1. Laying and stacking means when writing, arrange the size and density of each character according to the number and length of dots, so that it is well-proportioned and appropriate in width and width. For characters with many strokes, such as "阘, Gao, Xin, Dou, Mo, Qi, Lei, Cuan", although they are closely arranged, they can not conflict with each other. Yu, dot painting must also have its own place. What is said in "Eight Secrets" about "spreading white in intervals" and "evenly mixing dots" are all based on this principle. The "stacking" mentioned in Tang Gaozong's "Calligraphy" also has this meaning. (The character examples cited in the article replace "Shou, Hua, Bi, Li" with "Tao, Xin, Mo, and Yan" because the original characters have been simplified. The following items are similar)
2. Avoidance is to make the density, danger, distance, and distance of the font structure change appropriately and reflect each other appropriately. For example, when making a stroke, the outer stroke of the character "庐" is long and sharp, and the inner stroke of the character "庐" should be shorter to avoid similarity. The long stroke of the character "Fu" is already downward, so the short stroke of the word "Fu" should be to the left to make it change. Another example is to make Na, if the skin of the character "Po" is shortened, it is called avoidance; if the skin of the character "Chang" is lengthened, it is called Jiu. Another example is the flat hook. The hook of the character "鸠" should be retracted to avoid it, and the hook of the character "馗" should be extended to avoid it. Or is it like the lower part of the word "meeting"? When pulling it out, a little bit must be made on the top, which is also to avoid overlapping and keep it simple.
3. Top-top refers to the composition of fonts. Most of the characters below carry the top. However, for characters with large upper and small characters, they must be upright and not to the side. They are regarded as characters that are heavy at the top and light at the bottom. Steady but not floaty. For example, this is the case with "die, tiller, mandarin duck, heron, 骞, for example, 聱, assemble" and so on. In "Ba Jue", it is said that "the slant is just like a human being, the top is called the download", and it also says "don't be light on the head and heavy on the tail", which also means the same thing.
4. Interleaving refers to the method of intersecting horizontal and vertical strokes and interlacing diagonal lines to coordinate the density, length, and size of the glyphs to achieve the purpose of balancing the structure. For example, "Zhong, Fu, Jing, Qu, Ce, Jian, Yu, Yu, Shuang, Duo, Xiang, Yong, Er, Lou, You, Chui, Che, Cao, Mi" and so on. The saying in "Ba Jue" that "the four sides are even and the eight sides are complete" is this metaphor.
5. Towards the back: There are two types of knots: facing towards and facing away from each other. Each has its own body posture and cannot be mistaken. Those that are opposite to each other, such as "Mao, Hao, Zhi, He", are in the same category, and those that are opposite to each other, such as "北, Zhao, Fei, Gen" are in the same category.
6. Lateral characters There are many people who have upright characters, but there are also those who are biased and slanted. They can be distributed and set accordingly according to the different structure of each character. For example, those who lean to the right are "Xin, Ge, Yi, Ji, Fei, Ye" and those who lean to the left are "Xi, Nai, Peng, Wu, Shao, Hong". Basically, the upright and slightly eccentric ones include "Hai, Nu, Zhang, You, Hu, Bu" as another category. In terms of calligraphy, each character has a main stroke as a gesture, and the rest of the stipples are supplemented by the gesture. Therefore, the lateral shape can be written straight, and the upright posture can also be slightly skewed. The so-called flat and wave-like, straightness in the curve. , it becomes even more wonderful. "Eight Secrets" says "Don't let it turn to one side", which is also what it means.
7. Pick? Some font shapes must be tricky to achieve overall balance, and certain strokes must be stretched. For example, characters such as "ge, yi, wu, jiu, qi" ??should be written using the vertical arm and wrist technique, and the writing should be strong and strong to avoid bending. Another example is words such as "Xian, Li, San, Duan". Since there are more stacks on the left side, they must be twisted on the right side. Another example is the words "Province, Zhi" and other words. The upper side must be twisted on the lower side to make them Balance is best.
8. Giving in to each other. The knot characters are mostly a combination of left and right. Those with many stipples are likely to be crowded, while those with few stipples are likely to be loose. When writing, the radicals must give way to each other, not affect each other, and be arranged appropriately to achieve good results. For example, the characters next to "horse", "糳", and "bird" need to be straight on the left side to facilitate writing on the right side, otherwise it will be inconvenient. Another example is the word "bian". The middle character "yan" is drawn short to make the two characters "xin" stand out. Another example is the word "ou, quail, chi". Both sides are narrow at the top and wide at the bottom. They should also bow to each other and return the words. For example, the words "Wu" and "Hu" have their mouths on the left and should be close to the top. The words "He and Ku" have their mouths on the right and should be close to the bottom so as not to interfere with each other. Such fonts must be set like this.
