Reprint how to write in lower case

chapter one, the use of small letters. section one, the characteristics of writing and wrist movement. to write small letters well, writing and wrist movement are a key issue. Yuan Zheng Yi (Zi Zi Jing) said: "The husband holds the author, and the key to the dharma book is also". Although there is no great difference between the general law enforcement and writing running script and block letters, block letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing block letters: (1) "Finger is solid and palm is empty, wrist is flat and palm is vertical" is the basic law, and the so-called "finger is solid" means the five-finger writing method of pressing, hooking, checking and reaching. "Press the belly of the first section of the big finger close to the top of the pen tube, and the force is to the upper right, and it should be inclined. Press the upper end of the index finger against the outside of the pen tube, and the force is opposite to that of the big finger. Hook the upper section of the middle finger near the horizontal stripes, bend like a hook and hook the pen tube, with the force facing the lower right. The joint between the ring finger and claw is close to the pen tube, and the strength is opposite to that of the middle finger. Touch the little finger against the lower end of the ring finger to increase the finger force of the ring finger. Due to the reasonable distribution of the five fingers, the strength is gathered from all sides, and a pen is firmly held in the hand. When writing small letters, it is advisable to write shallowly, and stick the finger end to the tube, because the finger end feels sensitive. If you write shallowly, your palm will be naturally weak, and if your palm is weak, you will exercise comfortably, and there will be no hindrance. The "stirrup pulling method" put forward by Li Houzhu in the Southern Tang Dynasty has been interpreted by calligraphers in different dynasties. Some people think that people who are good at riding horses can easily get in and out when stepping on their toes. Some people think that stirrup pulling means that the ancients used their fingertips to pull out the lamp center with a small stick, which is a metaphor for the shallow holding method. Some people think that because of the shallow writing, the tiger's mouth is like a stirrup (that is, Cheng's writing method). When writing small letters, you should not hold the pen too tightly or too loosely. If it is too tight, the pen will be stiff, and if it is too loose, the stippling will be weak. Therefore, it is better to use hard and soft strength, tight but not dead, loose but not loose, not wide and not fierce, and there is a way of neutralization. Zhao Jian-guang of Ming Dynasty said in Cold Mountain Broom Talk: "If you hold the tube too tightly, your strength will stop at the tube, but it will not be smart, and you will be able to command it as you wish." This is indeed the language of my heart. Pen power should penetrate through the shoulders, elbows, wrists and fingers to the tip of the pen. The muscles of all joints should not be strained and forced. If the grip is too tight, the force will stop at the tube, and if the wrist is strained, the force will stop at the wrist. Even if there is arm strength, it can't be immersed in the pen tip. Therefore, Su Shi proposed that the pen should be empty and wide, and only empty and wide can it operate freely. When writing small letters, if the pen is held too deep (that is, it is held at the middle section of the food and middle finger), the palm is bound to be empty, and the fingers are deep and solid, so that the pen can not be rotated forward and backward, which may easily lead to the stagnation of the air machine and the ineffective transportation. When writing small letters, the pen should not be too high, so that it is about an inch away from the written head. If it is low, it is calm and firm, and the words are not erratic. Tang Wei Rongzong said: "The true book is small and dense, and it is appropriate to hold it close to the head." Zhao yiguang's "cold mountain broom talk" also said: "the real book should be steady, so write an inch or an inch." If the pen is too high when writing small letters, the painting potential is vain, but there is no strength. In this case, the small letters are mainly composed of heavy ends, and a lower pen can better control the pen power. When writing in small letters, the wrist should be flat and the palm should be vertical (that is, the elbow and wrist should be flat on the desktop, and the palm should be slightly erect when the wrist can stand up, keeping an oblique angle with the paper). When the wrist is flat and the palm is vertical, the front is easy to be positive, and the front is regular and full of potential. It must be made clear here that when writing small letters, the pen tube does not always keep perpendicular to the paper and move in parallel. When taking the straight as the center of the circle, the pen tube moves forward and backward, left and right, tumbling up and down, only when it is made by the intention, and when it is closed, if the end leads the rope, it will eventually be held upright, and the pen gesture will naturally be round and lively. Especially when writing small letters with Fang Bi's side, when writing a pen, it is not appropriate to hold the pen straight down. When the pen tube is slightly tilted to the right, it will be smooth and smooth, and the