In the process of learning calligraphy, we may encounter many terms, so what are the terminology of calligraphy? Let’s take a look with the editor!
1. Calligraphy
One of my country’s traditional plastic arts. Refers to the rules for writing Chinese characters (Zhuan, Li, Zheng, Xing, Cao) with a conical brush. Techniques pay attention to writing, using pen, using ink, stippling, structure, distribution (line order, composition), style, etc. The general requirements are as follows: when holding the pen, the fingers must be solid and the palm is empty, and the five fingers should work together; when using the pen, the center should be centered; the stippling must be perfect and thoughtful; the structure must be horizontal and vertical, and the meaning should echo; the distribution must be intricately changed, with appropriate density, and the whole text must be coherent. ; And advocate individuality, style and interest. The art of calligraphy and painting originates from lines, each with its own breath (rigidity), rhyme (flexibility) and vivid beauty. Painting has lines, images and colors; calligraphy does not represent objects and uses no colors, only abstract lines, so the temperament and charm of the lines are expressed more strongly. Therefore, calligraphy was called "calligraphy style" in the Jin and Tang Dynasties. The art of calligraphy requires subtle and overlapping changes, which can achieve "the sharpness of the sword is awe-inspiring, and the vividness and wonder of the objects" (quoted from Shen Yinmo's "Calligraphy Theory Series"). However, the glyphs are not concrete. In order to achieve awesome and amazing skills, one must pay special attention to the brushwork, gestures and meaning of the brushstrokes to achieve perfection. The art of calligraphy has a history of more than 3,000 years. The bronze inscriptions of the Shang and Zhou dynasties are rich in artistry; Qin seal script, Han official script, Wei stele script, Tang regular script, Song Dynasty script, Ming Dynasty small regular script, etc. are even more colorful. Famous calligraphers such as Wang Xizhi of the Eastern Jin Dynasty created a beautiful new style of Liuben and prepared various refined styles, which were respected by calligraphers of all generations; in the Tang Dynasty, there were Ou (Yang Xun), Chu (Suiliang), Yan (Zhenqing), Liu (Gong) Quan), and Huai Su and Zhang Xu's Kuangcao also have unique artistic charm; in the Song Dynasty, there were four great masters: Su Shi, Huang Tingjian, Mi Fu, and Cai Xiang (some say Cai Jing); in the Qing Dynasty, they were divided into the Bei School (which advocates inscriptions on stele) and the Tie School (which advocates inscriptions on stele) Advocating copybooks); Zheng Banqiao, one of the "Eight Eccentrics of Yangzhou", created the "Banqiao style" by integrating Zhen, Cao, Li and Zhuan; in modern times, there are Yu Youren, Shen Yinmo, etc.
2. Calligraphy terms
Calligraphy terms. Refers to calligraphy works with a high artistic level. In ancient times, calligraphy works written on paper and silk with legal standards were called "fashu" or "shu". "The Samadhi of Calligraphy": "The key to writing calligraphy is to write calmly. Even between one point and one stroke, the brush must be passed three times before it can be called a Dharma calligraphy." Wang Anshi of the Northern Song Dynasty once said, "Good things are passed down and played, and the calligraphy of the Dharma is left empty." "verse. Nowadays, calligraphy works are commonly referred to as Dharma books, which also implies respect for the author.
3. Hanmo
It has the same meaning as "pen and ink". Originally refers to diction. Cao Pi of the Three Kingdoms Wei Dynasty's "Classics and Essays": "The ancient authors relied on calligraphy and ink, and their ideas came from the books." Later generations also generally referred to calligraphy and Chinese painting. "History of the Song Dynasty·Biography of Mi Fu": "It is particularly wonderful in calligraphy and ink, with calm and flying strokes, which captures Wang Xian's brushstrokes."
