In the Ming and Qing Dynasty scholars who took "shang state" as the custom, if observed in glyphs, everyone had a frenzied posture regardless of the grass, such as using a pen to distinguish, the only people who can really be "crazy" are probably Fu Shan and Xu Wei, one is crazy with the pen, and one is crazy in temperament. Obviously, Xu Wei is crazy in "personality", and those who really have a unique view of the theory of calligraphy and still state are the first to recommend Fu Shan.
Fu Shan's technique has changed greatly, and he has a unique thinking about the use of the pen, which is a test of physiological habits, and his use of the pen reflects the control and coercion of the finger and wrist habits everywhere, but it is calm and smooth, without inferiority, which is really exquisite.
Ups and downs and fluency
Fu Shan uses a pen, the round pen is more than the square pen, and the turning pen is more folded, so his words are relatively compared with Wang Duo, and the pen is very smooth, and even the "sliding" on his pen edge can be felt. As I said in the column, when I talked about penmanship, I will turn the pen faster and the rhythm will be smoother. On the contrary, Wang Duo's use of the pen is not unsmooth, but the word ups and downs is more abrupt, and it is a clear and consistent bump, so there is less "oil slippery".
Although it is all continuous cursive writing, the ups and downs and fluency are not a feeling, and the reason is still in the method. Yan characters are mainly based on Dong Qichang Yan Zhenqing as the source, making good use of the meaning of the seal, mostly for the center. The glyph is turned by a center forward everywhere, which requires high wrist strength activity, so it also causes Fu Shan characters to be mostly expanded large characters, unlike Wang Duo, which has a change in size. And Wang Duo takes the method as the second king, cursive writing is seventeen posts and cabinet posts out, so the two kings pen intention is interspersed in various corners, more square pens, more folding pens, the middle side is used together, the fingers and wrists are rotated together, so the size changes, and the even broken is clear.
In my personal learning experience, Linfu Shan Yi ti is extremely laborious, and it takes time to maintain a center forward in the word. Of course, it is not difficult to keep the center of the pen, because this is the basis of cursive writing, but cursive is more changeable, whether it is a change in the shape of the word or a change in posture, can not avoid the rotation of the pen edge in all directions, in the continuous rotation of the pen barrel, it is extremely difficult to control the pen edge in every corner to achieve a rounded taste.
Erwang brushwork is the most physiological feature, the transition ratio is adjusted to a relatively uniform, suitable for the alternating use of wrists and fingers, but after the full rotation, it is necessary to transport the wrist everywhere, and occasionally there are small movements of the fingers, which is easy to produce flanking, which is inevitable, even Fu Shan himself occasionally does it.
In fact, this feeling of writing cursive,
Thick and thin circles
In the whimsical line changes, there are two major difficulties, the first is to rewrite the fold, and the second is to write the thin line. In fact, in Fushan cursive works, many words are not difficult to learn, especially some thick and large characters, because Fushan calligraphy is mainly based on turning pens, and the characteristics of brushes determine that when the pressure is too great, it is not convenient to fold the pen, only convenient to turn the pen, which is a common sense problem, which needs to be carefully discovered, and is not a conclusion. Many things in calligraphy are not practiced, but thought out, and some progress is not necessary to focus on the post, and occasionally observe the nature of tools such as pen and ink paper, and will also be discovered.
Therefore, the characters of the Erwang pen method system and the words of the seal pen system have some different understandings of the use of feng. I have heard that the pen needs to use one-third of the front, the pen needs to use the front fifth, and the pen needs to use the whole body. I've heard three of them, and maybe more than three. Which is right? There is no conclusion, only the law is different, only the habits are different.
The so-called one-fifth, this is probably a way to distinguish the method. One-fifth generally belongs to the Wei Jin and Tang Dynasties, one-third is usually the Tang and Song Dynasties, and the overall Use of Feng is after the Yuan. This simple conclusion combined with the changes in the entire calligraphic history will find a problem, the more the pen is turned, the more thoroughly the front is developed.
Qin Zhen probably only needed one sharp tip, and Lishu Xiaokai pressed slightly, one-fifth was enough. The Zhongkai and Wild Grass Hand Scrolls are pressed heavier, and so on. Until modern times, in order to facilitate creation, or to facilitate the control of the pen, good writers often use long fronts, and long fronts are also compulsory for science classes.
Looking at Fushan cursive with this conclusion, you will observe that the thin line turn pen is very subtle. The sharp edge of the line is sharp, the tip is easy to fold and not easy to turn, and it can make the tip of the pen turn, which is a difficulty. Of course, a little experience knows that no matter how difficult the technique, as long as you practice diligently, you will overcome it, including the round rotation of thin lines. The rounding of thin lines only requires a certain amount of practice, which is naturally used, but a real fine art is not only a simple technique, but a multi-method combination, and then the transformation is free, and the change is amazing.