handy effect can often be achieved. Qing Zhu and Tang's "Linchi Xinjie" said: "I even say that writing is like marksmanship. Before and after the left and right, the front is positive, and it must be turned with the trend, and it will be manipulated in one breath, and it will be slightly sideways when it is transported." This passage is worthy of our aftertaste. If we stick to the center and stick to it, we will not be able to achieve a round and natural change. In short, the method of writing, but take the appropriate, not curious, so that the pen can be fully played. (2) Finger-dead wrist is the basic method of writing small letters. When writing small letters, the wrist should be loose and flexible, and it should not be too tense or too hard, which will make the wrist stiff. Even if there is wrist strength, this force cannot be exerted. The function of the wrist is mainly to adjust the pen tip, and change the pen center secretly through actions such as lifting and stumbling, so as to achieve the purpose of the center's pen stroke. Only in Tibetan front paintings can we sink into the bone, make the brushwork full and round. When pretending to write in small letters, the pen should be strong, while the wrist should be light, and the words within the square inch should be mainly carried by the wrist, so that the brushwork can come from the wrist, and the stippling will naturally sink and not float. When referring to the dead wrist, you should move your fingers with your wrist, but you know there is a wrist in your heart but you don't know there is a finger. When you use your wrist, you should not be picky with your fingers. Song Cao in the Ming Dynasty said in "Calligraphy Covenant": "The hand is not the main transport, but the wrist is the main transport, but the heart is the transport." This is a very subtle method of wrist movement. Only when the pen is well-rounded, can we achieve the free state of forgetting each other's heart and hands and being handy. Finger death does not mean that the fingers are stiff and motionless, while wrist movement means that the fingers can move with the wrist and live. In Yao Mengqi's "Memories of the Word Learning" in Qing Dynasty, it is said: "Death refers to the living wrist, and the calligrapher has no such curse. Death refers to the straightness, and wrist activity is the spirit of the word." According to legend, Liu Yong, a calligrapher in Qing Dynasty, used to twist the pen when writing small letters, which is another way. Although it can be used for reference, beginners should still focus on wrist movement. The strength of sitting in lower case lies in your fingers, and you don't have to hang your wrist high, because each word of lower case is only two or three points square, and the gesture is limited. On the other hand, lower case is calm and heavy, and the pen is meticulous, so it is really difficult for beginners to control and control it, so it is not appropriate to hang your wrist high. Before the Jin Dynasty, people often sat on the floor when writing small letters, without relying on them. They hung their wrists and wrote books, and their brushwork was very impressive. Therefore, the predecessors advocated that writing in small letters should also be hanged. For example, in Qing Jiang Heng's "Inscription and Postscript of Zhuocuntang", he said: "Make the pen hanging center, the arm finger is like a stone, and make a masterpiece of flying heads and small letters. The so-called mustard seed is not good for magic, but also wants to save bamboo slips and lacquer books in case of ears." According to legend, Mi Fei, a calligrapher in the Song Dynasty, was good at hanging his elbow to make small letters. Once, his schoolmates Chen Boxiu and his son asked him for advice on the method of raising a pen. Mi Fei said, "If you hold the paper by your wrist, the tip of the pen has finger power but no arm power." Then Perseus asked, "Can I write in small print with my pen hanging from my elbow?" Mi Fei just laughed and didn't answer, so he took out a pen and paper, sat on his wrist, and wrote a "Praise Table". The words are like flies, the strokes are strict, and the genre is like big characters. It is very precise. When Bo Xiu and his son saw it, they were greatly impressed. Because of asking for its method, Mi Fei replied: "This is not difficult, as long as you make it in the future." This story has had a certain influence on later generations. For example, Jiang Ji's "Continued Calligraphy Theory" in Qing Dynasty said: "It is no longer a downward ride to be able to hang your wrist in a lower case, but it is better to be quiet if you can cantilever, and you can't do it unless you sit up, so it is better than hanging your wrist." Another example is Wang Yun in the Qing Dynasty, who also sneered at people who couldn't write small letters by hanging their wrists. He said: "Although the ancients hung their wrists and fanned their heads, they didn't have to rely on the case to read the" Huangting "carefully, and the law was the strictest, but people did not pay attention to it. Nowadays, most people write small characters according to the fixed fan bones, and dare not write big characters such as Chunhua and Shengjiao. The small ones are covered by the machine, and the big ones are exposed. " I don't think it is necessary for beginners to cantilever for small letters. Generally, they can use the method of lifting their wrists, that is, leaning against the desktop and lifting