Lesson 06 Horizontal and Vertical Gesture "Two"
2. The gesture of the horizontal pen of the word "Yong"
Moving on to the lesson, let's take a look at the gesture of the horizontal pen of the word "Yong". There are two horizontal characters in the word "Yong": one is the second "Le", and the other is the fifth "Policy". In fact, the seventh stroke can also be converted into horizontal writing, and this question will be discussed in the future.
2.1 Characteristics of horizontal pens in the Eight Laws of Yongzi
First, let's talk about the characteristics of the horizontal pen in the eight laws of the "Yong" character, that is, the characteristics of "Le" and "Policy".
Let's compare these two gestures, in the "Yong" character eight methods, the "Leshi" direction is flat, and the "Strategist" direction is upward. Some people may not write Le flat, but may also write as an upward strategy.
Tomonaga, Makusa Senji sentences
For example, the word "Yong" in Zhiyong's "True Grass Thousand Character Text", Le and Ce are both upward, and the two strokes are repeated.
Wang Xizhi's "Orchid Pavilion Preface"
However, the word "Yong" in Wang Xizhi's "Orchid Pavilion Preface", the second stroke is flat, which is different from the fifth stroke strategy. But you see Wang Xizhi's two strokes, both use the flanking, "Le" did not use the sharp edge.
The eight laws of the "Yong" character are to set a norm, of course, it does not stipulate that the two strokes of "Le" and "Ce" are exactly the same, and they must be placed flat and upward, and the two strokes are different.
Moreover, the "Yong" character eight law stipulates that the two pen methods are also different, "Le" is to stipulate the use of the blade, that is, the use of sharp edges, stipulating "to draw stones with a cone", the pen barrel is vertical. The "policy" stipulates the use of a flanking and a back pen upwards, that is, the three positions are sideways upwards. Therefore, the two horizontal pens stipulated in the Eight Laws of the Word "Yong" are very specific and very meticulous.
The "Le" and "Ce" of the Eight Laws of the Word "Yong" are different from those written by Zhiyong and also different from those written by Wang Xizhi, and Cui Miao's statement that Zhang Xu's "Eight Laws of Initiation" is to reinterpret and stipulate the eight laws of the word "Yong", which is credible. Zhang Xu did not simply take a ready-made "Yong" character from Wang Xizhi or Zhiyong, but made a distinction between the two horizontal strokes, which everyone should understand.
2.2 The name of the horizontal line
There are three basic gestures in the vertical, and if we turn these three lines around, that is the basic gesture of the horizontal. The middle one is flat, and the lower line is written as left-right wrist movements. The upper line wrist action is right-left.
"Guan Zhong Xuan Calligraphy Twelve Meanings" Liang Wu Emperor Xiao Yan
■ flat, also known as horizontal. ■ straight, longitudinal also.
Emperor Wu of Liang's "Twelve Meanings of Guan Zhong Shu Calligraphy" said: "Ping, mean Heng Ye. Straight, straight." Straightness is the characteristic of vertical and horizontal, "flat" is no high or low, "straight" is not curved.
As I said last time, these two names are already in the seal book. But don't get me wrong, if you do write "horizontal and vertical", it's a bit of a problem.
Why? Because the real "horizontal and vertical" can only appear in the seal book and the lily book.
This is a few words of Li Si's "Carved Stone on the Mountain", you see it is really horizontal, vertical and vertical, in line with the description of straight.
Han "Monument of Kong Zhou"
Lishu inherits the seal book, and the vertical and horizontal lines often have the characteristics of straightness, such as the words of the Han "Kong Zhou Stele", and the horizontal and vertical are placed according to the straight.
Let's compare, you weigh, you weigh, you use the word "three", basically flat stripe.
But in the true cursive, even the more regular real books will not write "three" as three flat lines. If you look at the "three" characters in Liu Gongquan's "Xuan Secret Pagoda", none of them are horizontal.
In the Yin Rune Sutra, if the upper two horizontal lines are relatively flat, the third horizontal line will use an arc to break the straightness. Because the author knows that if the third horizontal line is written again, it will be very fatal.