IV. Epigraphy and stone
A general term for ancient bronzes and stone carvings. Gold refers to bells, tripods, bronzes and the like; stone refers to stone tablets and stone carvings. It is an engraving produced by writing on gold and stone to record creations, inscriptions, and praise merits. "Historical Records: The Chronicles of the First Emperor of Qin": "The officials recited the emperor's merits and virtues and carved them on gold and stone as a representation of scriptures." The bells, tripods and Yi utensils began in the Yin and Shang Dynasties, while stone carvings were created in the Qin Dynasty. In the two Han Dynasties, gold and stone were both prosperous, and after the Han Dynasty, there was less gold and more stone. In the Southern and Northern Dynasties, statues flourished, and fewer gold vessels were handed down. In the Tang Dynasty, steles were especially prosperous. As for compiling the epigraphic inscriptions of the past dynasties into a catalog, it began with Ouyang Xiu's "Collection of Ancient Records" in the Northern Song Dynasty; and copying their shapes into a map began with Lu Dalin's "Bogu Tu". In the Ming and Qing Dynasties, the trend of epigraphic archeology was particularly strong. Gu Yanwu, Ye Yibao, etc. each wrote their own writings, either using stone carvings to examine modern and ancient texts, or using bronze inscriptions to invent six books, which became an emerging professional discipline.
5. Authentic handwriting
Authentic and reliable handwriting rather than pretense or forgery by others. "Book Break" by Zhang Huaiguan of the Tang Dynasty: "In May of the 16th year of Kaiyuan, the authentic writings of the two kings were published, and the writings of Zhang Zhi, Zhang Chang and others were delivered to Jixianyuan."
6. Ink marks
Handwriting written in ink. The second part of Zhang's book "Mid-Autumn Residence with Zuo Si Yuanlang" in the Tang Dynasty contains the poem "Study books and seek ink marks, make wine and love the peace of the court". "Song Book·Fan Ye's Biography" also has a record that "the above is shown in ink, and Ye is the author of Chen's original version".
7. Rubbings
Written or images copied from inscriptions on stele or bronze vessels. The actual object was first seen in the Tang Dynasty. The method is to use wet rice paper to cover the inscriptions on the utensils and inscriptions, and make the paper concave and convex, then dip it in ink and rub it.
In ancient times, the rubbings made with vertical grained paper and oil smoke ink were calendered, and the ink was dark and shiny, which was called "Wujin rubbing"; the rubbings made with horizontal grained paper and pine smoke ink, which were green and light in color and did not blend with oil and wax, were called "wujin rubbings". Cicada Wing Tuo". The ones made with vermilion are also called "Zhu Tuo"; the ones made when the stele is first completed or just unearthed are called "Initial Tuo".
8. Stone carvings
Specifically refers to the calligraphy and paintings engraved on steles and cliffs. For example, the Qin Dynasty's "Kuaiji Stone Carvings" and the Eastern Han Dynasty's "Ode to the Stone Gate" are carved on cliffs. Huan Tan's "New Theory": "On Mount Tai, there are carved stones. There are more than 800 places, and seventy-two of them can be recognized."
9. Steles
Engraved stones A type of system. "The Book of the Later Han·Biography of Dou Xian" notes: "The square one is called a stele, and the round one is called Jie." Duan Yucai of the Qing Dynasty's "Shuowen Jie Zi Annotation": "Zheng's note in "The Betrothal Gift" says: There must be a stele in the palace. Therefore, knowing the scenery of the sun can be divided into yin and yang. Wherever the monument is used as a guide, the ancestral temple is beautiful; its forests, palaces and temples are made of stone, and wood is used for carvings. "Book of Rites Tan Gong" says: "The public office regards monuments, and the three families regard Huan Ying." . '(It is made from a large piece of wood, shaped like a monument). If it is not a stone, it is also called a stele. It is also called a stele. People in Qin Dynasty only called it a carved stone, not a stele. From now on, all carved stones are called "carved stones". The original meaning of the stele is to erect the stone first. Wang noted: "The ancient stele has three purposes: the stele in the palace is used to recognize the scenery of the sun; the stele in the temple is used to display the beauty of animals; and the stele in the tomb is used to serve as a coffin." In the Qin Dynasty, the record of merits and deeds was called standing stone, which was called carving stone; the term "stele" was used after the Han Dynasty. In the Jin Dynasty, it was strictly prohibited to erect monuments. Liu Xizai's "Yi Gai·Shu Gai" of the Qing Dynasty said: "In the early days of Puyi Xizai, Pei Shiqi said: 'The inscriptions are written to clearly indicate Hou Kun, and they do not have special merits and virtues, so they cannot be used as references. The vulgarity is false and fake. , Hua has been troubled for a long time, and there is no ban on it. It is known that the erection of monuments at that time was regarded as an exception. "So Jin monuments have always been rare.
