(1) Chang Shi Nai Yue: "Fu Ping is horizontal, and the son knows the call? The servant Si Said: "Taste the long history and show that every painting needs to be vertical and horizontal, is this not a call?" Chang Shi Nai smiled and said, "Yes."
Interpretation: Horizontal painting seeks flatness, but blindly seeks flatness, then the flat plate has no potential. Therefore, the "Yongzi Eight Laws" call horizontal painting Le, requiring the writing of undulating meanings, such as "horizontal scales" or "thousands of miles of clouds". Sun Guoting said: "Between a painting, it becomes undulating at the peak. Yan Zhenqing's phrase "vertical and horizontal like" was approved by Zhang Xu. Wang Xizhi believes that "the pen should not be straight", and the lines should be elastic, just like the rider's horse reins - slowly release and collect, avoid the disadvantages of "piling firewood".
(2) It is also said: "The husband is straight and longitudinal, and the son knows." ”？ "Isn't it true that the straight will indulge it, and that the evil one will not let the evil one be said to be evil?" "Yes".
Interpretation: Vertical painting, pay attention to the echo between horizontal and vertical. Vertical painting seeks straightness, blindly like a horizontal painting "Le" without vertical, then distorted boneless, lose strength. "Le" and "vertical" are combined and retracted freely. On the contrary, the word momentum and strength are complete, and the so-called "uneven level" and "unright straight" effect are received. Seeking straightness from "not straight", the pen power can be put into the paper, and only then can it write a truly considerable straight, and it does not appear evil.
(3) Also known: "All are between, and the son knows"? Say, "Taste the light that is not allowed in the midst of enlightenment"?
Interpretation: The gaps between strokes in the words should be uniform and natural, not too far or too close. If it is arranged too neatly, it is the "shape like an operator" criticized by the predecessors, and if gymnastics is not danced, it will lose its artistic beauty. "Between the light" is the gap left between the dot paintings, even a line of light can not be tolerated, it and the Qing People Deng Shiru "sparse place can make horses, the secret place does not make the air" is consistent, are in the structural processing between the dot painting, between black and white treatment. When the pen and ink are scattered, it is necessary to take the law and nature, harmonious and unified, and after the convergence, it is necessary to count the white and the black, not to argue and not to offend, to deal with the dialectical relationship between the secret and the non-secret, and strive to walk on the bridge between the two sides of the contradiction and the other.
(4): Also known: "Secret is the world, the son knows"? "Isn't it true that the pen is written by the front, and that it is all ordered to be completed, and that it is not neglected?" ”
Interpretation: "Inter" refers to the place where the stroke and the stroke meet, which seem to be broken and connected, and seem to be broken. It is both connected and detached. The pen force used by Zhu Feng is heavier than that of The Hidden Front, and lighter than the Hidden Head. Lu Feng is lost "secret", so the use of The Front is more solid than the power of the Hidden Front, and it is appropriate to connect with each other, without revealing traces, so there is no bias. "To build", to pound also means to strike from top to bottom.
(5) Also said: "The front is the end, and the son knows it?" "Isn't it true that the end is a painting, so that it is sharp?" Long History: "Yes".
Interpretation: "end", "end" also, the end of the front, refers to any pointillism must be written with a pen edge, and the pen edge must be sent everywhere, so that the pen power fully acts on the paper surface and receives a solid and dignified effect. Jiang He, a Qing dynasty, said: "(With a pen) such as a person who is good at dancing poles, a god pans the head of a pole, and a person who makes good use of a gun, the force is in the tip of the gun." "Pointillist painting must be complete, and the pen edge must be everywhere." Even if the last stroke is brutal, it is necessary to play a sharp button in order not to commit the disease of procrastination. For example, the end of the "also" character should be slowly raised and lightly closed, and the blunt small hook formed is like just pulling the bow full, and the arrow is shrunk to the arm of the back of the bow a little; in the writing process, we must pay attention to the adjustment of the pen edge, and must not be sloppy because it is the last pen, resulting in the "loose package" of the pen edge and the "discouragement" of the line. Liu Xizai's "Book Outline" said: "Zhang Wenshi (Zhang Xu) book, slightly a little bit of painting, self-sufficient, when Zhiwei has a little painting, it is all the brush sharp and solid. Otherwise, although it is a little big and a little painting, the pen heart is not enough, what is enough!"
(6): Also known: "The force is the bone body, and the son knows it"? "Isn't it true that the pencils and dot paintings all have bones and bones, and the font is naturally majestic?" ”
Interpretation: 趯笔, also known as "趯 (趯)锋", requires the center to line the pen, push the pen slowly, and force through the tip of the pen to avoid the weakness and paralysis of the dot painting. "The center is strong, the flank is strong", the strength is more bonepower, and the more beautiful meat is more beautiful. Emperor Wu of Liang said, "Pure bone is not flattering, pure flesh is weak." Yan's so-called "male charm" has the tendency of flesh and bone, center and flanker.
