1, pen full of ink b ǐ h ā n mò b m: o
Pen and ink are used freely and incisively. It describes calligraphy and poetry.
2, the pen to the dragon snake bǐ zǒu lóng shé
The dragon and snake pranced in the fence. Describe the vigorous and free brushwork of calligraphy.
3, dragon and phoenix dance w incarnation
Fly like a dragon, fly like a phoenix. The original description is unrestrained and magnificent. Nowadays, calligraphy is described as a lively, flexible and lifelike plastic arts of dragons and phoenixes.
4. Dragons and snakes are flying.
Describe the vigorous and vivid strokes of calligraphy. Su Shi wrote in the poem "Xijiang Yuepingshan Hall": "I haven't seen the old fairy for ten years, and the dragon and snake fly to the wall."
5. Luan Piao Feng Bo LUN piāo fèng bó
Luan: the legendary phoenix. Originally, calligraphy was described as unrestrained and uninhibited, and it was also compared to the separation of husband and wife in high flyers.
6. Luan Simao von Zhou Luan xiá von zh.
Fly high. Metaphor calligraphy flying posture. Beauty hairpin: describes the beauty and diversity of calligraphy or poetry style.
7. Get to the heart of the problem.
Calligraphy used to be descriptive, but now its analysis, description and discussion are more profound and powerful. Similar characters permeate the back of the paper, which appropriately describes the roots of calligraphy.
Good sentences:
1, take a pen and daub it a few times, and a flying dragon will jump out of the paper. The dragons he painted are lifelike, magnificent and varied. Chen Rong often doesn't draw the whole dragon, or the dragon's head, or the dragon's claws, flickering, as if to smell its sound, as if to see its shape, and splashing ink into clouds, spraying water to melt the fog, which is wonderful, and it is called "Suo Wenglong" (as Chen Rong said).
2. The fonts are staggered, big and small, open and closed, and the line thickness changes obviously and fluctuates. The last line is crooked, so crooked that it is almost overwhelming. But this tendency is not blunt, but more freedom, which embodies his arbitrary side and has his own style. Chen Rong took a steep stance, and his writing was oblique or positive, heavy or light, with a beauty of "she began to vent her anger like a thunderbolt". He writes quickly, with a strong pen and great effort.
3. Gu Mo lightly grinds a few perfumes, and the new bath in the inkstone pool is full of light, either strong or tactfully, or graceful and beautiful, or vigorous and brave, or like the spring breeze, or like the deep and cold when the north wind enters the customs.
4. Wang Xizhi has a deep understanding of real calligraphy, calligraphy and calligraphy. His real books are ingenious and dense, opening up a new realm; His grass is long and thick; His running script is full of charm and strength. People call his words "floating like clouds, agile like dragons"; "Yue Long heaven, the tiger lies in the phoenix pavilion".
5, a pen, if the field of vision is out of control, the horse will fly and go; Another example is the dragon flying in the sky, which comes from nothingness and returns to nothingness. It is almost crazy and contains the aura of heaven and earth.
6, publicity, not tied at all, even the whole line is put down, like a fairy to escape, come and go without a trace.
7. I borrowed a wisp of flying smoke from a meandering stream, polished an inkstone lightly with my hand, and laid a blank sheet of paper for my mood.
8. In one stroke, if the field of vision is out of control, the horse will fly and leave; Another example is the dragon flying in the sky, which comes from nothingness and returns to nothingness. It is almost crazy and contains the aura of heaven and earth.
9. Calligraphy incorporates the perseverance, boldness and enterprising spirit of Confucianism, and also includes the emptiness, dispersion, quietness and leisure of Laozi and Zhuangzi, and often omits the worldly glitz in brushwork in order to be ethereal and far-reaching.
10, although paternal, is not a new coincidence. Judging from its character potential, it is as thin as a dead tree in the middle of winter; Look at his handwriting, if you are hungry.
2. About the complete works of famous calligraphy sentences ▲ words, voices; Books, heart paintings.
Both sound and picture see a gentleman and a villain. Sound painter, gentleman and villain, emotional.
-Yang Xiong's "Fa Yan" ▲ The depth of the pen lies in the distance from the paper, the distance is floating and thin, and the near is the front weight. Tang Lu's Linchi Tactics ▲ If you want to learn a book, you must first learn to use a pen. The method of using a pen is powerful.
Huang Tingjian's On Books ▲ The so-called law, stress, hook, rejection and guidance. Five generations. Li Wei's "Shu Shu" ▲ You Jun swears with a pen, mostly positive, so it is strict and fascinating; Amethyst is unfolded with a pen, and its side is half of the front, so the spirit is scattered.