10. Jie
A type of shape in carved stone. "Book of the Later Han·Biography of Dou Xian" notes: "The square one is called a stele, and the round one is called Jie." The stone drum inscriptions that exist today are engraved on drum-shaped round stones. The content is to sing about the hunting of the monarch of Qin State, so it is also called "Hunting Jie".
11. Stele forehead
Stele inscription terminology. The general name for the head of a monument. "Stele Edition Guangli": "The head of the stele may be engraved with chisels, tigers, dragons, and cranes as decorations, and the Gui Shou is cut into it, or there may be no other decorations, and the Gui Shou is straight, square, sharp, round, and oval, and there is no one way to make the Gui. The first character is called the forehead, the seal character written on the forehead is called the seal forehead, and the official character written on the forehead is called the title forehead. The top of various stele inscriptions after the Han Dynasty is called the head or the forehead of the stele. Because the inscriptions on the forehead of the stele are mostly written in seal script, it is called "the forehead of the stele". Han dynasty steles such as "Zhang Qian Stele" and "Han Ren Ming" have seal scripts with unique calligraphy styles and high artistic quality.
13. Seal cover
Terms for inscriptions. Epitaphs of the Tang Dynasty usually had a stone cover, and the words on the cover were often written in seal script, hence the name. The seal cover and seal forehead are similar in content but different in shape, but "Inscriptions on Metal and Stone" states: "Seal script cover is the seal forehead."
14. Stele Yin
Stele inscription terminology. In ancient inscriptions, in addition to the inscriptions on the front, the names of disciples, former officials or those who funded the construction were often engraved on the back, hence the name.
15. Stele version
Generally refers to the genus of inscriptions. "Stele Edition Guangli": "In the 25th year of Kaiyuan, Yang Yu wrote the record of Master Jingxian's body on the pagoda. It was not detailed in the stele edition at the end, and no more words were recorded. Later, in the new temple stele of Feng Wang in Wei Chang, there was an annihilation statement in the stele edition; later The name of stele tablets probably started from this time.
16. Steleology
1. Also known as the study of the origin of tablet inscriptions. The system and the differences between the old and the new
2. Refers to the Qing Dynasty after Ruan Yuan and Bao Shichen advocated the Northern Stele, the study of calligraphy and advocating the inscriptions on the stele became more popular, and there was a divide between the Northern School of Steleology and the Southern School of Tiexue. .
17. Stone engraving
The term "stele engraving" refers to the process of adding ink on the back of the copy of the book of law. There is often a special record on the stone inscriptions in the Tang Dynasty. For example, at the end of the stele of "Huairen Ji Wang Shu Sheng Jiao Preface", there are the words "Zhuge Shenli Leshi"
Eighteen, Zhubei
It is also called "Beizhu". " Leshi".
19. Moya
Writing words directly on the cliff is called "Moya". For example, "Ode to the Stone Gate" in the Han Dynasty stele, Zheng Daozhao's Wei stele "Xuanhe Shupu·Zhengshu No. 1" states: "Suiliang (Chu Suiliang) liked to write Zhengshu, and his cliff monument is at Longmen, Xiluo. "
Twenty. Erosion
Refers to the peeling off of ancient stone inscriptions over time. Lu You's "Notes on Laoxue'an" in the Southern Song Dynasty: "The Han Dynasty has been eroded by wind and rain for a long time, so its characters are No complex front 铓.
"
Twenty-one. Dharma Tie
Also known as "Tie". It refers to the ink marks of ancient celebrities and the Dharma scripts (including its rubbings) engraved on stone (or wood) tablets. In the third year of Chunhua (992), Emperor Taizong of the Song Dynasty ordered the scholar Wang to copy and engrave the Dharma books stored in the Secret Pavilion into ten volumes. The words "Fa Tie No. It is said that the name "Fa Tie" originated from this. "The Genealogy of Fa Tie" states: "Xiling (Taizong of the Song Dynasty) paid attention to calligraphy and ink, and came out of the original collection of the imperial palace for all dynasties. He ordered the king to copy and engrave the forbidden works into ten volumes. These dharma posts of all dynasties Ancestor. ”
Twenty-two, Tie Xue
1. Distinguish the schools that advocate the calligraphy style system of the Wei and Jin Dynasties, such as Zhong Yao, Wang Yizhi, Yan Zhenqing, etc. to distinguish it from the stele study.< /p>
2. Refers to the study of the origin, quality of editions, and authenticity of handwriting that flourished in the Qing Dynasty.