In addition to the thin line pen once again breaking through the physiological characteristics, what is needed is the seamless connection of the adjustment of light and heavy changes, sometimes light and heavy, there are virtual and real, and the effort of this does not need to be said more.
In fact, the technique of calligraphy is a character, dong Qichang summed up as "do not believe in the pen", which means that it cannot be swayed by habits. This is also the reason why calligraphy emphasizes change and does not take pride in stereotypes. The technical level is high and low, and it can be analyzed little by little. It's like not learning calligraphy is easy to become a ligature, but when you learn calligraphy, "oily" strokes like Fu Shan are more difficult than Wang Duo.
Retract and put
A book friend once told me that if you learn grass, you can learn from Fu Shan, but you can learn from Wang Duo. Because Wang Duo knew how to put it away, and Fu Shan had no collection. At that time, I did not understand this, I did not know what it was, and later it was roughly understood as the state of writing, which was like a normal person and a drunken person. From the perspective of Wang Duo's works, everywhere is full of rhythm control, such as size, continuous breaks, weight, cloth white, etc., many times it is written with rhythmic rules and controllable. But Fu Shan's works are different, these changes are all hidden outside the technique, what you see is crazy writing, and it feels that the rhythm change is not very obvious, as if it has been in a state of madness.
This understanding of retraction and retraction is probably produced in the stage of understanding the penmanship, understanding the succession elements of the penmanship, but failing to see it in depth. It was also only later when he devoted a period of time to studying Fu Shan that he carefully considered the dialectical relationship of retracting and releasing. Learning Fu Shan, this theoretical truth is not understood, it is difficult to grasp the subtlety of the pen, because the shape of Fu Shan is not obvious.
As mentioned in the first two points, Fu Shan is good at breaking physiological habits, whether it is the use of the finger wrist, or the retraction of the strength of the finger wrist, there is a compulsive requirement, so when I know how to think about the brushwork, I learn to experience the retraction from the habit of making the turn, giving up the thinking on the shape, of course, the action trajectory is analyzed from the shape of the work.
Later, I found a rule that many of Fu Shan's wonderful works did seem to be crazy, but this kind of madness was not all "put", but collected while putting. His glyphs give people a kind of rough and casual, but the subtleties of each word, such as the pen used in some technical schools, are very exquisitely handled, which is obviously not a word that a person with a brain can write. Xu Wei's writing is from the madness of temperament, many places can not write, interest to, so "pen disease" a lot, but Fu Shan is different, Fu Shan typos a lot, with the pen problem of the amount of time is rare, especially in many places that seem to be pen disease, but more see kung fu.
Fu Shan's seemingly crazy work, many of the detailed actions in the pen, are obviously adjusted to the pen, and have not been "put" along with physiological habits, his retracting exists in the details of each word, which is a kind of rational madness. In fact, this is also the most difficult place for me to experience Fu Shan, the technique is not too difficult, but this kind of easy control of the technique, this control of temperament, is indeed difficult to reproduce. Especially the practice of the whole word, it is difficult to grasp the delicacy in this roughness, his words will always bring people to a kind of madness, but let people get lost in that state, and they are free to shuttle. In fact, this is not all a question of skill proficiency, the words are the traces of the heart, and even if there are changes in the degree of law in many places, they do not see the measure of the look, it is all subconscious kung fu. Where the circle is drawn in the picture, it is necessary to analyze the changes before and after the stroke to see the "control", which is Fu Shan's "collection".
Fu Shan's thinking on the use of the pen comes from ideological dialectics on the one hand, the four nings and four wus called for on the basis of Lao Zhuang's thought, and on the other hand, it comes from the catalysis of reality. I have written an article before to summarize that the "perverted" style of writing is not for nothing, but needs to correspond to a certain era background. Only the extremely idle or repressed state of mind and state of existence can inspire the literati to make bold changes to "beauty". This conclusion has undoubtedly been verified one by one at many historical nodes such as the Two Jin Dynasties, the Early Tang Dynasty, the Southern Song Dynasty, the Late Yuan Dynasty, the Late Ming Dynasty, and The Second World War. The middle and late Ming Dynasty, when the undercurrent of the court was surging, was also another concentrated outbreak of the calligraphy "Shangshi" art style, and this era enthusiastically produced many cursive masters who were highly cultivated, such as Wang Duo, Fu Shan, Xu Wei, Zhang Ruitu, Zodiac Zhou, Ni Yuanlu and so on. Their understanding of the form of calligraphy has broken through the limitations of the predecessors' "practical calligraphy", and began to break the old constraints in the use of pens, knots, and chapter layouts, such as writing six feet eight feet or two zhang two works with a large pen, paying more attention to the performance of "posture". So the result is that the understanding of "brushwork" in this era is also unique.