Ming. Feng Fang's book tactics ▲ Pay attention to stability when writing, but be light and healthy when using a pen: light will be heavy, and astringency will be astringent, which is called hiding the front. Clear. Feng Wu's calligraphy is a true story ▲ The characters are different from the hidden front, and they are full of enthusiasm. It's better to connect their hands and tails.
Song. Jiang Kui's Continued Book Score ▲ When using a pen, it is especially necessary to hide the front. If you don't hide your front, you will get sick if you speak. What can be done? Tang Xu Hao's "On Books" draws sand with a pen like a cone, making it hide the front and draw it calmly, which is a great success. When using a pen, it often tries to let the pen pass through the back of the paper.
Xu Mo of Don Xu Wei ▲ The so-called eternal difficulty refers to the texture of the pen, not the face of the pen. Clear. Zhou Xinglian's "My Opinion on Linchi" ▲ Learn to have rules and styles; Otherwise, the brushwork is not refined and the words are lost.
The one-word method is structure: the beauty of a stroke is the beginning, and the beauty of a stroke is the end. The way of structure, especially the subtlety of brushwork.
The Eight Anonymous Methods of Yong Zi ▲ Use this pen correctly, horizontally, smoothly, repeatedly, lightly, falsely, realistically, steadily, vertically, tightly and stretched, all of which are solutions. Only by the sharp pen tip can it be in tune. Clear. Zhou Xinglian's My Opinion on Linchi ▲ The two ends of the painting can be seen by pen, while those who were extremely rich by the ancients were cut off in the painting.
There are still traces of manipulation at both ends of the cover; Among them, the reason why interception is rich but not timid is real and not empty, not bone potential, and can not be angry. Clear. Package "Art Boat Double Series" ▲ Use a pen to be neat, and use a pen to cadence.
Song. Jiang Kui's "Continued Book Spectrum" ▲ The place where the pen is sent should be raised, so that it will not be suppressed, but it will never pass a message. Ming. Dong Qichang's "Essays on Painting Zen Rooms" ▲ The ancients wrote, divided, true, line and cursive, and the same was true with pens. They must give priority to the front, and occasionally take beauty from the side.
Below the book, front eight, side two, unpredictable. Ming. Feng Fang's "Shu Ji" ▲ The ancients painted bits and pieces, all of which were used to turn the pen from the beginning to the drag; The ancients pulled together, all rotating, holding the paper in their hearts, and there was no place where Xiaomi collapsed.
Clear. Including "Art Boat Double Series" ▲ Calligraphy and painting, the first thing to bear is lightness and agility, and there is no trace of pen and ink, such as antelope hanging horns. A scholar with a keen mind and hands.
But convenience must be proficient, and the turning point must be dark, in order to know the beauty of folding hairpin strands. Stay in the dark, stay in the team, stay in the team. It's really fast.
Clear. Zhu's "New Interpretation of Linchi" ▲ The transfer of several paintings wants to be folded, and the rotation of a painting is expensive; The same turn, misuse is sick, and it is legal to do it separately. Clear. Da Zhongguang's "Book Raft" ▲ The front is covered with paper, that is, it should be changed: draw the walker, on the drum; Draw a walker and turn the pipe down; Draw a left walker and turn the pipe to the right.
Clear. Including "Art Boat Double Series" ▲ Painting and calligraphy brushwork, if it is in the bone, it will stand, although it is different, it will be an adult. Song. Li Yunxi's Collection ▲ The theme of this book can be summarized in one word.
Yue: The pen is round. Square, folding method, stippling the starting and ending points of waves, square pointing out, word bone also; Round, hanging in the air with a pen, pretending to be a gesture, round the arm and wrist, the word tendon is also.
Clear. Zhu Luzhen's "Learning the Book" ▲ Round as the sky, square as the ground. Fiona Fang uses each other, but Yin and Yang hide from each other.
Therefore, the pen is expensive and the shape is expensive. The circle is God's circle and cannot be delayed; Fang Naitong Fang, just can't hold it.
Ming. Xiangmu's "Elegant Words of Calligraphy" ▲ When the ancients wrote books, they put pen to paper and it was round to the end, and it was convenient to put pen to paper, each of which became a kind of composition. "Lanting" uses a circle, "Shengjiao" uses a square, and the second paste is a model of calligraphy in the past century. The so-called rules are the best in Fiona Fang.