Zhang Xu did not take a position on Yan Zhenqing's answer, indicating that Yan Zhenqing's answer was not accurate enough. Either because he feels that the bone strength of the "toppling pen" is not comprehensive enough, or he does not agree with Yan Zhenqing's book style of blending "xiong" and "charming". The fat body is the reason for the abundance of meat. Press: Mrs. Wei advocates "succulent and micro-bone", saying that "those who are not good at pen power are succulent." The multi-boned flesh, called the book of tendons; Succulents and micro-bones are called ink pigs. Those who are rich in strength and muscle are holy, and those who are weak and have no tendons are sick. The so-called "force" in calligraphy refers to a tension and visual impact expressed by various lines combined according to different glyphs, which is not brute force, but an aesthetic expression of abstraction with figuration.
(VII): Also: "To say twists and turns, but what does the son know?" "Isn't it not the corner of the hook pen, the folding edge is light, or the corner is dark?" "Long history": "Yes".
Interpretation: "Tortuous", that is, "bending", the meaning of turning the pen, this sentence talks about how to write at the turning point. "Folding edge" is also called "reverse pen" and "reverse front". At the corner of the dot painting, if the pen edge does not look back and still goes in the right direction, it is weak and loses its momentum, so the front must be folded, that is, the tip of the sharp edge is slightly concerned about the left and then folded to the right, turning downward. That is, the "right to review left and right" of the "Nine Potentials" turning pen. "Light over" is the same as slow speed when driving around. If it is dark, the pen edge is hidden, avoiding the node being exposed, and has a smooth and stable posture. When writing "at the corner of the horizontal bend", from left to right, slightly right at the inflection point and then back to the inflection point, adjust the front down; when writing "hook", the front to the outing place is still dark, and then crouch back to the left out.
(viii): It is also known: "The decision is to be involved, and the son knows it." "Isn't it not a matter of whining oneself to be a stroke of the line, determined to frustrate the front, so that one cannot be timid, so that it can be precipitous, so that it is decided?" "Long history": "Yes".
Interpretation: "Tips" refers to the pen without hesitation. Yan Zhenqing used "skimming" as an example to answer the meaning of "decision" and advocated using the frustrated brushwork to form a dangerous trend. Frustrated Feng is similar to Zhu Feng, with a slightly brisk pen, and it is determined not to hesitate. If the "decision" is written as "secondary", if so, it can be understood as a "gossamer" derivative line generated when writing the main stroke. At the junction of the two strokes, a hairspring often appears, which plays a role in the leading between the local and the whole, from the pen to the main pen. The gossamer is the product of setbacks, and it is also the result of no timidity and no pen.
(IX): Also: "Insufficient supplementation, what does the son know?" "If you taste the long history, isn't it not a structural point painting or a person who is bored, then save it by other pointillist paintings?" "Long history": "Yes". )
Interpretation: "Complement" is the method of rescue when the dot painting appears sick or insufficient, when adapting to changes. The clever scholar deliberately appeared sick and then remedied it, in order to seek a dangerous situation, represented by Ouyang Inquiry. This is similar to the "rescue" method of "rescue" in poetry if it deliberately violates the law. If it is not difficult, it will be smooth and there is no dangerous posture, and if it is not saved, the word situation will overturn and lose its balance. Sun Guoting said: "Beginners learn distribution, but seek peace and integrity; Knowing that it is safe and upright, it is necessary to pursue danger, and it is possible to eliminate danger and return to peace and righteousness. To be good at the "rescue" in calligraphy, it is necessary to write the law on weekdays, use the round smooth, consistent heart, free to leave and right, and do everything; more importantly, when learning various tablets, carefully observe and learn their distribution gains and losses, if the square has a good idea, there is a remedy when the dot painting involves danger.
(10): There is a saying: "There is more than enough damage, but the son knows it?" "Isn't it fun to be short and interesting to taste what has been taught, to taste more than enough, but to paint if it is insufficient?" "Long history": "Yes".
Interpretation: The dot painting has more than enough to be detracted from itself, not too long, if it is, the long painting is not long, the short painting is not short, and it complements each other. Yu and Ou Kai characters, short paintings and long paintings, dot painting has exhaustion ("pen short", "painting if insufficient") and infinite meaning ("fun long", "more than enough"). So how to express the meaning of inference in a limited number of pointillists? The length and length should be heavy on the meaning and not informal, with the intention as the mainstay, supplemented by the potential, and used both as quickly and astringently, and the indulgence of the indulgence. "Intention" is the beauty of personality, and after cultivation, the "potential" or "qi" is born. Zhang Xu's pen "potential" is often made of wine, and Mencius said, "I am good at raising my haoran qi".