their wrists in vain. The so-called virtual lifting means that the wrists are glued to the desktop and kept at arm's length from the desktop. This can not only effectively control and control the pen, but also make the wrist rotate flexibly, so that the pen power and gesture can be fully exerted, such as writing a slightly larger small letter (about two words per word) If you write very small words (each word is half a centimeter square), you can use the wrist method, that is, the wrist is attached to the desktop, but it can't be stuck. Just move your finger and don't move your wrist, which will make the pen machine stagnate. When writing small letters, you should also pay attention to certain gestures. Generally speaking, when sitting in lower case, your feet should be flat, your feet should follow the ground, your shoulders should be level apart, your upper body should lean forward slightly, and your chest should keep a distance of about one inch from the edge of the table. It is not reliable to sit on the table, and your eyes should not be pressed against the paper. When you keep it at about one foot, your elbows should be open, press the paper with your left hand, and then write lower case quietly. The correct posture can not only help to maintain your physical strength and protect your eyesight, but also help to maintain your eyesight. The above are the methods that must be paid attention to when writing lower case letters. In fact, the only way to truly master the skills of using a pen is to write more and appreciate more. At first, you are conscious and passive, and when you are extremely proficient, you will be self-harmonious, self-penetrating, self-moving, wrist self-spiritual, pointing to self-coagulation, pen self-end, gas penetration with your fingers, and concentration. As Zhu Luzhen of Qing Dynasty said in "A Brief Introduction to Calligraphy": "A husband who transports his heart first, his body second, and all his strength will return to his wrist, which is as firm as bending iron, and he will concentrate on his fingertips. After a long time of transportation, his fingertips will be strong and his pen will fly, and he will be extremely skilled, and then he will break his hair, leak his house and make a wall." In a word, the ultimate goal of correct fingering and wrist technique is nothing more than getting the word "potential" and "strength". The writer is playing with this pen, and if this pen is played in your hands, it will reach a state of "forgetting heart and hand". (To be continued) Section 2: Writing in small letters, also known as writing, is an important part of writing. Chen Jieqi in the Qing Dynasty said in his "Shazhai Footprint": "If you want to ask for the brushwork of the ancients, you must ask for it at the place where you write." He also said: "All the methods are in the place where you write, and you can't do it after you write, and you can't use your heart." According to legend, Wang Xizhi wrote small letters, and he paid the deepest attention to it at the place where he wrote it. Unfortunately, we have lost sight of his original works. The precision of the pen, the flow of the pen gesture, the change of stippling and the adjustment of the front are all manifested in the pen-issuing place. Therefore, if you are good at issuing the author, you must not stick to one method, but can correct the abnormality, straighten out the text and manipulate it freely. The so-called "nature is at the end of the pen" is also true. Let's talk about some methods of writing in lower case. (1) When writing a pen, Zang Feng said that Zang Feng didn't show his sharp edge when he started writing, and he disappeared from the hidden end, while Zang Feng gathered his brush, but he didn't see the trace of the beginning and the end. This method is what Wang Xizhi said in "On Books": "When using a sharp pen, you must put pen to paper, so that you can't make Hao Lu float and fear." Zang Feng's writing style can give people a rich, profound and calm aesthetic feeling. When the Tibetan front starts to write, it can be "reversed in and leveled out", that is, in the opposite direction to the stroke, it is gently reversed to make a dot shape, and then the stroke is reversed. The purpose of the reverse stroke is to spread the Tibetan front, and the stroke of the center can be repeated twice if the front cannot be adjusted once. This is the method of writing seal script, so it is also called seal script method. Although this method can be used when writing lower case letters, it is also different. Because the lower case letters are small in stippling, the reverse movement is extremely light and fine, and sometimes it is just a meaning. It should never be round-headed, like steamed cakes, but also rich in variety, with no trace as the top priority. On the other hand, the pen machine can't be stagnant when it is reversed, so the pen can absorb ink and the ink has no leakage. When writing in small letters, the stippling should be clear and clean, and only after removing its dross can you write all the way to the thick. Wei Jin people like to use this method in small letters, and try to see Zhong You's small letters "The Straight Table of the Recommended Season". The pen is full of tendons and bones, and the stippling is round and simple, antique, and there is a kind of profound and pure spirit that overflows between the lines, such as the three generations of Zhong Ding characters, which makes people dare not