Twenty-three, Nan Tie.
The terminology of calligraphy of Ruan Yuan in the Qing Dynasty was divided into two schools: the Northern and Southern Schools. There were very few calligraphy works in the Southern Dynasty, and most of them were inscriptions on inscriptions, hence the name. 24. Shudan
The term "stele engraving" refers to writing words directly on the stele with cinnabar. "Li Shi": ""The Stone Classic" was engraved by Cai Yong. "Jiang Kui of the Southern Song Dynasty's "Xu Shu Pu": "If the brush is ink, it will be thin, and if it is Zhu, it will be fat. Therefore, Shudan is especially famous for its thinness and strength, but its roundness, ripeness and moistness are often more than enough, while its dryness and strength are often insufficient. Zhu Shiran is also the reason. "Later, epitaphs were generally called calligraphy tablets.
Twenty-five. Copying
A method of learning the calligraphy of predecessors. Put the epitaph aside and imitate the calligraphy of his strokes." "Lin"; covering the stele with thin paper and copying according to its shape is called "imitation", or "shadow book". Primary school students use red calligraphy books to practice calligraphy, which is also called imitation. "Danqian Zonglu" quotes Yue Ke as saying : “The two methods of copying are different. Copying and copying are like Ziren's studio, with beams and strings. Although there are guidelines, the creation is completed, and the atmosphere has its own clumsiness; copying and copying are like two swans flying together, green dogs floating in the clouds, vast and vast, each resting wherever it goes. "Meikui of the Southern Song Dynasty's "Xu Shu Pu" said: "Beginners have to copy the calligraphy, and it is easy to achieve success by tempering their hands. "Also known as: "It is easy to lose the position of the ancients when copying the calligraphy, but more to gain the ancients' penmanship; it is easier to gain the position of the ancients when copying the calligraphy, but more to lose the ancients' penmanship. It is easy to read when copying a book, and it is easy to forget when copying a book, whether it is intentional or not. "In addition to copying, there is also the "hook" method. Use oil paper to cover the stele or original calligraphy, use extremely fine strokes to double-hook the writing under the oil paper, and then fill the empty spaces in the double hooks with ink, which is called "hook-filling."
Twenty-six, Xiangtuo
A method of copying inscriptions on inscriptions. Because the ink on the inscriptions is dark due to its age, the words are difficult to read in the mold. When making, it must be illuminated with the light, covered with paper, and the original strokes of the calligraphy are then filled in with ink. The calligraphy is also called "shadow book" or "shadow cover". "Stone Carvings" has a more detailed description.
Twenty-seven, Shadow Book
See "Copying" and "Xiantuo"
Twenty-eight, Hook Filling.
Calligraphy term. A method of copying the calligraphy by covering the calligraphy with a thin pen and then filling it with ink, so it is also called "double hook filling". ". Jiang Kui (continued book score) of the Southern Song Dynasty said, "The method of double hooks must be such that the ink does not blur outside the words, or the outline fills the inside."
Twenty-nine, wash the stele
Terms of stele engraving. Due to weathering and erosion or artificial wear and tear, later generations carved them according to the original old paintings, which is called "washing the stele". However, once the inscriptions are washed, the spirit of the calligraphy and painting will inevitably be lost. Yan Zhenqing's "Yanjia Temple Monument" is the one who was washed.
Thirty, seal script
The name of the font. 1 Generally refers to the ancient characters before the Han Dynasty, such as Xiaozhuan and Zhen. Wen, bronze inscriptions, oracle bone inscriptions, etc. 2 refers to the seal script (such as stone drum script) popular in the Qin Dynasty during the Spring and Autumn Period and the Warring States; the small seal script after Qin Shihuang unified the six kingdoms; and the Miao seal script in the Han Dynasty, such as Wang Mang's Liushu, "The third one is called seal script. That is, "small seal script".
31. Zhou Wen
Also called "Zhou Shu" and "Big Seal Script". It is named after it is found in "Shi Zhou Pian". The fonts often overlap. Spring and Autumn Period It was popular in the Qin Dynasty during the Warring States Period. The surviving stone drum inscriptions are its representatives.
32. Oracle bone inscriptions
It is also known as "deeds", "divination" and "turtle shell inscriptions". "Yinxu characters" and "Zhenbu characters" are the oldest existing characters in my country. They were often engraved and written on tortoise shells and animal bones, hence the name. During the Yin and Shang Dynasties, tortoise shells and animal bones were often used to write inscriptions and inscriptions. p>
33. Holding method
The method of writing calligraphy by holding the pen with your fingers.