As I said before, Wang Xizhi's "Preface to the Orchid Pavilion" has a total of seven "one" characters, is there any horizontal level? None. For people who shake their wrists with a pen, it is not easy to write horizontal lines. If you look at Wang Xizhi's words, the horizontal pen is all oblique upwards.
In the entire Wang Xizhi "Orchid Pavilion Preface", it is really not easy to find a horizontal level. Wang Xizhi's "Orchid Pavilion Preface" this "sheng" character,
There are not only upward horizontal, but also downward horizontal, and the movement of the upper and lower horizontal pens is just opposite, they are not horizontal lines.
Wen Zhengming's "Poems of You Huqiu"
The horizontal pen also has a battle like the vertical pen house leak marks, you see Wen Zhengming's "You Hu Qiu Poem" in the "one" word, that is, the wrist left and right with two back and forth. The reason is that we use the wrist to write the line, the wrist is shaken, the line is of course high and low, it is uneven.
The three lines of the vertical pen are Nu, longitudinal and wrapped, what is the name of the horizontal pen?
The upper one is covered, the lower one is leaned, and both of these are moving the wrist back and forth. The middle line is a flat line, known in ancient times as horizontal. In fact, from the perspective of gestures, horizontal should be called "flat", vertical should be called "straight", there is no problem in the seal, in the real cursive is actually uneven and not straight, so I still use "vertical" and "horizontal" to call these two lines to avoid misunderstanding.
In a system like Wang Xizhi's wrist-shaking line writing, it is a normal phenomenon that the horizontal and vertical lines are not straight. Reading the post to see the line should have a sensitivity, such as the word "quantity" of Zhiyong, the vertical one below is wrapped, not straight, and all its horizontal is upward. The middle vertical of the word "water" is a leak in the house, and the "strategy" is actually "leaning up".
"Twelve Meanings of Zhang Changshi's Brushwork" is the most Yan Zhenqing
■ Nai Yue: 'Fu Ping is horizontal, and the son knows it?'
■ Servant Si said to him: "Taste the long history of the Nine Zhangs, so that every flat painting must have a vertical and horizontal image." Isn't that what it means?"
■ Nagashi Nai smiled and said, "Yes."
There is a previous article "Twelve Meanings of Zhang Changshi's Brushwork", and some scholars have examined the work of Yan Zhenqing, who said that Yan Zhenqing went to see his teacher Zhang Xu to ask for penmanship, and Zhang Xu asked Yan Zhenqing: "Nai Yue: 'Fu Ping is horizontal, and the son knows it?'" [This is Zhang Xu asking Yan Zhenqing's words, "Ping is horizontal, how do you understand?"] The servant si said, "Taste the nine long histories, so that every painting must be like a horizontal image." Isn't that what it means?" [Servant, is the color of the true Qing self-proclaimed.] He replied that although writing a horizontal is called flat, it is not actually a real flat, and there must be multiple images in calligraphy, so that the horizontal can be beautiful. Nagashi smiled and said, "Yes." [Teacher Zhang smiled and said, "Yes."] 〕
The central meaning of this dialogue is that although "flat is horizontal", in the true cursive, we must "have an image in vertical and horizontal", which is to give life to the line, and the life of the line comes from the movement of the wrist, and the movement of the wrist is to reflect our heart. Don't forget.
2.3 "Oblique drawing tight knots" and "flat drawing wide knots"
Third, this brings us to "obliquely painting tight knots" and "flat painting wide knots". You see these two words, Wang Xizhi's horizontal is oblique, "Zhushan Tang Lian sentence" is the color, and the horizontal painting is flat.
Wang Xizhi also has flat paintings, but they are very short, such as the short horizontal in the middle of the word "day" is relatively flat. If the horizontal drawing is long, it is all upward. This feature is called "oblique painting tight knot", and the so-called "tight knot" refers to the tight knot and has a center.
Chu Suiliang's Yin Rune Sutra
The same is true of the Yin Rune Sutra, are there any horizontal lines for these two words? Not a single one. The author's wrist-shaking pen is the same as Wang Xizhi's.
