The brush calligraphy method of luck is as follows:
The beginning and end of the stroke, that is, the beginning and end of writing, is naturally the primary method of stroke. The so-called one-stroke method is wonderful. The beginning and end should be paid special attention to. Starting a pen is also called writing, writing, and writing. When starting the pen, you must be careful in front of the pen and be cautious at the end. You must lift the pen, according to the size of the font, first move the pen in the air, fold it to hide it, and turn it backwards and forwards. All must be steady, decisive, and clean.
If there is any dissatisfaction, you can write back or make up for it at the next stroke, but you cannot change the pen again, let alone the pen lying on the paper and losing the vitality. Dong Qichang said: the pen must be lifted where it started. Get up, don't let yourself freeze, it will not be passed down through the ages. The basic principle of closing the pen is as Mi Dai said: "Nothing droops, no shrinkage, no direction." We must also pay attention to the actual situation and slowness, slow down and quickly return, return to the front to grab, and go forward to grab in the air.
Whether it is to keep the lower belt or to hide the upper part, the pen must be kept, the draw should be moderate, the virtual and the real are clear, the momentum is magnificent, and it is natural. As for the specific method of opening and closing, you should study and study it in conjunction with certain fonts and calligraphy styles to avoid misunderstanding and misuse.
Because calligraphy originated from symbolic philosophy and corresponds to the black and white colors of Tai Chi diagram, calligraphy sages attach great importance to the inherent connection between calligraphy and yin and yang. Both Cai Qi and Wang Xizhi relied on divine calligraphy to reveal the principle of calligraphy's Tao Tongli, that is, the principle of yin and yang mutually reinforcing, complementing and hiding each other.
Sages of calligraphy throughout the ages also believe that calligraphy is an art of harmony between nature and man that draws in the body in the near and distant things. Therefore, the dialectical theory of yin and yang mutually reinforcing each other has not only become an important category of calligraphy, but also the main factor in the dialectical use of brushwork. The methods of starting and retracting, forward and reverse, lifting and pressing, slowing down, hiding and revealing of the pen also have a distinct dialectical nature.