(11): Also said: "Coincidence is arranged, and the son knows it?" "Isn't it said that the book first anticipates the arrangement of the glyphs to make it smooth, or to accidentally give birth to a different situation, is it a coincidence?" "Long history": "Yes".
Interpretation: Arrangement is what Sun Guoting calls "distribution", which is the meaning of structure. Before writing, we must "intend to write first" and first think about how to arrange the structure. Structural treatment, both smooth and correct, but also a strange posture ("accidental birth", "making a different potential"), in order to be considered exquisitely conceived. This is also the meaning of Sun Guoting's so-called "peace and integrity" and "dangerous" as mentioned above. Yan Kai looks dignified and stable on the whole, but he still does not lose his stagnant board, and there are sometimes strange things in his dot paintings.
Press: The first three sections of this section deal with the problem of grasping the opportunity in creation. When we usually look at a work, we don't just look at the words in it, but the important thing is to look at its overall effect. It is like a peasant in a wall, wanting to be flat inside and out, so before building more fortifications, look at the stones, cut the long ones, make up for the short ones, and "press the stubble", even if they bite each other, otherwise the walls will not be strong. Calligraphy creation should also deal with the problem of structure and rules, "being insufficient, more than enough damage, and clever arrangement". Being good at compensating for losses is interesting and often receives unexpected results.
(12): Also: "The size of the title, the child knows?" "Taste the professor, isn't it said that the big characters promote the small order, the small character exhibition makes the big, and the order is dense, so it is called?" Long Shi Yue: "However, the words of the son are quite close." The magic of the Fu Shu Dao, Huan [huàn] has its purpose. The scholars of the world, the second king of the emperor and the yuan chang, have quite a good track, and have not looked at the magic of the eight laws of [pìnì], so that they are similar. The offering is called ancient fat, and Zhang Xu is said to be thin now. Ancient and modern are different, fat and thin are quite anti-, such as self-examination, there are different theories. Zhang Zhi and Zhong Xuan are ingenious and delicate, and they are all the same as the gods, fat and thin, is it easy to greet? Although there are few authentic works, they can be obtained and pushed. Yi Shao as for learning Zhong Shiqiao's description, and its unique luck, the meaning of loose words slow. For example, Chu Yin Xi Xia, can not be without Chu, too much to say [yì], not a dude. Moreover, Zi Jingzhi is not as good as Yi Shao, Yu Yi is less than Yuan Chang, and the student respects the tiger, and the learner draws the dragon, if he thinks ingenuity, thinks halfway through, and if he is diligent, he should be a wonderful pen."
Interpretation: How is the size of a word arranged to be proportionate? Small words enlarge, large words become smaller? Isn't that what Zhong Xuan criticized as "straight and similar, like an operator, straight up and down, flat front and back, not a book"? Therefore, posterity has a lot of criticism of this. However, the size of this place is relative, shen Yinmo thought that "this promotion and exhibition are in terms of the whole width, so it is said that 'concurrent order is dense', which can understand the meaning of the proportionality he requires, and it is definitely not the meaning of the size of the same." From the point of view of the rules, it is necessary for small characters to be wide and large characters to be compact, and it is necessary to form the opposite, but it is not necessary to absolutize them.
In addition, Zhang Xu also talked about the issue of "same" and "different" in the study of books. They all learned the magic of the two kings and Zhong Xuan, but they were not allowed to "Yongzi Eight Laws" (the brushwork involved in the "Eight Laws", which Huang Jian believed was the "Nine Uses" mentioned in the Tang Dynasty Zhang Huaihuan Guàn's "Jade Hall Forbidden Scriptures"), so it was easy to cause "similarities" on the side of a thousand people. The different requirements and individual differences in the aesthetic of "fat and thin" in different eras will cause differences in the same calligraphy creation. Only by seeking the source, learning and thinking hard, and being good at abandoning can we find the true meaning of art in personality and commonality, "with me" and "without me", and climb to the peak of calligraphy art.
The brushwork involved in these twelve meanings is a bit of a drawing and writing method such as "horizontal, vertical, tortuous, and contained", with structural arrangements such as "inter-interval, interpersonal, damage, compensation, clever change, size", and there are essentials of pen movement such as "sharp end, bone body". The entities of "static" are "horizontal, vertical, end, body", etc., and the gestures of "moving" are "inter-, inter-, tortuous, and contained". Some think about the lack or excess of a word and give relief, such as inadequacy, surplus, etc.; some are concerned with the whole word or the whole picture, such as layout, size, etc. The twelve strokes were proposed by Chung Suo to Zhang Xu, which are valued by ordinary scholars, but their personal experience is different. Zhang Xu summed it up with "the words of the son are quite close", indicating that Yan Zhenqing's answer was passed, and he was afraid that he had not fulfilled the intentions of his predecessors, so he continued to "if the work is diligent, he should be a good pen".