▲ In order to turn the beam, it is round inside; In terms of pen quality, the bone is square and round. This is a certain principle.
Clear. Zhou Xinglian's My Opinion on Linchi ▲ Soft is fat and thin, hard is dry. Therefore, the truth lies in temperament, reaching form, being round in form and based on temperament.
Clear. Bao "Art Boat Double System" ▲ The round pen is used to carry it, but it is frustrated. Fang Bi turned the conversation to dinner and mentioned the contract.
The round pen should be sharp, and Fang Bi should turn it over. If the round pen is not sharp, it will be weak, and if Fang Bi does not turn it over, it will be weak. Modern Kang Youwei's "Guangyi Ship Double Edition" ▲ The pen tip is like a falling front, and it is not like a sharp front. The scene is vivid and refreshing, and it is a word, so it must be integrated.
Kim. Wang Xizhi's "On Books" ▲ To write a book, you should write a pen, not a letter. Cover the letter pen, its wave painting is weak.
As soon as I start writing, I am dominated by every turn. The characters "Zhuan" and "Liang" are clever tactics of calligraphers.
Ming. Dong Qichang's "Essays on Painting Zen Rooms" ▲ has the priorities of opening and closing, true and false, anti-parallel strings, and clear distance. Clear. Liu Xizai's "Art Outline" ▲ Use a pen calmly, and calmly, the pen will not float; Also want to be empty, empty spirit is not good.
Using a pen to solve this problem has its own gradual effect. Use the pen skillfully, and cleverness is the spirit. If you are clumsy, it will be ancient, and if you are combined, there will be no disease of lightly picking turbidity.
Clear. Qin Tong Yin Hua ▲ There are two ways to write a book: one is illness, and the other is astringency. There are two ways to get sick, and the book is wonderful.
Eastern Han dynasty Cai Yong's "Stone Chamber Magic Pen" ▲ The pen is expensive around the left, and the book is still late, which is also the way of this monarch and minister. Preface to Don Jelly Lin's The Stirrup ▲ When you write a book with a pen, you will not feel frustrated if you write it too fast, and it will have no effect if you write it too late.
Clear. Liang Xian's book on learning ▲ uses the saying that the author is familiar with pens, but he doesn't know how to get it. Only when the pen wants to do it, if there is anything to refuse, try your best to fight it, so that it will not be astringent.
Clear. Liu Xizai's "On the Use of Pen" ▲ When writing, he is firm and not sluggish, and his calligraphy is profound and profound. Don. Zhang Yanyuan's "Fa Shu" ▲ Shan Zhou said: The pen should be soft, and softness is awkward; The style of writing should be long, and the spirit should be long; When the ink is full, it is full; Write quickly, you'll be out soon.
Clear. Liang Shutong's "On Diligent Luo Yan" ▲ The brushwork is too engraved and easy to hurt rhyme. When you start writing, you must go against the trend, and you can't procrastinate, that is, you are not angry and naive.
Clear. Qin's "Homophonic Painting" ▲ People know that pen and ink have charm, but they don't know that the charm is all in my hands. Clear. Da Zhongguang's Painting Sasakawa ▲ People who have brushwork but can't ink are gone, and people who don't have brushwork don't need authors.
3. Calligraphy famous sayings, aphorisms, ancient stories ● Books come from nature (Han Caiyong) ● Silence is better than sound, and intangible learning (Tang Zhang Yanyuan) ● Xuanyi, out of the table; The deep reason lies in the shadows; What is natural can be said, and what is wise can be measured (Tang Huai-King) ● Either place it on vertical and horizontal ambitions or place it on stagnation.
Although it is expensive, you can't restrain its height, although you can't exert your strength through clever planning (Tang) ● Words can't be rewritten, and words can't be passed around indiscriminately ● Write like a dog, the uglier you are, the more afraid you are ● Words are afraid of practicing, and horses are afraid of riding ● Words should be practiced ● Words should have backbone, meat should be covered with tendons, and posts should be beautiful (Song. Mo Mo Wan Yuan Bao (stone) ● Start writing hard, if the swan flies high, the dragonfly is graceful (Jin Weiheng) ● If the silver hook, if the source is amazing (Jin) ● If it floats like a cloud, if it is agile, the Yue Long sky is blue, the tiger lies in the Fengge (Southern and Northern Dynasties), and the pearls and jade are fluttering tassels (Tang Huai-Sheng) ● Like a breeze, it will be in your arms tomorrow and next month (Tang Lisi)