Humble calligraphy often involves some resistance in writing, which is what Zheng Qiao of the Song Dynasty called "secluded". Zheng Qiao has the thesis that "the seal is secluded, and the seal is skillful and clumsy". "Tong" mainly refers to the writing is relatively smooth and flowing, there is no resistance; "secluded" is the opposite of "tong", which refers to the writing with some awkwardness, and a little resistance is added to the smoothness. The corners of the seal book are all written with a circular turning pen method ("there is no turning"), which is relatively smooth to write; while humble calligraphy often involves some resistance in writing, which is what Zheng Qiao of the Song Dynasty called "seclusion".
The corners of the seal book are all written smoothly by the circular turning pen method ("there is no turning" and the corner of the book is split into two strokes connected ("there is no turn"), which has a certain resistance. The seal book uses a circle to turn, and the writing is very harmonious and flowing, which can be said to be a kind of "trick"; the two strokes in the corner of the book are connected, which is a little more obstructive and appears to be a bit clumsy. Therefore, it is said that "the seal is clumsy". The reason why the seal is clever lies in its "passing", and the reason why the subordination is clumsy lies in its "remoteness".
Zheng Qiao used the Li fa as a real book, that is, he wanted to add a little clumsiness to the writing of the script. Blind smoothness is contrary to the law of "moderation", and the inclusion of a little clumsiness in writing can often avoid the drawbacks brought about by blind smoothness.
In order to achieve this kind of seclusion in writing, it is better to write slowly than to be sick. Therefore, compared with other styles of calligraphy, humble calligraphy is often relatively slow to write. "Xuanhe Book Genealogy" Taste: Wang Shengqian also said: "(Kong) Lin's book is natural and unique, and it has great pen power. Cover its cultivation and extravagance, shame is clumsy, so the pen end is smooth, fast and healthy if it does not freeze in the object. ”
This can reflect that clumsy calligraphy tends to be a little sluggish in writing. "Late" and "clumsy" are rejected by Kong Lin, which shows that chi and clumsiness have a certain degree of closeness. Kong Linzhi's calligraphy is "smooth at the end of the pen, and the fast keys are not stuck in the object", which is a very different style from clumsiness. Kong Linzhi's calligraphy is not perfect, largely because he is fast and clumsy.
Of course, it is easy to be clumsy, but the clumsiness also has a certain degree. When the delay is excessive, it is easy to produce clumsy abuses and become "clumsy and blunt".
Although humble calligraphy is a little sluggish in the process of writing, it is still spontaneous and free. Gong (qiao) calligraphy needs to be arranged rigorously, when writing, dot painting, structure, chapter law often need to be arranged, so the writing state is relatively rigid; and clumsy calligraphy is often more casual and natural when writing, the degree of freedom and arbitrariness are relatively higher, so the writing state can also be relatively spontaneous.
Of course, this kind of casual freedom of clumsiness must be involved in the "secluded" component, otherwise it is easy to evolve into other styles. Zheng Yu said:
He saw that the ancient body was gradually closing in, and the situation seemed to be clumsy. "And what kind of restraint, not for me?" "Knowing that the character has an ancient law and is based on the law, it is very clever, and it is clumsy and lost."
"The ancient body is gradually closing in, and the situation seems to be clumsy", which is actually not arrogant to the law, and does not wantonly exert the law to the extreme. The place of the wave is not wanton, but slightly gradually retracted, causing a certain obstruction, showing a certain seclusion, so it can achieve clumsy interest. This kind of "wave gradually closing" seems to be "confined" in form, but when writing, it should be spontaneous and free, rather than rigidly arranged. The questioner wants to "ride for me," but this is actually a matter of arrogance in the Dhamma, and it is necessary to give full play to the Fa-rectification that has been grasped to the extreme. Of course, his writing style is also spontaneous and free, but it is passable and not secluded, and it is clever and not clumsy, so Zheng Zhuo said that he is "very clever, and clumsy is lost".
In terms of brushwork, humble calligraphy is mostly done by the front. With the pen there are forehand and flanking, and the forehand is also the center. The positive side of the pen is often expressed in form corresponding to the hidden dew of the stroke, the positive edge is more hidden, and the flank is more exposed. The connection between the Tibetan front and the center forward is extremely close, and the Tibetan front is conducive to the center forward's pen. The strokes written by the flankers, their starting and closing strokes are often exposed, showing the style effect of Yanmei. The center forward is regarded as the right pen for calligraphy, and Fengfang says that "the seal is not sideways".
In fact, not only the seal book, but also the ancient characters before the seal book were mostly written in the center, and the same was true for the writing of the oracle bone. Therefore, the so-called "ancient meaning" of the ancients is inseparable from the pen used by the center. Humble and ancient, humble style also relies on the center and hidden front, flank and dew front is easy to take, and difficult to get clumsy.
