In the Genealogy of Continuing Books, Jiang Kui has a record of Zhai Boshou learning calligraphy: "Zhai Boshou asked Yu Mi Lao yue: 'What should calligraphy be?'" Mi Lao said: "No hanging, no shrinking, no going, no receiving." 'This will be ripe to the ripe, and then it will be able to do so.'
Jiang Kui (1154~1221) was a native of Jiangxi, Southern Song Dynasty, born into a family of official eunuchs. He is more than a hundred years away from the era in which Mi Fu lived (1051~1107), and it should be said that the record of Mi Fu is very reliable, because the theory of calligraphy is talked about in such detail as Mi Fu, only those who have studied calligraphy very much will attach great importance to it, so it has spread to Jiang Fu's ears, and it is also a very accurate theory of Mi Fu.
Mi Fu's words are to say that whether the stroke is Lu Feng or Hidden Feng, you must choose a good adjustment point, also called "selecting points" with a pen.
The position of the pen edge to the "selection point" is to adjust the position of the pen edge, and whether it can write well is very important.
Because of the artistic decorative nature of calligraphy, it is mainly in the two positions of the beginning and closing of the stroke. However, the understanding of calligraphers of past generations has not been so simple.
For example, the Yuan Dynasty calligrapher Dong Neizhi said: "No hanging and no shrinking, that is, straight down the pen, that is, down to the upper, to the middle is hanging and the head is round, also known as the dew, such as the dew of the hanging; "If you just take a vertical painting as an example, it's no problem.
However, the theoretical significance of calligraphy in Mi Fu's sentence is very significant, and we can think that this is a law of calligraphy, so we may as well call it the "law of selecting points".
Therefore, the problem of brushwork referred to by Mi Fu is not a problem of one stroke, but a problem of all strokes.
To be honest, I'm really a little too difficult to put forward the phrase "pick a point" for everyone, because no one has really proposed this word. Nor did I think of anything to connect with mifu's words.
The "syllogism" of calligraphy, that is, starting the pen, writing the pen, and closing the pen. My point is that all strokes are composed of the "syllogism" of starting, writing, and closing, which is the basis of the foundation of calligraphy.
Because there is a method of starting a pen, a method of writing a pen, and a method of closing a pen. In addition to the method of writing without "reverse pen" and "selection of points", there are two methods of entering and out of the pen at the beginning and closing.
For example, there are two methods of opening the pen, lu feng into the pen and hiding the front into the pen, and there are also two kinds of lu feng out and hidden front out of the pen.
So, how to complete the "starting pen" and "closing pen" in the end of the pen and closing pen entry and exit? This has a "point selection" problem, which can also be called "adjustment point", why not call it a forward adjustment point and call it "selection point"? Because the "pick-and-click" description is very accurate.
For example, is one of your "closing pens" out of the front or hidden front? Then the choice of "adjustment point" is not the same, so it is not just a simple problem of adjusting the front.
For example, the two brushstrokes of "hanging dew" and "hanging needles" that everyone talks about have different selection points and "selection points".
Let's look at the second picture: the last vertical stroke of this "Ze" character written by Zhao Mengfu actually used two "selection points" to complete the hanging needle brushwork.
In fact, not only vertical painting has "hanging dew" and "hanging needle", if we analyze the classification of all strokes, whether it is point, horizontal, vertical, skimming, or pinching, whether it is true, grass, affiliation, seal, line, all strokes with a pen in the starting and closing parts, only The two situations of Hidden Feng and Lu Feng.
Either you use the Tibetan front, or you use the Lu feng, choose the correct pen "to adjust the point", which is the key to writing a good stroke, so we call it "selecting the point". This selection must be accurate.
However, we found that because there is a certain distance between our practical operation of calligraphy and theoretical discourse, the phenomenon of "misreading" is often occurring.
If it is misread, then how can this statement of Mi Fu become a "point selection" law? The so-called law is that there are absolute methods and laws, which will become laws.
For example, in the Ming Dynasty Fengfang's "Book Decision", it is understood as follows: "If there is no hanging, no shrinkage, no going, no collection, it is like a leak in the house; the words do not reveal the corners." ”
For example, Zhao Mengfu's hook method has a "Gui angle" at the bottom of the hook, and you say that Zhao Mengfu's penmanship is wrong?
Therefore, due to the lack of theoretical generalization, this is also the reason why modern calligraphers criticize the incomplete generalization of Mi Fu for "no hanging, no shrinking, no receiving".
For another example, Dong Qichang of the Ming Dynasty wrote in "Essay on Painting the Zen Room": "The Book of Mihai Yue, no hanging, no shrinking, no going, no receiving." This eight-character mantra, no such mantra also. Dong Qichang's "no wait mantra" is the meaning of the axiomatic law, but how to operate it accurately? If there is no exact point, it is even more like seeing flowers in the fog.
We're really wronged.