Mi Fu once commented on Tang Dynasty calligraphy:
The Book of Haiyue Treatise, Song Mi Fu
■ The eight sides of the word, only the true kane sees it, and the size is divided. Zhiyong has eight sides, and has less bells [Zhong Xuan] method. Ding Daohu, Ou [Ouyang Inquiry], Yu [Yu Shinan] pen began to be even, and the ancient law died.
After Zhiyong, he began to level out with a pen, which was a little different from Wei Jin.
Yan Zhenqing's "Records of the Immortal Altar of Magu"
By the middle of the Tang Dynasty, there was a color Zhenqing, who was a student of Zhang Xu, and in his early years he also painted obliquely all the way. In his later years, he changed the method and changed Wang Xizhi's "oblique painting tight knot" to "flat painting wide knot" to create color. In fact, it is a real book using the seal book method, so there are more flat lines of color.
This course of mine is to explain Wang Xizhi's system, which is mainly based on "oblique painting tight knots", and in the future, the special topics will also talk about the "flat painting of wide knots" of the jaw body.
The two kinds of characters I recommend, Zhiyong's "True Grass Thousand Character Text" and "Yin Rune Classic", have characteristics in pen and knotted characters, and you can also experience the evolution from Zhiyong to Tang Kai. I hope that everyone will not change the post casually, each post has its own background and characteristics, without in-depth research, it is inappropriate to change the post casually.
2.4 The potential of the horizontal pen
Fourth, the transformation of the horizontal pen. The eight dots of the "Yong" character eight methods, the No. 3 position strategy, the 6 position Leshi, the 7th position sweeping and pecking potential, the 8th position Nushi, the No. 9 position Brick potential. The three directions of 1, 2, and 4 are left to the 钏趯, the "Yong" character itself, which is the No. 1 or 4 position, and the other words such as the "B" of the Ju, are thrown out to the No. 2 position. The point is a shortening of the horizontal and vertical skimming, which I do not mark here.
You can see that the basic walking direction of the pen edge, the eight methods of the "yong" character have been included, and the space for a single gesture to make a new gesture is not large.
For example, in the Yuan Dynasty Li Puguang's "Xue'an Character Essentials" said:
"Xue'an Character Essentials" Yuan Li Puguang
■ "Tiger's Tooth" is only one,
■ Sharp objects such as "golden cone".
Li Puguang gave a new name to the "strategy" of the eight laws of the "Yong" character, called "Tiger Tooth", and then "Tiger Tooth" made a new gesture called "Golden Cone". The "golden cone" is a very sharp strategy.
This makes us know that in Li Puguang's mind, the tiger's teeth are not sharp enough, so there must be a metal awl, so there are two gestures.
In the Qing Dynasty Ge Shouzhi's book "General Explanation of Han Dynasty Calligraphy", there is a more detailed explanation:
"General Explanation of Han Dynasty Calligraphy" Qing Ge Shouzhi
■ The method of tiger teeth is used next to "gold" and "king (yù)". The power is expensive and slow, do not make it light and thin, then the words are empty.
Here's how to explain the tiger tooth, and then explain the golden cone:
■ The method of the golden cone is used for the use of the golden cone, the argon, etc. Strength is precious and vigorous, do not make the slow, slow is the word of the knot does not work.
I put this tiger tooth potential and the golden cone potential together, so that I can see it more clearly.
For example, the words "needle" and "zhen", one is next to the golden word, the other is next to the jade word, and the red color of the arrow is the tiger tooth potential.
The word "hit" is next to the handle, the word "river" is next to the three-point water, and the yellow color of the arrow is what they call the golden cone.
According to Ge Shouzhi's explanation, the tiger's tooth potential is "force is expensive and slow", and the golden cone potential is "power and strength", what is this discussing?
This "strategy" is the trend of the pen to the third position, and whether you are frustrated with the pen and broken tail, or the tip of the pen, or the round tail of the pen, no matter what you are "slow" and "vigorous", the direction of the big circle has not changed at all. Therefore, the new gestures made in this way are meaningless, and they are the same as the original.
"The Forbidden Scriptures of the Jade Hall and the Strange Trend of Lefa"
For example, in the "Jade Hall Forbidden Scriptures", there is a section on "Lefa Strange Potential", which introduces the four transformations of the horizontal pen. It should be noted that these strange forces are not mentioned, and should be supplemented by others.
