Calligraphy is relatively mysterious among the ancients, and this mystery is mainly reflected in the inheritance of brushwork. And this kind of secret penmanship is generally spread among famous and prestigious families and dignitaries, and it is difficult for the commoner class to have the opportunity to get taught!
There are books to prove it! Zhang Yanyuan's "Essential Records of the Book of Law" says:
"Cai Yong was passed on by the gods and people, by Cui Yu and his daughter Wen Ji, by Wen Ji by Zhong Xuan, by Lady Wei by Lady Wei, by Wang Xizhi by Lady Wei, by Wang Xizhi by Wang Xianzhi, by Wang Xianzhi by Wang Xian, by Yang Xian,by Yang Xin by Wang Xian, by Xiao Ziyun by Xiao Ziyun, by Xiao Ziyun by Xiao Ziyun, by Yu Shinan by Zhiyong, by Ouyang from Shinan, by Lu Kamzhi by Inquiry, by Nephew Yanyuan by Yanyuan, by Li Yangbing by Xu, by Xu, by, by Yang, by Xu, by, by, and by All twenty."
Zhang Yanyuan said that Cai Yong had been taught penmanship by the gods in the Stone Chamber of Mount Song, which was obviously mysterious. The relationship between these people, either master and apprentice, or relatives, or ministers who are officials of the same dynasty, most of whom are relatives, shows that outsiders cannot get it and hear about it, thus adding to this mysterious feeling.
Wang Xi's second thanks
In the last article, we talked about some simple penmanship rules, many friends read it and think that it is pretentious and profound, writing is writing, where is it so complicated?
In fact, any art has two dimensions of technology and art, and when it reaches a height in technology, it can make a breakthrough in art. One of the lowest technical thresholds is penmanship! Learning calligraphy without knowing how to write is like playing the piano without knowing the chess score, playing chess without understanding the rules, and composing poetry without understanding the same.
When learning calligraphy, many people pick up a copy of the poster and start copying it, thinking that they copied it very similarly, and thought they had succeeded. In fact, if we do not understand the copying of the rules of penmanship, we can only call it "copying", which is actually writing, which is very different from calligraphy itself.
So is the "secret of untransmission" really so mysterious? In fact, it is a layer of window paper, which is broken when poked.
The mystery of these brushwork has many embodiments in the ancient people's book theory, the Song people's previous book theory is more mysterious, the writing is mysterious and mysterious, and it is difficult for ordinary people to understand. When it came to Su Dongpo and Huang Tingjian in the Song Dynasty, the book theory began to become a little more grounded, this is because the words of the Song Dynasty (Su Huang Mi Cai) were more popular in the Song Dynasty, and the entire class of scholars and doctors rushed to copy, and it was under the guidance of this atmosphere that the mystery of the brushwork began to fade away!
Taking Huang Tingjian as an example, we look at a passage of his book, and from this book, we can appreciate the wonderful use of brushwork!
If the study book is correct, it is embarrassed by the law; the side pen is taken from the side, often working left and sick right. The ancients made "Orchid Pavilion Preface" and "Confucius Temple Stele", all made a light ink copy, covering the ancients with a pen, returning to the wrist. If the ink is deep, but the pen is in the ear. Nowadays, however, people see that the deep ink book is sharp, so they imitate the old pen, and they do not know that the predecessors also had sharp edges at the beginning of the book, and this is not passed on.
The heart can turn the wrist, the hand can turn the pen, and the words are as satisfactory as the person. Ancient artificial books are no different, but they can be used with pen ears.
If the study is correct, it is embarrassed by the law;
This passage is saying that people who write too much and are upright are often limited to the Dhamma. This is not to say that the writing is not good, but a stage problem. Sun Guoting's "Book Genealogy" Yun: "As if it were a beginner's study, but seek peace and integrity; if you know that you are peaceful, you must pursue danger; you can be dangerous." Back to square one. ”
What is said is that there can be no law, but it cannot be bound by the law, otherwise it is difficult to get out. In the tide of Shangyi calligraphy in the Song Dynasty, it is not very clever to be able to write correctly. The reason why Cai Xiang, who is equally famous as Mi Fu, is that he is so famous is precisely because he is confined by Fadu and is too rigid.
The side pen takes Yan, often working left and sick right.