Holding a pen is the basic means of writing. There are roughly the following points: such as double bracts (that is, *double hooks), single bracts (that is, *single hooks), back wrists, pinching tubes, holding tubes, pinching tubes, etc. It was passed down from the "five-character writing method" (i.e., pinch, press, hook, grid, and hold) that was synthesized by Zhong Yao, Wang Xizhi, Yu Shinan, Lu Yanyuan, etc. After long-term writing practice by calligraphers, Xian believes that it is the correct method that is in line with physiological functions and is effective.
34. Stirrup technique
A technique for using pen. The stirrup is used as a lamp, so there is also an analogy that holding a pen and moving the fingers is like picking out the wick of a lamp. There are two main theories. 1. "Shu Yuan Jing Hua" quotes Lin Yun's "Preface to Stirrups" in the late Tang Dynasty: "A stirrup is also a stirrup. It is covered with a pen tube to cover the tips of the middle finger and first finger, making it easy to rotate. If the pen tube is straight, the space between the tiger's mouth will be as round as a tiger's mouth. The stirrups are also easy to move when the feet are on them. If the handle is also shallow, it is easy to push, drag, twist, and pull." 2. "Taoyuan Shouting" quotes Qian from the Northern Song Dynasty. Ruoshui said: "There are few good calligraphers in ancient times who have mastered the brushwork. Lu Xisheng in the Tang Dynasty mastered the five characters: stroke, press, hook, grid, and push. Using double hooks with the brush, the stipples are powerful and wonderful. This is called the stirrup method. "However, Lu Xisheng's five-character writing method recorded in "Chronicles of Tang Poems" and "Xuanhe Shupu" does not have the words "stirrup method". Lin Yun's Four-Character Method of Handwriting and Lu Xisheng's Five-Character Method of Writing are two methods with different meanings. The article's complete collection of calligraphy terms is from /article/wk-78500000839706.html. Please keep this link for reprinting! . Many scholars have different opinions on writing methods.
Thirty-five, double hook
Calligraphy terms. ①Techniques for copying Dharma books. The stone on the Dharma calligraphy is hooked with thin lines along the outer edges of both sides of the writing surface, which is called "double hook". Jiang Kui's "Sequel to the Book" of the Southern Song Dynasty said: "The method of double hooking must be such that the ink does not blur out of the words. Either the outline is filled in, or the back is painted, which is the fat and thin body. "Lu You has a poem called "Wonderful Ink Double Hook Post". ②A technique of writing "hollow characters". According to records: Pu Yuan of the Song Dynasty wrote the "Tao Te Ching" written by He Shang Gong Annotation with double hook characters. The pen and ink are fine, like a gossamer lingering, a solitary smoke curling in the wind, continuous, or a single stroke as a number, evenly distributed, and rich in flavor. ③The fingering name of the writing method is opposite to "single hook". Huang Tingjian of the Northern Song Dynasty commented on calligraphy: "When learning calligraphy, first make a double hook, use two fingers to overlap, and press the ring finger with the pen. Hold the pen high and let the wrist follow your intention." Now use the space between the upper and middle joints of the index finger and middle finger. Overlapping each other and hooking the pen barrel are called "double hooks".
Thirty-six, single hook
Calligraphy terminology. The name of the fingering method for holding the pen. Use the index finger to hook the pen barrel and the thumb to form a clamp, and the remaining fingers are padded behind the pen barrel. Because only one index finger is used as the main hook, it is called "single hook". Opposite of "double hook". Han Fangming in the Tang Dynasty said: "If you are writing seal script, you can use a single hook, which is round, straight and accurate." Wu Qiuyan's "Xue Gu Bian" in the Yuan Dynasty also said: "When writing seal script, you only need a single hook, that is, extend the middle finger The lining is placed underneath, and the square is straight, which is perfect. "Zhu Lvzhen's "Shu Xue Jie Yao" of the Qing Dynasty said: "The index finger and middle finger of the single hook are uneven, the index finger hooks to the big finger, and the middle finger hooks to the first finger. This is a single hook. "Hook," it is said that Su Shi of the Northern Song Dynasty used this method to write calligraphy, and his pen was slightly flat.