9. Filling in the gaps refers to filling in the gaps when making a calligraphy, making sure that the spirit and energy flow through, the four sides are evenly balanced, and the whole is proportional. For example, for the characters "wo, zai", the dots must be on the left side, and cannot be the same as the characters "cheng, ji" and "ge". Another example is "Xi, Pi, Dian, Gan", etc. It is better to be perfect and square on all sides, like the word "Jian" in "Liquan Ming".
10. Covering means that the upper part of the word covers the lower part, like the roof of a palace, completely covering it.
For example, for "treasure, appearance" and the like, the dots must be straight and the drawings must be round and bright. They should not stick to each other or be long at the top and short at the bottom.
11. Pasting zeros means pasting sporadic stippling. It is used to close the strokes and make sure the position is correct. If it is too far away from the above strokes, it will become loose, and if it is too close, it will look awkward. For example, the words "Ling, Jin, Dong, Han" are such situations.
12. Adhesion: The images of some characters, which originally wanted to separate from each other, are about to adhere to each other so that they are in their place. For example, "Lie, Shi, Pin, Jing, Zhuang, Fei" belong to this type.
13. Quickness means using the brushwork quickly. For some characters, the intention of writing is like shooting an arrow. Don’t wait until the arrow is too late. If it is too late, it will miss the target. For example, for words such as "wind" and "phoenix", the left hand with a long left hand and the vertical wrist should be used for fast movement, while the right back hand needs to be "like lightning in mind" to write well.
14. Full, not empty. For words that surround the structure, the interior must be full and it is not advisable to leave too much blank space. However, avoid scattered stipples to avoid being forced by the periphery. It is better to use dense and well-proportioned characters and a suitable size. For example, words such as "circle, garden, picture, country, Hui, Bao, Nan, separation, eye, four, hook" must be arranged using this method.
15. Integration of meaning. In the combination, some characters have different shapes and opposite strokes. When writing, you must pay attention to the ups and downs and strive to not isolate the strokes. Although the shape is broken, the strokes and meanings are connected. For example, the words "Zhi, Yi, Xin, Bi, Xiao, Chuan, Zhou, Shui, Qiu" are like this.
16. The jurisprudence of overturning and overturning is similar to the covering of knots. It is a trend of betting; if the upper part is large, it will inevitably overturn the lower part, but it must be stopped evenly from left to right and cannot be sideways. incline. For example, the "Yu" head, the "Xun" head, the "Jia, Rong" head, and the head of fonts such as "luxury, gold, food, meet, lane, Tai" are like this.
Seventeen. The pendulum is a downward and pulling gesture. The right side is hanging down and the left side is slightly shortened, such as "Du, Qing, Mao, Bai". The right side is drawn while the left side is slightly shorter, such as "Shui, Qing, Mao, Bai". "Zhi, Qian, Pi, Geng, Zou, Min, Ye" and the like.
18. Borrowing and substituting refers to borrowing the stipples of combined characters from each other when writing, or exchanging them left and right. Some stack them up and down, and arrange them side by side horizontally. For example, the word "mi" in "Jiucheng Palace Liquan Ming" uses the right point of "shi" as the left point of "bi", which is a borrowing. Another example is the lower part of the word "ling". In the Dharma post, the word "gang" or "witch" is used, which is also a borrowing and substitution. Another example is the character "秋" written as "?", and the character "goose" written as "?", both of which are changes in posture. Such mutual borrowing and mutual exchange are also called "Eastern Reflection and Western Belt".
19. Increasing or decreasing means that when writing, depending on the number of dots in a certain part of the font, it will increase or decrease on its own. Those with fewer strokes are added, such as "?" for "新", "?" for "Jian", or omitted due to many strokes, such as "?" for "Cao", and "?" for "美" for"?". In order to make the writing style lush and beautiful, some calligraphers make creative substitutions and changes regardless of the ancient fonts.
20. Ying-fu refers to some characters that combine the left and right sides, and deliberately achieve the purpose of correspondence in structure. Those with sparse stipples, such as "Zhi, Xiao, Yi, Sichuan" are one type; those with dense stipples, such as "Si, Qu, Fei, Ding" are one category. That is to say, one painting matches the other, corresponding and complementary.
21. Supports: All characters with a single structure and supported by the last vertical support must be stable and supported when writing, so that they can appear strong and powerful. For example, words such as "Qian, Xia, Jin, Ding, Yu, Shou, Ke, Si, Gong, Yong, Yu, Spear, Ning, Heng, Ting, Hui, Cao" all fall into this category.
Twenty-two, Chao Yi. Any universe where two or more parts are combined must look after each other, connect with each other, and strive to avoid looseness and separation. Most of the characters are composed of two characters, such as "Zou, Chen, Xiao, Yao, Qiong, Lou, Wan, Zhuan" and so on. There are also characters composed of three characters, such as "Xie, hoe, Chu, Che, Ban, Bi". ", break up, argue" and the like, quite like bowing to each other. This is the meaning of "welcoming each other, looking at each other and bowing to each other" mentioned in "Calligraphy".
