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Rule 1: Write with dignity and calmness and a focused mind.
Wang Xizhi, a calligrapher of the Jin Dynasty, said: "Everything that is expensive in writing is in peace and stability, first of all, the ingenuity of using the pen." There are down gestures and there are also upward gestures. There are strokes that tend to one side, there are also crooked strokes; there are oblique strokes; and throughout the text, there are small characters and large characters. There are (long) taller words; there are also (shorter) shorter words.
Sun Guoting, a calligraphy theorist of the Tang Dynasty, said: "When I first learned calligraphy, the strokes of the font and the distribution of the font chapters were balanced, but I sought both peace and squareness. ”
Xiang Mu, a calligrapher of the Ming Dynasty, said: "There are three places to pay attention to in calligraphy: when learning to write, we must pay attention to prevent unevenness and inclination, and after continuing to learn, we must know the rules of writing, and we must prevent inflexibility or sluggishness of strokes and fonts." After finally learning proficiency, it is necessary to prevent the strange phenomenon of arbitrary graffiti and unruly tackiness.
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Rule two: the font image is comfortable and smooth up and down.
Wang Xizhi said: "The image and momentum of writing cannot be wide above and narrow below, if such a heavy and light does not match." The blank arrangement between the calligraphy and painting and the words should be symmetrical near and far, and the top and bottom should be appropriate. Naturally it will be smoothed out.
The great calligrapher of the Tang Dynasty, Ouyang Qian, said: "The structure of the character has two parts, the most of which is (but the upper and lower) is centered on the top and the bottom is emphasized. The light ones on the top of the head wear ornaments, such as: stack, police, sound and other words are representative. The book discusses what is said in the "Eight Decisions" as follows: the human body is symmetrical in length, and the proportions of upper and lower are coordinated. And not so light head and tail heavy, head small tail large.
Yan Zhenqing, a calligrapher of the Tang Dynasty, said: "If you want to write, you must first think of the image of the characters in advance, and arrange the strokes to make them smooth and stable, or have an unexpected posture." What makes it strangely beautiful is the clever calligraphy. ”
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Regulation three: the balance of light and important words should be symmetrical on the left and right.
Ouyang Inquiry said: "Those who start learning to write should first make a general image of the characters and comment on the vertical arrangement. For the arrangement of blank spaces between strokes, be sure to be evenly arranged. ”
The Yuan Dynasty calligrapher Chen Xuan once said: "All the words on the side should be narrow and long, so that there is room for the right side." The same is true on the right. Observe their weight so that they are consistent and quite the best. That is to say, the size and weight are very balanced and beautiful. ”
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Rule four: Arrange the blank space evenly to appear refreshing.
Wang Xizhi said: "Assign the interval distance between strokes, arrange the blank space between strokes, between words and words, and between lines, and be evenly spaced near and far." ”
The Qing Dynasty calligrapher Jiang He said: "There are three points in the arrangement of blanks: one is the blankness of the arrangement in the words, the second is the blankness of the arrangement between the words; the third is the blank space between the lines. To begin learning the distribution of writing, it must stop in a uniform place. Knowing that it stops in a uniform place, it requires a little change. Tilted to the flat, distant and close; jagged in between. ”
Ouyang Inquiry said, "There are words that are facing each other, and there are also those that are carried by each other. Each has its own posture, and there can be no mistakes. ”
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Rule Five: Dense and consistent, thin and decent.