Thirty-seven, pillow wrist
Calligraphy terminology. When writing, place the back of your left palm flatly under your right wrist, which is called "wrist pillow". It is mostly used for writing small characters, and some use armrests (mostly made of bamboo or wood) to replace the left hand under the wrist.
Thirty-eight, hanging wrist
Calligraphy terms. One of the writing methods. Whether the wrist is flexible or not is crucial to writing. The elbow is not leaning on the table and the wrist is hanging in the air, which is called "hanging wrist". Writing only involves the wrist and cannot move the pen freely up and down, vertically and horizontally. Hanging the wrists can relax the shoulders, and since the whole body's strength is free from any obstacles, it can only be focused on the smallest detail, and only then can the stippling be strong and strong.
Thirty-nine, wrist-turning method
Calligraphy terminology, one of the writing methods. The palms of the wrist are bent back and the fingers are facing the chest, hence the name. He Shaoji in the Qing Dynasty used this method when writing. When writing, the wrist and elbow are hanging high. It can be lifted and pressed, but it cannot be lifted up or down. It goes against the physiological functions of ordinary people, so it is generally not used.
Forty, wrists flat and palms upright
Calligraphy terminology. Discuss the relationship between the wrist and palm when writing. Derived from "the finger is strong and the palm is weak". Shen Yinmo, a recent scholar, said: "The palms must not only be empty, but also erect. If the palms can be erect, the wrists can be flat; if the wrists are flat, the elbows can hang naturally; if the elbows and wrists are raised together, the wrists can be used flexibly." "The theory is an argument on the writing method in the calligraphy circle. Some people think that writing with "upright palm" is not suitable for writing on the wall. Writing while leaning on the table can easily affect the flexibility of writing.
Forty-one, Phoenix Eyes
Calligraphy terminology, the name of the fingering method for holding the pen. When holding the tube, the thumb joints are straight, the inside is slightly convex, and the inside is curved. The index finger forms a long and narrow gap, so it is nicknamed "phoenix eye". The big finger bone is convex and the tiger's mouth is empty and round, which is called "dragon eye", which is another way of holding the pen.
Forty-two, execution
Calligraphy terminology. The general term for writing and using a pen is recorded in "Shupu" written by Sun Guoting of the Tang Dynasty: "The reason for the change of writing and writing today is that the writing refers to shallow, deep, long and short, etc.; the writing refers to vertical and horizontal constraints, etc." Zhang Shen of the Ming Dynasty said, "To hold the predicate to write, to use the predicate." See "to use the pen".
Forty-three, calligraphy terms
Calligraphy terminology. Refers to the process of stippling and writing. Jiang Kui of the Southern Song Dynasty said in "Xu Shu Pu": "Most of the time, if you want to grasp it tightly and move it vigorously, you can't move the pen. You should use your wrist to move the brush. The hand is in the hand, but the hand does not control the movement; the movement is in the wrist, but the wrist does not control the movement. ”
Forty-four, lifting the wrist
Calligraphy terms. One of the writing methods. Refers to lifting the wrist without leaning on the table. This method involves leaning on the case with your elbows and raising your wrists. It is mostly used to write medium-sized characters. Although the wrist is raised but the elbow is on the case, it cannot use the whole body's strength, so it is not used by most calligraphers.