Anyone with a little knowledge of calligraphy can understand the meaning of flanking, but it is difficult to understand the word "Yan" in calligraphy. Why does the word written by the flanker have the characteristic of "Yan"? This is not easy to say clearly, this sentence is actually to understand the magic of the center of the wing, only to understand when to use the center, when to use the wing, the penmanship is basically half understood!
Here are some examples:
In the picture, Wang Xizhi's part of the word with a circle is all used as a flanking, and Huang Tingjian's "work left and sick right" is actually not a good grasp of the relationship between the center and the side, and the left and right are not our current left and right, but the two aspects of the opposite, which may be the relationship between the upper and lower, the relationship between the left and the right, or the relationship between the front and the back.
Look at a word written by Mi Fu, through the magic of the center and flanker, you can also write beautifully!
When the ancients wrote with a flank, there is generally no such jagged flanking phenomenon as a beginner, which is what the master does, and the beginner is writing because the direction of the pen is not right, the strength is uneven, it is easy to appear the situation of the virtual pen, which is what Huang Tingjian said about "working left and sick right".
The ancients made "Orchid Pavilion Preface" and "Confucius Temple Stele", all made a light ink copy, covering the ancients with a pen, returning to the wrist. If the ink is deep, but the pen is in the ear. Nowadays, however, people see that the deep ink book is sharp, so they imitate the old pen, and they do not know that the predecessors also had sharp edges at the beginning of the book, and this is not passed on.
These three sentences are about the method of reading the post, why did the ancients make a light ink book when they were posting? This is to write with light ink, where the strokes overlap, you can see the stroke path, you can see the hidden trend of the stroke, if you directly use deep ink to learn, then the trajectory of the pen is difficult to see clearly!
For example, "Orchid Pavilion Preface", because the authentic handwriting is no longer there, the current "Orchid Pavilion Preface" is filled in by the ancients with the method of double hook ink filling, so in the place where the brushwork overlaps, we can't see it. If we can see the original text in the original color, we will be amazed by the magic of the ancients' use of the pen!
Take a look at the following example:
This is Su Dongpo's character, where the circle is drawn, if you look closely, you can see some changes in brushwork, this change is reflected in the overlapping changes of ink colors, and in these overlapping places, you can see the twists and turns at a glance. Through these subtle analyses, your penmanship can be matured and comfortable.
If we look at the double hook filled in ink in the "Orchid Pavilion Preface", or the words written in thick ink, it is not easy to appreciate the changes here.
The twists and turns in this word are not easy to distinguish through the word itself. Among them, Huang Tingjian's "back to the wrist residual potential" refers to the "up" and "close" in the basic strokes. When you close the pen, you don't simply stop, but there is a kind of recycling posture, which refers to an action of returning to the wrist through the gesture of the pen.
This corresponds to the brushwork we talked about earlier, that is, "turning, turning, mentioning, pressing, starting, and closing". Each of these strokes does not exist in isolation, stroke after stroke, the pen is coherent, do not break!
Nowadays, however, people see that the deep ink book is sharp, so they imitate the old pen, and they do not know that the predecessors also had sharp edges at the beginning of the book, and this is not passed on.
What is said here is not excessive. In the ancients, it is very difficult to get a copy of the original handwriting, there is no such developed photocopying technology as today, in ancient times to get a celebrity poster, not a high-ranking official and noble and can not! Without the observation of the real works, there is no way to appreciate the magic of the ancients' use of the pen. The so-called "non-transmission" is about this truth.
On the other hand, people nowadays learn words, generally only seek to write words like, do not understand the basic penmanship rules, only pay attention to glyphs, in fact, this is blind death learning.
The heart can turn the wrist, the hand can turn the pen, and the words are as satisfactory as the person. Ancient artificial books are no different, but they can be used with pen ears
This is a very high realm, when using the pen, the hand turns as you like, everything is satisfactory. It is necessary to observe and appreciate the magic of the ancients' use of the pen for a long time, and when it is gradually used for one's own purposes, you will be able to understand it.
At the beginning of the copying and learning, we must grasp the laws of each stroke, the turning point of each stroke is up and down, and it must be when each stroke is secretly in line with the ancients, so that after years, it is used for its own use, in order to be able to write freely and not exceed the rules.
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