If you are interested in reading this article, you should pay special attention to the fact that before these four different trends, there were originally small pictures with new gestures, which must have been handwritten in the Tang Dynasty, but after successive generations of engraving, all the figures have become one, and the second horizontal has actually become a vertical. So we can only see the text description now, and the pattern will have to be guessed.
The first kind of scale, the article says:
"Yutang Forbidden Scriptures Lefa Strange Potential" Tang Zhang Huaihuan
■ This name scale le. Among the scales, there is a strategy for the upward strategy, and although the harvest is cloudy, there is no mango, and the mangjiao is lost. ......
In the eight laws of the word "Yong", there was originally "Le", which was flattened, and here it is said that "Scale Le" is "the potential to exist and look up". That is to write the policy in the way of scales.
The second says:
■ This name is "Taking Advantage". The Fa yi does not look up to the strategy and scales, but takes the ancient strength and withers, and does not seek quan profits, then it is wonderful. ......
This kind does not need to look up and scale, not to look up is not to raise the horizon, not to scale is not to use the sharp edge, then it must be a horizontal drawing written with a flank. "Iridium" is sharp, the flank is broken, of course not sharp.
It should be noted that "borrowing" is not a special term, and there are "borrowing potentials" in both "policy variation potential" and "leaning on different potentials", which shows that "borrowing potential" is not a new gesture.
In short, what do the above two heterogeneous forces mean? In the Eight Laws of the Word "Yong", the "Leshi" horizon was originally written with a sharp edge, but now he said that it can also be written with a flank. Originally, the strategy was written with a flanking, but now he has added a sharp scale.
If you look at this table, these two anomalies are exchanged with a pen. The big circle is to discuss the trend of the pen, and these two trends are still the same and have not changed.
It is as if in the Yin Rune Sutra, the middle of this "lower" word is "Nushi", and this Nu is written very thickly, and at a glance, you can know that it is written by the flanking three-point pen. The other word "Xiu", this vertical is also "NuShi", this Nu is obviously sharp, but it is exactly the same as the Nu of the "lower" character.
These two nu, we say that the big circle is the same, but the pen is different, so that they do not need to be divided into two gestures, two names.
In the third type of the Jade Hall Forbidden Scriptures, he says:
■ This name is grass, the law is a dangerous strategy, and the front is only flying.
Here we say "risk strategy", that is, the upward angle is very large. "Shortcuts" are written in flanks. Do you remember that you should use a back pen to write a strategy? It is written with the side behind the brush, so it must be a flanking setback. As for what he said about "sharp dew flying", it is about the kind of golden cone.
The fourth of the Jade Hall Forbidden Scriptures also says:
■ This name "flat cloth", ordinary is not available also.
It's completely flat, flat with a pen, and the comment is "mundane", warning you not to do this. But this is an "unavailable" gesture, so it has no practical value.
Qing Zhang Yuzhao
Like this Zhang Yuzhao of the Qing Dynasty, his characters are horizontal and vertical and straight, and there are many flat lines, which some people appreciate, and I have a little reservation.
Let me summarize: the individual gestures mentioned above are not formal gestures.
The sixth direction is horizontal, which is the horizontal of the flat trend. The flat position is written as an action, and if the arc is written with two actions, it is the overburden and the upward trend. This is the same as the principle of vertical pen nu, vertical and wrapped. The upward momentum is shortened to be a two-way point. The direction of the third position is the strategic position, whether it is long or short, the sharp tail and round tail, in short, the large circle is the third position, that is the strategic position.
Key points from this section:
■ Oblique painting tight knot and flat painting wide knot.
■ Position 3: Strategize.
■ Number 6 horizontal: flat, overturned and upward.
Review Thinking:
■ After the Song Dynasty, some people believed that the "Le" in the Eight Laws of the Word "Yong" should be written as a cover, "medium and high, two ends down". What do you think?
■ Wang Xizhi's "oblique paintings are tightly knotted", do these oblique paintings count the horizontal good of the sixth position, or the strategy of the third position?