23. Rescue Whenever you write, the first stroke has just landed on the paper, and you have to think about how the second and third strokes will respond. If the first stroke has lost power, the second stroke must immediately make up for it. This is what is proposed in "Ba Jue" that "the intention is written first, and the text is thought later".
24. The shapes of the characters should not be separated from each other if they are suitable for being close to each other. Such as "Xing, Ying, Qi, Chao, Yin, Chang, Felt, Mian" and other words. For characters with radicals such as "wen, qian, and zhi", it is better to add the small ones to the big ones. It is better to add the ones with fewer strokes to the ones with more strokes.
Twenty-five, back hugging refers to the back-to-front hooking and hugging strokes when writing. It is necessary to pay attention to the width and narrowness. Too wide and loose, too narrow and narrow. Those who hug back to the left are like "曷, beggar, yi, chrysanthemum" and so on. Those who hug back to the right are like "gen, ghost, bao, xu, it" and so on.
Twenty-six. Wrapping is a knotting method of full or semi-surrounding. For example, "garden and nursery" are made in circles, which are fully enclosed. "Shang, Xiang" refers to the upper part and the lower part, "You, Ji" refers to the lower part and the upper part, "Gui, Kuang" refers to the left part and the right part, and "Xun, Xiong" refers to the right part and the left part.
Twenty-seven, but good means that when writing, master the wrapping and structure method, pay attention to the rules, avoid losing momentum, and make it just right.
Twenty-eight. The stipples of the characters should be connected to each other to make the strokes full of interest. Two dots such as "小,八" naturally correspond to each other. The three dots of "忿" have the left dot facing right, the middle point facing up, and the right dot facing left. The four dots of "Ran, Hot" have two dots on both sides. Correspondingly, the two points in the middle are connected.
Twenty-nine, Xiaocheng Dayu You must be meticulous in writing, and you must not neglect all the strokes related to the whole character, even the smallest details. The characters range from big to small, such as "men,?" The big ones are the same. More often, small things become big things. For example, the word "Gu" is only at the last stroke, the word "宁" is also the last vertical hook, the word "Qian" is a stroke, and the word "ge" is at the end of one point. It can determine the quality of the whole word, and sometimes one word is related to the quality of the entire article.
Thirty, small and big characters take shape. That is to say, small characters and large characters have their own shapes and characteristics, so the writing methods of the two types of characters are also different. Su Dongpo said: "It is difficult for large characters to be dense and seamless, and it is difficult for small characters to be broad and generous; in other words, if the large characters are written densely and compactly, and the small characters are written broad and sparse, everything will be perfect.
Three 11. Small and large characters "Calligraphy" says: "Big characters make them smaller, and small characters make them bigger. They are naturally wide and narrow. "For example, the character "日" is small and difficult to be written as big as the character "国". Another example is the characters "一 and 二" which are the most sparse and clear. Their strokes cannot be the same as dense horizontal strokes, and the location must be considered. The arrangement of the positions reflects each other, which can be called the top grade. It is also called "the top is small and the bottom is large, and the top is large and the bottom is small, so that the sizes are proportional."
Every writing is in shape. Whether two or three characters are combined into one character, or written in different styles (the so-called "beautiful thing is that they can be separated") mainly depends on whether they can be formed separately, that is, the top and bottom are overlapped, and the left and right are reflected. The same applies to size, length, width, and width. It depends on whether they are symmetrical to each other and harmonious as a whole.
33. The structure of the left, small and right fonts should be square and the center of gravity should be stable. What I said is that there is a problem in the knotting of characters. The left and right sizes must be consistent with each other, and people tend to write with the left small and the right large, so this section and the next section are all about the pathology of characters
34. The characteristics of the font structure are that the left side is high and the right side is low, and the left side is short and the right side is long. Just as the "Eight Secrets" refers to the "don't make the left side short and the right side long"
35. If you follow Ouyang Xun's calligraphy style, it is easy to make the characters long and narrow, so the knotted characters emphasize the neatness of the posture. Tight convergence and orderly arrangement can lead to laoqi. Sun Guoting's "Shu Pu" says that "secretness is laoqi", which is also the basis of narrowness.
36. The meaning is that the top is connected to the bottom, and the front leads to the back. In order to look after each other and achieve the same position, the structure rule of the word is that the upper part covers the lower part, the lower part carries the upper part, and the left and right sides must also give way to each other (similarly, each other must be bowed to each other). The meaning of management can also be extended to the composition and layout of the whole article. It is said in "Shupu" that "one point becomes the rule of one word, and one word is the final standard." This is the truth.