Tian Shi's writing of Ou Kai has always been criticized for not writing Ou Kai's danger, and therefore it is said that Tian Shi Kai is only a word written with a brush, and cannot be counted as a calligraphy art.
Regarding Ou Kai's danger, Tian Yingzhang also famously said: "I want to ask, you, ask yourself!" Do you really understand the danger of Ouyang Inquiry? It's hard to tell where he's in danger, he just feels like he's in danger. You can't say exactly where to say it. ”
Also because of this passage, some people say that he himself can't see the danger of Ouyang Que, so he writes "fill" Kai, perhaps Tian Yingzhang really can't see and can't point out Ou Kai's danger, then where is Ou Kai's danger?
Ou Kai's danger can only be seen in the form of danger, mainly reflected in the knot body, take the words in the "Jiucheng Gong Liquan Ming" to make an analysis.
The first "nine" character, if in accordance with the ordinary principle of "striving for fairness", should be made so that the vertical hook is not higher than the lowest point of the skimming. Just like Tian Kai's "nine" character, it is stable and stable, and there is nothing wrong with it. However, Ouyang Que's vertical curved hook was higher than the skimming, and even so, the whole word did not have the feeling of turning to the left. On the contrary, the vertical bending hook has a kind of "upside-down pine near the valley", and the vertical trend is combined into two wings, like a phoenix spreading its wings to fly, like a fairyland.
This method of knotting was written by Ouyang Qian in his "Thirty-Six Laws", the original text of which is: "Pick (扌+ 窕) (tiǎo): The situation of the word, there are those who must pick (扌 + 窕) (tiǎo) such as "Ge", "弋", "Wu", "nine", "Qi", etc.; also such as "獻", "encouragement", "scatter", "break", the left side is many, must be the right side (扌 + 窕) (tiǎo), such as "province", "hot", etc., the upper deviation must be the lower side (扌 + 窕) (tiǎo) and the like, so that the phase is called good. "The words on the side need to use the method of picking (扌 + 窕) (tiǎo) to achieve a dynamic equilibrium.
Some people say that the "danger" of the European body is to "lame normal people and then walk away on crutches." Such a statement seems to be a little reasonable, but in fact, it misunderstands Ouyang's method. It is better to regard the danger as a high-altitude acrobatics, but the danger does not have the defect of "lame".
Careful people found that Yan Zhenqing's letter did not have such a danger! How can it be counted as a model of calligraphy? And Tian Kai was criticized?
Tian Yingzhang interpreted Ou Kai's danger as an invisible "feeling", which is not unreasonable. The feeling of danger is also the "brilliance" and "danger" of calligraphy, which is a style of calligraphy, which is the second dangerous place of Ou Kai, and it is also the place where Tian Yingzhang said that it cannot be "truly understood".
If you don't understand it, it doesn't mean you don't have it. It is these feelings of "not being able to understand" that make calligraphy, making writing change from everyday use to culture and art. What supports these "feelings" is the "potential" written down by Cai Yong, the originator of calligraphy theory, who called the seal book "seal potential" and the lishu "lishi". Cai Yong recorded nine methods of the production of "potential", and in his "Nine Potentials", the "dangerous" mentioned above is also one of the "Nine Potentials".
With the "potential" of the text is not only written, but sublimated into calligraphy, Yan Kai is no exception. Yan Kai's pen has nine postures, hiding the head and protecting the tail, the force is in the word, the pen is skimming the pen, the rapid momentum is astringent, and there are many of them.
To tell the truth, Tian Yingzhang's Xiao Kai is much better than Da Kai. It is because he inadvertently uses the "nine potentials" when writing small characters. It may be because the scope of the need to control is large, and those who hide their heads and tails, turn their pens and brushes, are mostly drawn. Don't say that Yan Zhenqing doesn't paint like this, and the object of his study, Ouyang Qing, doesn't paint like this.
In Tian Yingzhang's view, Ouyang Que can be dangerous, and he himself can also "pingzheng" their respective styles. The same appearance and different "feelings" are the best proof of "learning and changing". But, as he himself said, "pingzheng" is not just visible horizontal and vertical, upright. Rather, it is "smooth and stable" reflected between the lines, which is a peaceful and orthodox atmosphere. Like Yan Zhenqing's modesty, Yu Shinan's dignified elegance.
This state of writing in Tian Kai, in the current love of books, abounds. When they understand the meaning of "house leak marks" and grasp the writing principles of "nine potentials", they may be able to avoid it.