Zhou Tianqiu's calligraphy is "more clumsy than vulgar, not to fall into ancient meaning", and his pen is "pure use of Tibetan feng". Yue Xi and others said that the "Tang Dynasty Linyi Army Oriental Portrait Praise" "hides strength in the circle, hides cleverness in clumsiness, is more than enough, and the sharp edge is not revealed." "Hidden coincidence in clumsiness" and "sharpness is not revealed" shows the closeness between clumsiness and Hidden Front. Huang Tingjian also said: "The students are reading books, but they are lying down to take Yan, and as for the spirit of the boss, they can drive with Yan Yangfang, but they have not seen it yet."
Yan Zhenqing and Yang Ning's calligraphy is known for its center and Tibetan fronts, while su shi's calligraphy is often based on "lying pen to take Yan" (sleeping pen is also a flanking), so Huang Tingjian said that Su Shi calligraphy is inferior to Yan and Yang in ancient clumsiness ("boss spirit"). The affinity between humble and the center forward (Hidden Front) and the repulsiveness with the Flank (Lu Feng) are more or less known.
Structurally, clumsiness and densification have a strong correlation, and clumsy calligraphy often has the characteristics of sparseness. Wang Shizhen said: "Zhu Jingzhao's "Records of Persuasion of Farmers", "Chibi Fu", and "Preface to the Writings of Thoughts" are either like rate and secret, or clumsy and clever, and believe that the writers are superior. ”
Wang Shizhen put "rate" and "secret" against each other, "rate" is actually sparse, "similar rate and dense" and "like clumsy and clever", which can also reflect the close correlation between sparse and clumsy. Zhao Mengjian also said: "Chu Henan's so-called eight points are ancient and elegant, and everything is still good, even clumsy." Xue Shaobao's hair was more and more chu body, fluttering thoroughly, not returning, almost moving. ”
Chu Suiliang's "eight points" book "sparse" and "clumsy" are combined, Xue Chou is effective, "ancient clumsiness" is not enough, only "relocation". It can be seen that sparseness and clumsiness do have a certain affinity correlation. As Pan Zhixu said, "Shulang" is similar to "Ancient Humility".
The distribution characteristics of the clumsy style in the chapter are also greatly related to the density. The regularity of the spatial distribution of humble calligraphy is not as strong as that of skillful calligraphy. The spatial distribution is uniform, or the dense calligraphy is inseparable from the arrangement, so it is more skillful; while the clumsy calligraphy is more casual and natural, and the spatial distribution of the dense is naturally not very uniform. Hong Shi called the "Langzhong Majiang Stele" "the font is clumsy, and the denseness between the lines is not equal", which refers to the characteristics of the unevenness of the clumsy calligraphy in the chapter.
As far as the relationship between form and god is concerned, the potential and intention both belong to the level of God, and the clumsiness also belongs to the level of god to a large extent, so the related style concepts of the potential and intention levels have a strong correlation with the clumsiness, while the relevant style concepts at the morphological level are not strongly related to the clumsiness. In the case of fat and thin, humble calligraphy can be both fat and thin.
Pan Zhixu's "fang thin" is similar to "ancient clumsiness", and "round fat" and "shimei" are neighbors, which is quite worthy of scrutiny. The thin person is clumsy, and Huang Bosi's impression of the "Seventeen Theses" engraved by Wang's book is "clumsy and thin". However, the clumsy can also be fat, as Mi Fu said in the "History of Books": "Until Li Zong's master text has been long, the scholars have always studied his books, and they are simple and clumsy." ”
Li Zongxuan's calligraphy is a temporary sect, and those who learn his calligraphy are generally "fat and simple", which shows that the clumsy can be fat. There is no strong correlation between clumsiness and fat and thin, and clumsy people can be fat or thin. Another example is Fang Yuan, humble calligraphy can be both square and round.
Undoubtedly, the clumsy can be fang, and the characteristic of the Lishu is "Fang Jin Ancient Clumsiness", Wang Peng said: "The Han people lishu has its own one grid for each stele, and there is no one who is the same." The big thing is to take Fang Jin's ancient clumsiness as the best. Back, "Tang Lin right army Oriental Portrait Praise" also has the comment of "hidden strength in the circle, hidden in the clumsy", Zhu Yunming's "Self-written Poetry Volume" also has the reputation of "still existing ancient clumsiness, round brushwork".
In other words, the clumsy can be round again. Moreover, as far as the font is concerned, it is clumsy and square, and the big seal is clumsy and round. It can be seen that the correlation between humble and square circles is not too strong, and the clumsy can be round.