Source: Cai Yong's "Nine Potentials": "The potential is deep and unstoppable, and the soft pen is strange."
Interpretation: the arrival of the pen gesture is unstoppable, and the rush of the pen gesture is unstoppable. Only a soft pen can make strange gestures.
Extended data:
Original text:
Fu Shu originates from nature, stands naturally, and is born of yin and yang; Yin and yang are born, and the situation is out. Hide the head and protect the tail, the strength lies in the words, the pen is hard and the skin is beautiful. Therefore, it is said: the potential comes deep, the potential is unstoppable, and the soft pen is strange. Where the words are written, covered above and inherited below, which reflects the situation and has no potential. It is more appropriate to turn the pen and review it left and right. Don't leave the program alone. Zangfeng, pointing out the traces of entry and exit, wants to go left and right first, and then go back to the left. Hide the head, the round pen belongs to paper, so that the pen heart often strokes.
Protect the tail, draw a gesture, and try to close it. This disease has been excluded. Grab the pen for the front use. Sese potential in tight tactics. Horizontal ruler, vertical ruler. Although the teacher didn't teach this nine potential, it can also be combined with the ancients, and it needs a lot of calligraphy, that is, to create a beautiful ear.
Explanation:
Calligraphy originated from nature, formed naturally, and yin and yang appeared; The existence of yin and yang, followed by strong and weak ups and downs. Hiding the head and protecting the tail with a pen, the strength is between the lines. When you write hard, it should be like beautiful skin. Therefore, the arrival of the pen gesture is unstoppable, and the rush of the pen gesture is unstoppable. Only a soft pen can make strange gestures. When writing structural fonts, the upper part should cover the lower part, and the lower part should take over the upper part, so that the glyphs can be related to each other and the situation will not deviate. Turn the pen intermittently and pay attention to continuity, and don't expose discontinuity in isolation.
Tibetan front, the handwriting that shows the beginning and end of a stroke, means that the stroke must first go right and then left, and then go back to the left. After hiding the head, the pen falls to the front of the Tibetan front and is held down, and placed flat on the paper, so that the pen heart often runs with stippling. Protect your tail, draw some strokes, and when you are exhausted, forcibly take back the strokes. This disease is caused by short strokes and wave paintings, and it is also within the tight frame of vertical paintings. Sweep pen, used for long left-wing and steep. The astringency lies in the way forward in a tense and fast battle.
Horizontal painting is like fish scales, vertical painting is like reins, and it is always tight when relaxing. This is the rule of drawing horizontally and vertically. These are called Nine Divisions, and they can live in harmony with the ancients even without a respected teacher. You must be profound in pen and ink to enter the fairyland.
Brief introduction of the author
Cai Yong (133- 192), born in (now south of Qixian County, Henan Province), was a calligrapher and writer in the Eastern Han Dynasty. Out of Langzhong, Yilang and Zuo Langzhong, he was named Hou of Gaoyang Township. Cai Yong is an expert in seal script and official script, especially official script. Xiping four years (175), he and several other calligraphers wrote Xiping Shijing. He once saw craftsmen decorate Hongdu Gate and write with brooms, and went back to create the book Flying White.
"Nine Potential" is also called "Nine Potential Eight-character Tactics", written by Cai Yong in the Eastern Han Dynasty. Chen Si's Book Garden in the Song Dynasty has expounded the law of calligraphy, which has been preserved to this day and occupies an important position in the history of China's calligraphy theory. Cai Yong mainly put forward three aesthetic concepts about calligraphy lines in Nine Potential, namely "strength", "potential" and "hiding". "Force" is the core of Cai Yong's calligraphy aesthetic thought. It is emphasized that "force" is the basis of writing, writing and typesetting, and "force" can make fonts have the beauty of "skin beauty".
"potential" is a directional "force", which is often used to refer to a certain direction in the creative process, indicating that "the potential is deep and unstoppable" "Zang" comes from the philosophical thought of "a gentleman hides utensils", which emphasizes that calligraphy creation needs to be calm and implicit. Specifically, it is necessary to "hide the head and protect the tail" and highlight the tension of calligraphy lines. These calligraphy thoughts have made important contributions to exploring the aesthetic significance of calligraphy lines.