Forty-five, elbow and wrist technique
Calligraphy terminology. Use your elbow and wrist when writing. Zhou Yue of the Northern Song Dynasty said in "The Garden of Ancient and Modern Laws": Those who put their elbows on the case and raise their wrists are called wrist lifts, and those who hang them in the air are called hanging wrists. Chen Yi of the Yuan Dynasty once said: "On the pillow of the wrist, small characters are written, when the wrist is raised, the characters in the book are written, and when the wrist is hung, the big characters are written." Zheng Piao said: "Within an inch, the method is in the palms and fingers, and beyond an inch, the method is also in the elbow and wrist." Previous discussions The elbow-wrist method not only emphasizes the right wrist holding the pen, but also focuses on the left wrist pressing the paper. For example, Yao Peizhong of the Qing Dynasty said: "Use your left hand to measure the momentum of the wing." Weng Fanggang said: "Today's people only know that wrist strength is needed in writing. , but I don’t know that the power of the right wrist must come from the left wrist.” Kang Youwei, a recent scholar, said: “If the right wrist is straightened, the front will be aligned, and if the wrist is hanging, the shoulder and back force will be released, and the Qi will be calmed and the right wrist will be strengthened. ”
Forty-six, note
Calligraphy terminology. The rise and fall of writing skills. Pressing means pressing the pen down; lifting means lifting the pen upwards. If you press and lift the pen during strokes, you can keep the tip of the pen centered. Jiang He in the Qing Dynasty said: "It must be lifted after a pause, and it must be lifted after squatting and standing. The lifter lifts the pen, which is reduced by the score of the beard and the score of squatting and standing." Jiang Heng said: "Every shoulder hook is used. , it is necessary to mention and pause, but the two words "ti and dun" are connected, which is quick to influence. If it is too late, it will lead to the problem of shoulder drop and disconnection. "Liu Xizai's "Yi Gai. Shu Gai" said: "Every book must be written and written. . Distinguish the strokes especially at the beginning of the stroke, and distinguish the strokes at the end. "The two characters of strokes and strokes by calligraphers are consistent but not separated. Therefore, the strokes should be sharp and the strokes should be sharp." Only by pressing firmly can you avoid the two diseases of falling and drifting." See "Execution of the Calligraphy"
Forty-seven. Calligraphy terms.
A technique of using a pen. Since the brush is soft, writing Chinese characters requires not only the correct way to hold the pen, but also the correct way to move the wrist. Huang Tingjian of the Northern Song Dynasty insisted that "the wrist can be left or right according to one's own will". He raised and pressed the wrist up and down and adjusted the stroke left and right, "so that the center of the brush can always move in the dot painting", so that the written strokes can be strong, round and full of texture.
Forty-eight, peck
Calligraphy terms. A technique of stippling with a pen. "Yongzi Bafa" calls short apostrophe "peck". Writing with a pecking pen should be quick. Li Shimin, Emperor Taizong of the Tang Dynasty, said in "Brush Techniques": "Pecking beards while lying on the pen to make a mess." Chen Yizeng of the Yuan Dynasty recorded in "Hanlin Essentials": "Pecking means nodding the head, turning the tail, leaving the left side and raising the head slightly, like a bird's beak pecking at something." Bao Bao of the Qing Dynasty Shi Chen also said: "The peck is like a bird pecking something, sharp and fast. He also said that the painting is gradually and sharply cut like a bird pecking".
Forty-nine, Zeng
Calligraphy terms. A technique of stippling with a pen. "Eight Methods of Yongzi" calls Nabi "Zhe". In ancient times, the animal that was broken during sacrifices was called Zhe, and the word Zhe was used in the Na method, which means that the pen Bo spreads out as much as possible and rushes out. Also, leaning forward is called Zhe, lying down is called wave. Li Shimin, Emperor Taizong of the Tang Dynasty, said in his "Brushwork Techniques": "The pen must be drawn out of the battle pen, and Xu Nai will be proud of it." Try your best to pave the way down in a controlled manner, and then push out when the length is right.
Fifty, Gefa
Another method besides the eight methods of Yongzi. According to legend: "Taizong Gongli (regular script) of the Tang Dynasty took (Yu) Shinan as his teacher. He was often in trouble with the art of fighting. One day he wrote the word 'Jian', but it was empty. (Yu) Shinan filled it in with a pen. , to show Wei Zheng, Zheng said: Looking up at the sacred work, the Ge method of "Jian" is quite lifelike, and I deeply admire Wei Wei's calligraphy art. Heavy, light in the middle.
In the Han Dynasty, Ge Fa* wrote with his eyes to the right, and the regular script came out from Li to avoid stiffness. Li Shimin, Emperor Taizong of the Tang Dynasty, said: "For the sake of fighting, you must run smoothly, and you should hesitate and look to the right."
Fifty-one, center
Calligraphy terminology. It refers to keeping the main edge of the brush at the center line of the stipple when drawing, to distinguish it from the lateral edge. The money strips written in the center are round and textured. Shen Kuo of the Northern Song Dynasty recorded in "Mengxi Bi Tan": Xu Xuan of the Song Dynasty was good at small seal script and could read it in the sun. There is a line of thick ink in the center of the painting, which is right in it. As for the inflection point, it is also in it. There is no deviation. The sharp edge of the brush is straight down without turning sideways. Therefore, the sharp edge is always in the painting. This is the way to use the brush.
