Dong Qichang is good at painting landscapes, learning from Dong Yuan, Ju Ran, Huang Gongwang, and Ni Zan. His brushwork is elegant and neutral, quiet and sparse; his ink is bright, clean, and gentle, and his colors are green and simple. Elegant. Below is the essay on Dong Qichang's painting of the Zen room that I compiled for you. I hope you like it! Part 1 of the essay on Dong Qichang's painting of the Zen room
?Poetry does not seek technical skills but is not surprising. Innocence is my teacher. ?As Mr. Donghai said, it is appropriate for him to be named Gao Yishi.
The art of calligraphy is only about ingenuity, while clumsiness is about being straightforward and without transformation.
The skill of calligraphy lies in the use of pen, especially ink, but it is not common to see the original works of ancient people. This is not enough.
To write a letter, you must lift it up. You cannot trust the pen. If the pen is used to cover the letter, the waves and paintings will be powerless. When the pen is picked up, it will be turned and bunched, and there will be dominance everywhere. The two characters "zhuan" and "bundle" are the secret of calligraphy. Nowadays, people are just masters of the pen, not even the master of the pen.
The most important thing when writing a book is to eliminate all edges and lines, so that the pen and pen will not become a stereotype on the paper.
The ink must be moist and not dry, especially if it is rich in fat, as fat will lead to evil ways.
The calligrapher likes to read the "Ge Tie". This is a disease, and the five generation generations will never know the Jin Dynasty. The writing styles of the Tang Dynasty people were specialized in their shapes, so there are many positive situations. The characters should be unique and unrestrained, with new ideas coming out from time to time, taking the strange as the correct one, and not focusing on the old. This kind of imagination has never been seen in Wu Xing's dreams, and it can be understood by those who are crazy about it. Today we should regard Wang Sengqian, Tao Yinju and Dalingtie as our sects. There is no need to learn anything else.
When the ancients wrote books, they would not make up the main points. "Orchid Pavilion" is not unfair. There are no traces of the brush strokes in the vertical rock. If the shape and pattern are consistent, it will turn away and go away. Liu Gongquan said: "A correct pen must be good at learning from Liu Xia Hui and participating in it." I have been studying books for thirty years, and I came across this idea.
The word "Xiu Jie" is the most powerful. Haiyue claims to be a collection of ancient characters, and he pays the most attention to the word "Gai Yuxu".
The knotted characters of the Jin and Tang Dynasties must be recorded one by one and frequently referenced. This is the most important thing. Part 2 of Dong Qichang's Essay on Painting a Zen Room
Mi Haiyue's calligraphy is neither drooping nor shrinking, and it is closed everywhere. This eight-character mantra is an infinite mantra. However, the word knot must be used to gain power. Haiyue claims that he has collected ancient characters and paid the most attention to the word knot. In his later years, he began to come up with new ideas. Wu Ju is the only person who has learned rice calligraphy. Huang Huachuan (chu Ailanthus) Liao (liao hut), one and a half sections. Even tigers are not alike.
The most taboo thing when writing books is to have even positions. And just like in a word, there must be a collection and a release, and there must be a spiritual connection. In Wang Daling's books, there is no parallel between left and right. The right army is flying like a phoenix and a luan, which seems strange anyway. Mi Yuanzhang said: "Thousands of articles have been published in the new year. It seems that it has a biased tendency, and it is beyond the scope of the two kings." ?This all means that the layout should not be even, but should be long and short, with alternating sparse and dense.
The method of writing calligraphy is to be able to indulge and gather together to catch. In every word, if these two orifices are lost, it will be like walking alone day and night, and it is all a devil's way. After Yu Chang wrote a thousand essays about Yongshi, he said: To write a book, you need to be able to pick up the pen. It starts by itself, ends by itself, and cannot be trusted by the pen. Later generations will write books with confidence in his pen. The word letter is the most playful. What I have said is that those who have to hang their wrists and keep their front straight are all suffering from the disease of breaking the letter and pen. Dongpo's calligraphy is written with heavy strokes. Mi Xiangyang called it painting calligraphy, and there was something about his writing that could be heard in his writing.
The strokes must be straight and not easily softened.
When writing, you must set a purpose. If it is smudged in general, the calligraphy will not be clear. Using the pen to make people know it is a certain book at a glance does not mean that it is a definite method.
The most important thing when writing a book is to eliminate all edges and lines, so that the pen and pen on the paper(?) do not become like a block. Dongpo's poem on calligraphy says: "Innocence and innocence are my master." ?This sentence is the essence of elixir.
Calligraphy only consists of two words: "clever", while "clumsy" means straightforward and without transformation.
In Yan Pingyuan, there are traces of leaks in the house and broken hairpin strands, which means that you want to hide your front. Later generations used the ink-pig as an example, and they all became Yan (Yan fell down on his back) pen. Don't talk about dreams before a fool. If you want to know the traces of leaks in the house and the broken hairpin strands, you can find them in Yuan Shu, but you can't write in the morning, and they will be in the same direction at night.