Ouyang Inquiry said: "The four sides are evenly arranged, and the eight times they have what they need." Short and long in accordance with the law, (the proportion of tall and short is appropriate), thick and thin calligraphy should be compromised moderately. ”
Wang Xizhi said, "To distribute evenly pointillist paintings, near and far need each other." It is as methodical as sowing seeds when ploughing. Study its fineness, and then reconcile the pen and ink, so that the fine edge of the pen is on the paper, and the density is more consistent. ”
The Ming Dynasty calligrapher Xiang Mu said: "When people write, they are handy and varied, but they are just saying that their temperament is harmonious." And a little fatter, a little thinner. For example, the writing should be high and short, and the weight should be coordinated and balanced. The strokes exposed on the outside and the strokes hidden inside are arranged appropriately. Strong or feminine to cooperate with each other, just like the world's looks, not fat nor thin, not tall nor short, is considered a dignified and beautiful human form! ”
The Qing Dynasty scholar Bao Shichen also said: "The font on the ancient stele is very large and small, like a narrow path and a wide courtyard at the same time. Just like the old man walking with his young grandson with his hands, the height is uneven but the affection is sincere, and the heart is painfully caring. ”
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Rule Six: Writing varies from one line to the next.
Sun Guoting, a calligraphy theorist of the Tang Dynasty, said: "When many strokes are used at the same time, their shapes are different. Many dot paintings are put together, and the postures conflict with each other. (Such as the posture of the four points of water below the steaming word)"
The Sui Dynasty calligrapher Zhi Guo said: "The repetitive strokes should be closer, just like the characters of Lü, Chang, 爻, Jujube (variant), 絲, 羽, etc., should be tighter on the left side and wider on the right." The words Sen, Lei, Miao, etc. should be arranged with the same reasoning.
Zhang Huaihuan, a calligraphy theorist of the Tang Dynasty, said: "Falling on the back with the same direction or carrying each other on the back is two words and one word." It is necessary to ask the pointillist to fall upside down and lean back, and there is a posture of leaving or merging. Like the scales and feathers on a fish, they are connected and arranged in an orderly manner, but they look untidy. That is to say, the scales and feathers of the fish are jagged and neat. ”
Wang Xizhi said: "When two words are combined into one, the repetition should not be too long, the one with the monomorph should not be too small, and the one with the wrapped body should not be too large." Although the strokes are very dense and arranged, they do look better than the sparse strokes. Short words are better than tall words. If you are writing a piece of calligraphy, you must have a difference in the mood of the words and avoid signs of similarity.
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Rule Seven: Manifest in a strange shape
The results of the square should also be commensurate with each other inside and outside
Zhao Miguang, a calligraphy theorist of the Ming Dynasty, said: "If you want to write calligraphy that is used well for inscriptions (signatures), you must first think of a word, according to the needs of the procedure of the text, (genre) and then pick up a pen (pen). When the middle stroke is dropped, the entire layout is conceived. When dropping the left stroke, you should take into account the space on the right side, and pay attention to the layout on the left when you drop the right stroke. It's the same up and down. ”
Dong Qichang, a calligrapher of the Ming Dynasty, said: "Writing must be surprisingly debauched and dashing, often producing fresh font scenery." Complete the orthodox font performance in a novel way, and do not advocate the use of old obsolete stereotypes. ”
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Law Eight: The forms in pictograms in nature, take their brilliance.
When talking about calligraphy, The Jin Dynasty calligrapher Lady Wei said: "Dot painting is like a stone on the top of a peak, and after striking with the mountain stone, it is as if it is about to collapse." The horizontal painting is like a long cloud in the sky, vaguely existing in form. The vertical painting hangs straight down like a dead vine of ten thousand years. Skimming is like a broken rhino horn leaving the rhinoceros. The painting is like a wave of water that breaks apart, hitting and running forward. The oblique hook painting is like pulling open a strong bow for archery with a force of three hundred pounds, such as a bow with spring strength that will fire an arrow. The painting is like a powerful archery bow where the turns meet (tendon joints). Therefore, every word written is like its own form, which is ingenious. This kind of writing is the structure of calligraphy. ”
Cai Yong, a literary scholar and calligrapher at the end of the Eastern Han Dynasty, said: "As the body rhyme of calligraphy, it should be like its form. Such as sitting upright. Such as walking. Like flying. As dynamic. As far away as it is gone. Such as coming back. As lying there. Like standing up. A sad expression. Like a look of joy. Like a bug eating a wooden leaf. Such as long swords and sharp Go-style weapons. Such as strong bows and hard arrows. Like soft water. Like a fire. Clouds like clouds in the sky are like fog on a cloudy day. Such as the sun and the moon. Every place has a horizontal and vertical pictographic posture, which is considered calligraphy! ”
Zhang Huaihuan, a calligrapher of the Tang Dynasty, said: "Those who deeply understand calligraphy only look at its brilliance, and ignore or pay attention to glyphs." ”
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Rule Nine: The font has a tall and dangerous demeanor and is full of vigor.
