herring qi, the jianghu qi, the door politeness, the wine and flesh qi, the sparse bamboo gas, all the morale of the abandonment. clear. Liu Xizai's "Art Overview"
● Pen and ink can be known, and the heavenly machine is unknowable; the rules can be obtained, and the qi rhyme cannot be obtained. clear. Yun Shouping's Ouxiangguan Painting
● The heart of the book, advocating cloth calculation, imaginative tailoring, intended to be at the end of the pen, and the invisible phase. The appearance of the book, the twists and turns, the majesty of the spirit, the pen at will, both the heart of the form. bright. Xiang Mu's Calligraphy Yayan
● Whoever has the form of a thing, he who has his form, not as much as his power; if he has his momentum, he who has not gained his rhyme; he who has his rhyme, not as much as his nature. bright. Li Rihua
● Book originated in nature [Han Cai Yong]
● Silent sound, invisible phase [Don Zhang Huaiwan]
● Learning books can be far-reaching [Tang Zhang Yanyuan]
● Mysterious meaning, out of the surface of the material class; the deep reason, crouched between the underworld; the common sense can say, the world's wisdom can predict [Tang Zhang Huaihuan]
● Or to send a long-term ambition, or to rely on the nostalgia of the knot. Although the most expensive can not suppress its high, although the magic calculation can not measure its strength [Tang Zhang Huaihuan]
● Words should not be rewritten, and words should not be passed on randomly
● Writing is like a picture dog, the more ugly it is
● Words are afraid to practice, horses are afraid to ride
● Word without 100 days
● Punches must be fought, and words must be practiced
● The word should be bone grid, the flesh must be wrapped, the tendon must be hidden meat, and the thesis is Xiu Runsheng arrangement [Song Mi Fu]
● One point into one word rule, one word is the final rule [Tang Sun Guoting]
● Pen bald thousand pipes, ink grinding ten thousand ingots [Song Su Shi]
● Lead the pen to struggle, if the Honghu flies high, Miao Miao Fei [Jin Wei Heng]
● Graceful as a silver hook, drifting like a frightened luan [Jin Suojing]
● Floating clouds, like a frightening dragon [Jin Shu Theory]
● Dragon Jumping Heavenly Gate, Tiger Lying Fengge [Southern and Northern Dynasties, Xiao Yan]
● Yunhe Travels in the Sky, Qunhong Plays the Sea [Southern and Northern Dynasties, Xiao Yan]
● Long Wei Hu Zhen, Sword Rattling [Southern and Northern Dynasties, Yuan Ang]
● The body image is outstanding, different from the present and the ancient. Falling Pearl Jade, Fluttering Wisp Group [Tang Zhang Huaihuan]
● Like a breeze out of the sleeve, the bright moon into the heart [Tang Li Sizhen]
● The dragon and snake in the pen seem to have a god [Tang Zhang Huaihuan]
● Stroke of the pen like a cloud of smoke [Tang Du Fu]
● Always see the dragon and snake walking [Tang Li Bai]
● If you teach the waterfront, the word is afraid of Jackie Chan [Tang Hanyu]
4. Treatise on calligraphy by famous calligraphers
● Sun Guoting: Beginners are distributed, but seek to be straight.
● Xiang Mu: The book has three precepts; the distribution of beginners, the uneven knowledge of the rules, the abstinence of not living and stagnating; the final ability to be proficient, the abstinence of madness and vulgarity.
● Wang Xizhi: The situation of the word should not be wide and narrow, so the weight is not commensurate. The cloth is white, far and near should be even, up and down, natural and stable.
● Yan Zhenqing: If you want to write a book, first anticipate the glyph, arrange it to make it stable, or accidentally generate a body, so that there is a different potential, it is a coincidence.
● Ouyang Inquiry: Beginners, first establish a general body, horizontally and straightly placed, treat Bu Bai, so as to ensure that they are even.
● Wang Xizhi: The cloth is white in the interval, and it is advisable to be equal near and far.
● Jiang He: There are three pieces of cloth white; this cloth white in the word, the cloth white between the lines of the word-by-word cloth white. Beginners must stop the distribution; if you know that the stop is even, you will seek change, and the oblique and positive are densely staggered.
● Chen Xuan: The sparse place is full, the secret place is full, the secret place is flying; the flat place is full, the dangerous place is flying; the fat is full, and the flying is thin.
● Wang Xizhi: Point painting evenly, far and near, sowing cloth research, harmonizing pen and ink; sharp fibers, dense and attached.
● Xiang Mu: Man is in the book, handy, and has a thousand forms but is neutralized. Fat. It's just skinny. If the book should be long and short, light and heavy should be balanced, yin and yang should be appropriate, rigid and soft should be mutually beneficial, and the judasian theory is not fat or thin. Not long or short for the beauty also.
● Zhang Huaihuan: Leaning back; saying two words and one word, you must ask for dot painting up and down and leaning up and down.
● Wang Xizhi: The two words are integrated into one, heavy should not be long, single should not be small, complex should not be large, dense is better than sparse, short is better than long.
● Lady Wei: Dot paintings are like peaks falling stones, bumps are like collapses; horizontal paintings are like thousands of miles of clouds, faintly actually tangible; vertical paintings are like long live dry vines; skimming paintings are like land broken rhinoceros elephants; paintings are like crashing waves and thundering; oblique hooks are like hundreds of crossbow hairs; horizontal folds are like strong crossbow knots; each word is like its shape, si made wonderful, and the calligraphy is complete.
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