Fifty-two, Jumo marks
Calligraphy terminology. The central line of the stroke is the most intensively inked, condensing it into a thick ink line, hence the name. In the Southern Song Dynasty, Chen Qiang's "Ning Xuan Ye Lu" said: "It is common for (Li Yangbing's) authentic works to have a slight hint of sharp edge at the beginning and end of his calligraphy and painting. Looking at it against the sun, the central wisp of ink is twice as thick, which shows that his pen is powerful, and It goes straight down without touching it, so the edge is always in the painting. "Dong Qichang's "Essays on Painting Zen Treasures" of the Ming Dynasty commented on Su Shi's "Red Cliff Ode" ink: "Po Gong's writings are often sloppy, which is also a disease. This "Red Cliff Ode" is called "desire". Those who see through the back of the paper use the front edge, which is Po Gong's Orchid Pavilion. At the end of each wave, there are faint traces of accumulated ink, like millet beads, and the hatred cannot be conveyed by stone carvings. "
Fifty-three, side attack
Calligraphy terminology. A technique for starting a pen. It means that when writing, the tip of the pen is slightly tilted to one side, and the ink drop will show a sided posture. Zhu Hegen's "Linchi Xinjie" of the Qing Dynasty said: "The front is used to draw strength, and the side strokes are used to draw Yan. Wang Xizhi's book "Lanting" uses side strokes when taking Yan." This style of writing was first formed when the official script evolved into regular script. It adds a chic and beautiful look to the square-stroke font. Side forwards are mostly used to gain momentum, and when the momentum is established, they are converted into center forwards. People from Jin Dynasty used it a lot.
Fifty-four, Zhe Feng
Calligraphy terms. A brush technique used to change the direction of a stroke. It refers to the folded and square writing style, which is different from the turning pen, that is, when the direction of the pen is changed, it turns from the positive side to the negative side, or from the negative side to the positive side. Jiang Kui's "Xu Shu Pu" of the Southern Song Dynasty said: "At the beginning of writing, there are those who join the front and those who break the front. The style of the family is determined at the beginning of writing. When writing, the first character is mostly Z front, and the second and third characters are inherited. The upper strokes are mostly made with folding edges. If there are mostly folding edges on the right side of a word, it should be left. "The folding edge is good for stippling and creating posture. After Bao Shichen wrote "Ode to the Four Wisdoms of Liu Wenqing" in the Qing Dynasty, he said that his writing style "uses the front to build momentum, and uses the fold to gain posture."
Fifty-five, Bao Feng
Calligraphy terms. A technique of using a pen. The stroke starts in the opposite direction, "if you want to go up, go down first, if you want to go left, go right first." From now on, when the brush is used in a round shape and the stroke is restrained in the middle of the stipple, it is called "wrapped front". Such as "Cao Quan Stele", "Shimen Inscription" and so on.
Sixty, counterattack
Calligraphy terminology. A technique of writing. In order to hide the front and pave the way, the reverse method is used, "if you want to go down, go up first, if you want to go right, go left first". Those who write in the opposite direction are called "backward". Writing words with Ni Feng often has a vigorous and sophisticated meaning. Liu Xizai of the Qing Dynasty said: "If you want your pen to be everywhere, you must use the inverse formula. Le Zefeng is on the right to control the left, and Nu Zefeng is on the lower control of the top. However, it is just a secret mechanism, and the appearance is not the same. ."
Sixty-one, squatting
Calligraphy terminology. Squatting means to stay. It is the same word as "squatting". In calligraphy, squatting and squatting are two methods
Taobao Boutique
Roughly squatting refers to the squatting posture while the pen is moving slowly, while squatting means squatting first when you want to move, and then retreating. And come back. Zhang Huaiguan's "Yutang Forbidden Sutra" of the Tang Dynasty said: "Squatting at the front means slowing down the movements and squatting joints, and the weight and severity are accurate." >
Sixty-two, Golden Staggered Knife
① It is a good name for calligraphy that uses a trembling pen to create a pen. "Tan Hui" records: "Li Houzhu (Yu) of the Southern Tang Dynasty was good at calligraphy. He wrote the music with a trembling pen, and his strength was as strong as cold pines and frost bamboos. It was called a golden knife." "Xuanhe Shupu" said: "The Queen The master also used the gold staggered knife method to make the noodles, which is also refreshing and extraordinary. Later, the master used the gold staggered knife method to write with one stroke and three strokes. In his later years, he changed it into a painting, so it is like a calligraphy.