insult. Another example is Wang Xizhi's small letters "Huang Ting Jing", where the pen is written, there is no dew. (2) Fang Bi's writing style, Fang Bi, originated from Lifa. Most of the inscriptions in the Six Dynasties were Fang Bi, and the regular script in the Tang Dynasty inherited the style of the North Monument, thus forming a regular script with Fang Bi as the main feature. The so-called Fang Bi's sharp-edged pen is the main method of writing regular script, and Fang Bi's good use can give people a strong, energetic, refreshing and profound aesthetic feeling. Fang Bi's pen can be started by contrarian cutting method, also known as point method. Zhou Xinglian of Qing Dynasty said in My Opinion on Linchi: "Every word is written from the point, and the point is determined to be all around, and the pen is dominant, so as not to be biased towards the hay crop rate." The method is that before writing, you should take on the pen gesture, make a reverse movement in the extremely low air (or the pen tip touches the paper and the sharp tip moves backwards), and then make an oblique straight drop point (when writing a horizontal painting) or an oblique horizontal drop point (when writing a vertical painting), such as a knife. When cutting into the point, the potential is heavy, but the drop point should be light. Mr. Gao Ershi, a modern calligrapher, pointed out when he wrote Cao Ebei: "If you write steadily and lightly, you will have a sense of elegance." It's really what he said. This kind of brushwork, also known as "building the front and writing" in calligraphy, builds, tamps and tamps the soil to make it solid. Just like construction workers building land, the front of the building is falling straight down, which means that it is like a falling stone at a peak and has the meaning of crashing into it. After cutting against the trend, the tip of the pen is on the top and the belly of the pen is on the bottom, which has become a sideways trend. At this time, it is urgent to adjust the front to make its pen tip deflect from the middle. This is the most critical place for writing small letters. When adjusting the front, you can use the wrist method to slightly drive the pen tip to make one or two spiral movements of lifting and pressing, and quickly knead the pen tip into the painting. Zhou Xinglian's "My humble opinion on Linchi" said: "When you write a paper, it is like a person's place, his heel is established, his waist is stretched and his back is relaxed, and his bone strength is naturally strong. If you turn a little, you should respond on all sides. If you don't use the author well, you have to lie down on the paper, that is, crouch on the paper. If you want to get rid of this disadvantage, there is no other way. Just as Si Weng said, when you put pen to paper, you should raise your pen first. " When writing small letters, this kind of front-adjusting action is very small, which is completed in a very short moment, and sometimes it is entirely based on a feeling in the wrist. To practice this kind of front-adjusting action, we should start with block letters. At first, the action is very passive and intentional, but over time, we will naturally become proficient, and we can quickly lift the front after clicking, such as a dragonfly, a stick, and unconsciously complete this action. In Dong Qichang's "Essays on Painting Zen Rooms" in the Ming Dynasty, it was said: "The pen must be lifted at the place where it is issued, and it will not be suppressed, but it will not be passed on through the ages." Therefore, to mention the three words is actually a spell without a pen and so on. The summary is just right, and the pen tip is included in the painting. From the beginning, Fang Bi should be rich in changes in brushwork. Due to different weights, different angles, different directions and different staying time, various changes can be produced. Try to see the original of Yang Ningshi's "Jiu Hua Tie" in small letters, and the place where it was written is the most profound and has great changes. The way to start writing against the trend is more convenient than the method of going in and out from the opposite direction. In Chen Jieqi's "Shazhai Footprint", it is said: "The key to the wrist is that you can't move your fingers, the pen doesn't stop, it is straight up and down, and in any case, it is just my wrist. The word "straight down" should be understood, and the pen is slightly awkward, and the whole situation is already in place. " This natural brushwork can not only make stippling rich in variety, but also show a kind of masculine beauty. Try to look at Yue Ke's small script in the Southern Song Dynasty. Although it is mainly Fang Bi, it is square and round in shape, and it is extremely steep. Ming Huang Daozhou's small letters are also good at Fang Bi, which are simple, clear and handsome. (3) The so-called exposed front of the pen means, as the name implies, that is, the sharp edge is exposed when writing. This kind of pen is most used in small letters. Its method has both a side edge. When dipping the pen with ink, the pen tip is slightly upturned. When holding the tube to write, the tube is slightly tilted to the right and the wrist is raised. Then the sharp edge enters the paper and then the pen is put down. Because the sharp edge is sideways when writing, As Dong Qichang said in "Collection of Rongtai Bie": "Yu Yongxing tasted that he was enlightened by the word Tao, and he was covered in the pen, such as