I feel that it is more practical to study the stroke operation between Wei and Jin dynasties and after Tang dynasty directly from the pen. Only write one article today, the difference between the turning point and the people in Jin and Tang Dynasties. Observing the copybooks of Jin people, there are two ways to deal with the turning point and the front echo. One is to twist and the other is to press (pen).
Because the twisting method is considered as a compulsory twisting method, the spirit of God and King is quite obvious at the turning point, especially with Fang Bi, which is more tough, so it is not only common in the Jin people's law posts, but also more manifested in making good use of the Weibei of Fang Bi.
From this point of view, it is not difficult to understand that although the calligraphy of Jin people's law posts is very different from that of epitaphs, the brushwork is the same, also known as "Wei and Jin brushwork". In addition, when writing, the strokes naturally bend to one side and end with a picture, which is exhausted. At this time, the brush tip turns 180 degrees, and the force is multiplied by its original curvature, so the front adjustment is very thorough. It is easy to make every stroke full of momentum, as if full of energy and vitality.
When the pen is about to be closed, lift the pen tip to the upper right, make the pen tip straighten naturally by using the natural elasticity of the brush (it is impossible to straighten it completely, even if it is the most elastic wolf hair), then press it down to the lower right, and finally connect the next painting to the lower left. In this way, although the font is 180 degree rotation, the pen tip is actually split into two 90 degree rotations, that is, the middle section of the pen tip is used. " But because of the decomposition action, it is more convenient and easier to operate, and the font can be neat and beautiful.
To tell the truth, both Wei Bei and Jintie are used alternately, which is why the brushwork in Wei and Jin Dynasties makes people feel eclectic and changeable (these two brushwork transfer methods can refine many small classifications).
In the Tang dynasty, especially in the middle and late period, the twisting brushwork gradually disappeared, and lifting pressure became the mainstream usage to deal with the echo of turning. Analysis of the reasons, one is related to the calligraphy style of pursuing gorgeous ending at that time, such as the need to do calligraphy and write classics. Second, strokes are easy to learn, and they can be written in a decent way with a little training, so that Zhao in the Yuan Dynasty and Dong Qichang in the Ming Dynasty, although they respected Wei and Jin Dynasties, still followed the Tang Dynasty. Although the glyph is very similar to that of the two kings, they are still charming and frugal. We can get some clues from it.
With the knowledge and talent of Zhao and Dong, it is not difficult to understand these things in Wei and Jin Dynasties, but why didn't there be a breakthrough?
Presumably, the first is the calligraphy after the Tang Dynasty, which has enveloped China's calligraphy style for hundreds of years. Yan Zhenqing's position as a grandmaster after Wang Xizhi is unbreakable (although there are critics such as Mi Fei in the middle, his voice is weak after all). The so-called Buddhism has a cloud: * * destiny takes a hand, what is that?
Second, there are too few calligraphy posts of Jin people, and the engravers are distorted, so it is difficult to examine the beauty of their pens. At the same time, Wei Bei has long been forgotten, and only a few people have been ignored. Song Xue's "Danba Monument" in his later years seems to have a sense of awakening, but it seems a little late, and he himself died soon.
Wang Juesi and Fu Qingzhu's generation should indeed return to the Wei and Jin Dynasties, but that was the time when calligraphy had developed to no end after the Tang Dynasty. Several talented and awakened calligraphers were forced by the Jedi to fight back, but they succeeded anyway. After the mid-Qing dynasty, a large number of excavations in Weibei and the calligraphy posts of Jin people confirmed each other, and the wings of brushwork in Wei and Jin dynasties were all gone, and the revival of calligraphy was unstoppable.