The Leshan Kan Sutra said: If you try to cover your eyes, if you look at cowhide, you must also wear it. ?When people look at ancient posts today, they all think they are wearing cowhide. The spirit of the ancients is reflected in the calligraphy and ink. The beauty is that it can be done casually and form its own momentum. Therefore, it is an author, and the words are like Zi, so it is not a book, but it is said to be a dharma.
I have studied books for thirty years. Those who understand calligraphy but cannot realize it have to start from the beginning, practice by themselves, collect by themselves, and restrain themselves. When faced with this situation, both Youjun and his son were helpless. Turn left and right, which is the posture of Youjun.
The so-called traces that appear to be miraculous but are true anyway cannot be understood by the world. Calligraphers like to read pavilion posts, which is a disease. Gai Wang's generation never understood the writing style of Jin and Tang Dynasties, but only knew its shape, so it was mostly in the right position. The wording must be strange and unrestrained (dang delay), be fresh and new, use the strange as the right, and not stick to the old. This is something Zhao Wuxing has never dreamed of. Only a rice-crazy person can understand its interest. Nowadays, we should take Wang Sengqian, Wang Huizhi and Tao Yinju as our sect, and there is no need to learn from others.
When the ancients wrote books, they would never make a formal statement. Gai Yiqi is right. This is why Zhao Wuxing did not enter the Jin and Tang Dynasties. Lanting is not unrighteous, and there is no trace of his faulty writing. If the shapes are similar, turn around and move away. Liu Gongquan said: "A correct pen requires those who like to learn from Liu Xiahui to participate in it." ?I have been studying books for thirty years, and I came across this idea.
The skill of writing lies in the use of pen, especially ink. However, it is not common to see the authentic works of ancient people, so it is not enough to explain this point.
When you start a pen, you must be able to lift it up and not let it collapse on its own. This is a message that will never be passed down through the ages. The difficulty in using a pen lies in its strength; and strength is not the result of an angry pen being strong. It's just like a strong man who has such strength that he can always rise up. This was only achieved by Chu Henan and Yu Yongxing's calligraphy. After you realize it, you will be willing to say more.
When using ink, it must be moist and not dry. You should especially avoid being too fat (?), as fat will lead to great evil.
To write a book, you must be able to pick up the pen, but you cannot trust the pen. If the letter pen is covered, the waves and paintings will be powerless. When the pen is picked up, the word "lord" or "turning the bundle" will appear at each turn. This is a wonderful tip for calligraphers. Nowadays, people are just masters of the pen, not even the master of the pen.
In regular script, Huang Tinghuaisu should be regarded as the ancestor. If it is not available, then the clan daughter Shi Zhen will be given. In running script, Mi Yuanzhang and Yan Lugong are the sects. The grass is based on seventeen posts. Dong Qichang's Three Essays on Painting a Zen Room
I studied calligraphy when I was seventeen years old. I first learned about Yan Lugong's pagoda. After a while, he went to see King Zhong and got his skin ear. After more than twenty years, I learned from the people of Song Dynasty and found the solution.
Wen waited for the imperial edict and learned wisdom for thousands of years. Although the appearance is extremely beautiful, it is there. It is almost unheard of to gain the spirit and the marrow. After seeing Wu Xing and Lin Zhi Yong, we should win.
Zhao Wuxing’s preface to Lanting’s postscript says: It is very similar to Bingshe’s postscript. Bingshe is the book of Zhong Yuanchang. It has been passed down from generation to generation that the right army is coming to my ears. Mr. Dongpo's book won Xu Jihai's strength. This is a poem about Yangyu in Huzhou. I studied it when I was young, and I can still write it now, and I may have some similarities with it.
Mi Yuanzhang was ordered by Emperor Dao to write a thousand characters in small regular script, as if in Huang Ting style. Mi Zibayun said: "You should learn less about Yanxing. As for the small regular script, don't pay attention to it." ? Most of the writings written by people in the Song Dynasty regard plains as their ancestors, such as valleys and east slopes. But Cai Junmo rarely changed his ears. I have tried to comment on Mi Shu, and I think the Song Dynasty was the best, after all, it was on Dongpo. The valley is always famous for its quality, but it is not a specialist.
Mr. Dongpo wrote, and the world said that he studied under Xu Hao. The observation comes from Wang Seng Qian's ear. Dan Po said: "Use its structure, and there is Yanbi in the middle, and it is mixed with Yan Changshan method." ?So people in the world don’t know where it comes from. That is, Mi Dian Shu, I can get it more easily. In his later years, there was a change, and there was a strange feeling of being as cold as water. There are no calligraphers who have learned from the past and remained unchanged.
Yang Jingdu’s calligraphy came from Yan Shangshu and Huai Su. But the overflow is strange, not like the Five Dynasties tea. Song Su, Huang and Mi all followed it. The book record says: "Now that we have achieved peace and tranquility, we must pursue danger. This is called scenery." ?