The calligraphy theorist Jiang Kui of the Southern Song Dynasty said: "To create calligraphy with superb color (style), first, it is necessary to have the high moral character of the calligraphy author himself. Second, it is necessary to study the excellent divine laws and regulations of ancient times. Third, the quality of the paper and pen required is good. Fourth, the structure of the required font is dangerous and powerful. Fifth, it is necessary to have a certain knowledge of calligraphy art. Sixth, the ink color is appropriate and the words written are very moist. Seventh, it is necessary to arrange the strokes that are opposite or carrying each other properly. Eighth, the structure and rules of the necessary words often appear in new meanings. In this way, the natural tall word is a beautiful and neat person. The short man's words are like shrewd and brave people. The thin word looks like the thin appearance (barren) of the water in the ravine. The word fat is like a rich and happy person. Powerful words, like people who practice martial arts. There are delicate and colorful words, like beautiful women. The crooked and slanted characters resemble drunken immortals. Dignified and beautiful words, like people with etiquette cultivation. ”
For example, Zhu Changwen, a calligraphy theorist during the Northern Song Dynasty, commented on the text of the "Jiucheng Gong Liquan Ming" written by Ouyang Qing, saying: "Take the thin and thick intermediate posture, strong and powerful and not yielding." Just like a righteous official enforcing the law, he corrected shortcomings in person (face folding), and dared to argue on the basis of reason in front of the imperial court and directly advise the wrong and right. As for its stippling and precise design, there is no place to increase or decrease! ”
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Rule 10: Unity of calligraphy style, spectacle of chapters.
Zhang Shen, a scholar of the Qing Dynasty, said: "Ancient people wrote, just like composition, with the posture of (orthography) characters, and the calligraphic structure of the combination of all words (chapters). There is a method of forming a whole text. The structure of the whole text must be end to end. ”
The Tang Dynasty calligrapher Sun Guoting said: "The dot painting of a word determines the rules of a word." The writing of one word is the basic tone that determines the whole calligraphy. ”
Mr. Ma Shaobo, a contemporary writer (playwright), said: "Calligraphy must not only have a beautiful image of the strokes of writing, but also have the nobility of the ideological content of the work. ”
Hua Yun, a scholar of calligraphy theory, said: "The rules and regulations of calligraphy are like the formations of soldiers arranged in war, with a strict lineup and a strong tendency. There is a collective concept of victory in the army. In the theory of calligraphy, it is said that there is a charm of the whole text! The whole structure is like the law, and the beauty of calligraphy is like the legal provisions governing the country, with powerful words and reasonable sentences. Hidden majesty and exemplary role, people have a solemn and respectful demeanor.
So there is a model statement. And the combination of its calligraphic connotation and glyphs, its rhyme is like pleasant music, tugging at the heartstrings of the viewer. It has a deep foundation and a moving appeal. The stroke strength of the whole text is like the kung fu of a martial artist, and the foundation is deep and solid. And her flexible beauty, like tai chi, hides the internal force of the essence of the essence, soft on the outside and rigid on the inside. The most important thing is that the fangzheng of the letter reveals the light, without flaws, just like the haojie who shoulders justice, the heart is broad and the spirit will never be exhausted! His works are fresh, like the majestic peaks of spring, and the scenery of the first green is wonderful and spectacular! Vast and boundless, with a strange beauty that people can admire and inspire, this is the artistic world with dignity as a model! ”
The theory of the famous sayings of the ancient script edited above is described as going up and down, and there is rhythm throughout. With a solemn attitude and a straight personality, we express the neat spiritual beauty of calligraphy.