What is the most basic brushwork in practicing calligraphy?
During the Wei and Jin Dynasties, there was a high level of brushwork. A large number of calligraphy works were published in the Tang Dynasty, including Ou Yangxun's theory of brushwork, Yu Shinan's theory of brushwork and Yan Zhenqing's theory of Zhang Changshi's twelve meanings of brushwork.
There is a saying in Zhao Mengfu's Thirteen Postscripts of Lanting: Calligraphy is based on the use of a pen, and it also requires labor to form words. It is not easy to write with a pen through the ages. "Using a pen" here means "using a pen from the center", which is the fundamental brushwork of calligraphy. Others, such as lifting pressure, showing before returning, turning, etc., are all auxiliary strokes, some for the effect of entering and closing the pen, and some for adjusting before.
The "twist tube" is mainly used to adjust the front of the car. As for what other effects this brushwork can achieve, I think it is secondary.
Ms. Sun Xiaoyun, Vice-Chairman of Calligraphy Association, wrote a book "Calligraphy of Law", in which the function of twisting tube was described in a large space, and the twisting tube method was advocated as the main brushwork of calligraphy.
Mr. Shen, a great calligrapher, has always opposed twisting tubes, while Bao and his disciples are practitioners of twisting tubes. Whether this kind of twisted tube is necessary has been debated for many years, and it is still inconclusive.
There is also a saying that after the Qing Dynasty, sheep hair prevailed, and the propaganda was weak. After the pen tip fell, it was not easy to bounce up and it was impossible to keep the center pen, so Bao and others at that time liked to twist the tube. At present, the Wolfhorn or doubled both brush pen we use has a stiff nib and good elasticity, and it can run freely only by the wrist, so there is no need to start a new stove and twist the tube.
Therefore, twisting the tube has always been the last stroke, and there is no need to discuss these in a big way. As for the monograph, it is a bit funny.
Personally, I think it is best not to mention tongue twisters in calligraphy practice, but it can be used in calligraphy research, but it is undoubtedly misleading for calligraphy teachers to use tongue twisters in lectures.
Some things can be understood without words. In the process of tempering, many wonderful strokes naturally exist in one heart, and calligraphy is still based on practice, and there is no shortcut.