Even Jiang Fu, who recorded this sentence of Mi Fu, also said: "If the intention is exhausted, the hanging needle is used, and the pen meaning must be regenerated before the intention is exhausted, and it is better to use the ear."
In fact, the Tibetan Feng and Lu Feng of the strokes are both "exhausted" and "inexhaustible", because the exhaustion of the intention is an emotional component, and the feelings are pinned on the strokes.
That is to say, whether you are "hanging the needle" or "hanging", you have already done your best. There is no such thing as a unsatisfactory stroke.
With the pen to the "selection point" position, the reason why there is a "shrinking" action is to complete the "starting pen" or "closing the pen" more wonderfully, if there is no "contraction" action, the pen edge will not be adjusted to the "smooth front" state, then the front will have no power.
This is also the reason why the most wonderful places in the calligraphy are in the starting and closing positions. Because in the "selection point" position, the pen edge is the best "center forward" state with the pen freely.
In the Qing Dynasty Liu Xizai's "Outline of books", it is said: "If the pen is everywhere, it must be a reverse word technique." Le Zefeng right pipe left, Nu Zefeng lower pipe up, both are also. However, it is only covertly implied that it is not the case." This explanation by Liu Xizai is very close to what we call the concept of "picking points".
However, the theory of the evolution of Mi Fu's words into a law has not yet been made.
Moreover, as we said earlier, the stroke is completed with a pen, a line of pen, and a closing pen, of which the starting and closing pens can have a reverse pen, but the line pen part generally does not have a "reverse pen".
Later, Mr. Shen Yinmo continued to play Liu Xizai's thought in the "Treatise on Calligraphy", saying: "We know that to be powerful in point painting, the entry and exit of the pen must take the contrarian trend, on the contrary, it can be achieved, so it is necessary to hide the front."
Therefore, Shen Yimo affirmed that Liu Xizai put forward: "If you want to go left first and right, and then return to zuo Yier", he said: "This is consistent with the review of the left and right of the pen, and the self-writer should use the penmanship of no going, no collection, no hanging and no shrinking, which is the reason." This must be the case with seals, affiliations, letters, rows, and grasses."
I very much appreciate Mr. Shen Yimo's further use of pen rules throughout the real, grass, subordinate, seal, and xingshu calligraphy. We also very much appreciate the pen rule of "wanting to go up and down, wanting to be left before right" proposed later.
However, after the "syllogism" of calligraphy was proposed, no further theoretical generalization was made.
The general law of calligraphy brush strokes is to start, line and close, but the specific strokes have their own methods of starting, writing and receiving.
Therefore, when we learn calligraphy, we must learn the specific way of reading and copying the handwriting. For example, Lishu's penmanship, Yan Zhenqing's penmanship, Mi Fu's penmanship and so on.
By learning calligraphy in this way, we can realize the ideal from the place to the taste.
And to write calligraphy well, the stroke is the core, and the specific brushwork of the stroke is how to start the pen, how to line the pen, and how to close the pen.
Especially when starting and closing the pen, we must pay attention to the analysis of the "selection point" of the stroke, which is the development of our scientific development of the "no hanging, no shrinking, no going and no collection" of mi fu.
This also reminds me of Dong Qichang's "mention of pressing" theory.
Dong Qichangdu's theory of "mentioning the press" should also be the classic law of calligraphy, which should be the same thing as Mi Fu's "no hanging, no shrinking, no going, no collection".
However, due to the lack of scientific summary, how to mention it with a pen? How to press? There is no specific standard of operation for this law, and if we use the pen "syllogism" to summarize the theory of mentioning the press, it can be said that there is a specific operability of the mention.
Similarly, if we have the concept of "picking points", we will be able to grasp how to choose the shrinking brushwork.
For example, Dong Qichang's proposal is cumbersome.
He said, "Writing must be written with a pen, and those who know a little about calligraphy know it." However, it is often the hand that wants to be lifted, and the turning point is frustrated by the self-deprecating, and there is no escape. The word escapement is a key to the bookmaker. There is escapement, there is moderation, there is life and death, and the pen is awake; when awake, the bone joints are psychic, and there is no disease of lying on the paper.
The so-called pen first can lift, always start in the air, intended to be the first to write, as soon as it arrives at the paper, it is like a rabbit falling, which is incredible.
When the pen machine arrives, the pen moves, the pen is sharp, and it rises with the upside down, and there is no disease of zombie lying. With the method of the pen, if it is too light, it will float, and if it is too heavy, it will be heed.
Just right. In fact, this is also Dong Qichang's specific practice of "no hanging, no shrinking, no going, no receiving" of Mi Fu.
However, from the perspective of Dong Qichang's copying works, he did not fully understand the scientific laws of brushwork, so his press can ensure that he writes well, which is no problem, but it cannot be guaranteed that he copied accurately, because accurate copying is a scientific interpretation of brushwork.
If Dong Qichang's lifting and Mi Fu's "contraction" are unified in the syllogism of brushwork, then it will be like a tiger's wings for us to learn calligraphy well.
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