Like concepts such as the wrist and the center forward, the frequent occurrence of ti press in the literature was later than that of the Song Dynasty. The promotion of the method of mentioning is likely to be related to the posture of writing on the desk. Most researchers believe that the posture of writing on paper has gone through a long historical period, which has been repeatedly present in images since the Han Dynasty, and even in the images of the eighth century, we can still see the scene of Jingsheng holding a scroll and writing the scriptures, although the images show that he already has table-like furniture as a basis.
However, after the common use of tables and chairs in the middle and late Tang Dynasty, the paper book was gradually replaced by the pendulum book. The Qing Dynasty drew a diagram of the "stirrup method" and wrote it vertically; The Tang Dynasty "Pen Drawing" introduced to Japan by The Air Sea is an oblique image. The two are in stark contrast.
In the era of simple (paper) books, left and right rotation is the most labor-saving method of using the pen, and in the era of the case book, the press is undoubtedly the most labor-saving.
When writing, the brush is perpendicular to the desktop, so that the upper and lower presses gradually become a convenient method of expressing thickness and frustration, and the press is gradually merged with the center, the wrist, etc., to show the strength of writing, such as the Yuanren Hu Zhishi "Answer Zi Zhao Gift Pen" Has a cloud: "Slim circle sees ethics, and the arrogance is arrogant." The ups and downs should be proposed, and the setbacks are more robust. ”
The requirements for strength go hand in hand with the expansion of single words, and Wang Duo, Ni Yuanlu and others in the late Ming Dynasty are extremely skilled in using the method of mentioning the law. As Zheng Zhuo observed, "The small characters and inches of the husband must be pressed on his wrist and used in the palm finger." In the past, the situation is over. There are works of covering the wrist, hanging the wrist, transporting the elbow, and transporting the arm. "Writing large characters above inches, if you use the method of force and turning the finger, there must be great limitations, so the method of palm finger gradually evolved into the method of elbow wrist, and the method of elbow wrist will be difficult to completely rely on skillful force, which makes the press useful."
In the Qing Dynasty, Yang Hao was widely used by scribes. The advantage of yanghao is that the ink is sufficient, suitable for writing large characters, the disadvantage is that it is soft and the waist is insufficient, if you use the method of twisting the tube with force, it will inevitably be not vibrating, so the press becomes the appropriate alternative method: through the relatively static front adjustment, to straighten out the sharpness, show the thickness of the dot painting, and deal with the conversion of the dot painting.
Kang Yong's He Mourning "Tang Double Hook Right Army Theben Bao" Yun: "Although (the Book of Wang Xi) only exists, the wind and regulation are there. For example, the word 'even' is pressed in the left corner of the next stroke, the horizontal drawing is gently lifted, the right corner is pressed repeatedly, the turn is slightly missing, and then obliquely flared. Chu Dengshan's law is based on this. ”
He used "heavy pressing and light mention" to make a new interpretation of the "even" character in Wang Xizhi's "Funeral Post" that met the requirements of the moment. However, chu Suiliang's book (such as the "Sacred Order of the Wild Goose Pagoda") was considered by He Mo as the heir of Wang Xi's brushwork because of the large changes in thickness.
Another example is Jiang Heng's view: "Whenever the pen is turned to the shoulder hook, it must be lifted, but the word Teton is connected to the impact, and if it is less late, it will commit the disease of shoulder disconnection." Although he advocates the method of mentioning the press, he also requires that the moment of the press must be fast, otherwise it will be "disjointed", which shows that he also pays attention to the importance of the "node" that embodies the connection of the dot painting. Xu Yongxi's "Record of Character Learning arrows" said: "The use of calligraphy, lifting and pressing, between light and heavy, the reason for breathing and frustration is indispensable." To change the pen, but also to write the pen, the party is a stroke. The writing line must be wrapped around the upper face, the next pen can be rounded and strong, if the pen slips, most of them are in the shape of hanging heads and collapsing wings, there is no wonderful power, and there is no specific situation. ”
This method of writing stroke by stroke is completely contrary to Wang Zi's "straight down" method, and the reason why he is worried about "smooth and slippery" is actually related to the use of sheep.
In the late Qing Dynasty, Liu Xizai also discussed the ti press from a dialectical point of view, holding that the mention should be pressed, and the "Art Overview" volume five clouds: "The scribe Yu Ti press has a combination of the two words and is not separated, so he uses the pen to be heavy and must be flying, and the pen is light and must be pressed, so that he can avoid falling and drifting."
He realized that the lifting of the press may bring about the disadvantages of "floating" and "falling", that is, the thickness of the dot painting lacks transition, so the thickness of the heavy press is strong and the details of the thread are frivolous, but the method he proposes to solve the problem is difficult to be operable.
Since the revitalization of the stele school, the "astringency" that embodies the strength - the resistance in the process of writing - has become one of the most important pursuits of calligraphy, in addition to the requirements of the center and the Tibetan front, the press is also an important means of using the pen. Although Bao Shichen did not discuss it specifically, the Yao Match he admired discussed it in detail.
The "Yizhou Shuangyi" appends Yao's "Treatise on the Rhyme of Hedongpo": "Please make the words turn to the square, according to the level and quite." The ink withered and the glory was returned, and the exhibition was entangled. Zhu Yun: "Words have flesh and bones, and they are filled with qi, and the spirit is out." If you don't press it, the blood will not melt, if you don't mention it, the muscles will not be strong, if you don't flat, the meat will be uneven, and if it is not quite, the bone will not be strong. The circle is lifted, out of the flat, is for the twist; Fang ze is flat, out to press the mention, is for the flip. Knowing that the twisting and turning over will not dry up the ink and will not wrap itself at all. Yao claimed that his explanation was to make the true diagnosis of the ancients, the secret of the ancients.
Here, the mention, press, side, and flat form a correspondence with the tendons, blood, bone, and flesh of the word, and the lift must be combined with the positive side to truly understand the "turn" in calligraphy. Although these interpretations are all for large characters and have nothing to do with the techniques of the Jin and Tang dynasties, the Qing attempted to establish a link between their discourse and the tradition of calligraphy, thus having legitimacy.
As the most important promoter of late Qing dynasty epigraphy, Kang Youwei also advocated the magic of calligraphy, all in the operation of pens. What he calls the pen is the lifting press: "The square uses the dun pen, and the circle uses the lifting pen." The pen is included, and the pen is extended. The one who contains it is strong, and the one who expands it is strong. The law of the seal of the container is also the law of the outsider, and the law of the outsider is also subordinate. He linked the pens that were older than the Two Kings' present body, such as Ti Press, Yuan Fang, and Seal Li (based on the Inscription Stone Book, not the Handwritten Script), thus gaining greater legitimacy.
At the same time, under the pen of Kang Youwei, a calligrapher who is good at lifting and pressing the button, although he uses soft sheep millimeters, can still swing into the wind: "Carry the pen with the wrist, if you want to lift the pen, you will not get up, and if you want to put pen, you will be paved." Sudden setbacks are full of posture, pen fighting, flesh and blood are satisfied, running like the wind, strong and easy. "It seems that the wind god of calligraphy lies in the luck of the wrist and the setback. In this way, "lifting" becomes the whole of the pen. At this point, the law of the two kings' palm fingers was completely replaced by the law of mentioning and became a new tradition.
This article is excerpted from Chinese Calligraphy
Original title: "The Second King Uses the Pen without "Lifting""
Author: Xue Longchun
Transferred from: Calligraphy Pro Thep gang
Source: French Italian
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