The beginning and end of writing, that is, the operation of the beginning and end of writing, is naturally the primary method of writing. The so-called "painting is wonderful in the beginning and the end", we should pay special attention to it. Starting a pen is also called sending a pen, putting pen to paper and writing. When you start writing, you should be careful before you start. You should lift the pen and move in the air according to the size of the font. Write steadily, decisively and cleanly. If you feel uncomfortable, you can reply or remedy it, but you can't change it easily. You can't lie on paper and lose your vitality. Dong Qichang said: "If you send a pen, you must receive it, so that it will not become stiff, and you will not pass on a message." The basic principle of collecting pens is just as Demi said, "No sagging, no shrinking, no closing". Also pay attention to the fact that the actual situation is late, slow down the illness, go back to the front and grab it, and grab it in the air. Whether you hide it under your belt or behind your back, you should keep your brushwork, collect it moderately, distinguish between reality and falsehood, and be magnificent and natural. As for the specific collection methods, we should study and study with certain fonts and styles to avoid misunderstanding and misuse.
2. Yin and Yang
Because calligraphy originated from symbolic philosophy, and it just corresponds to the black and white colors of Taiji diagram, the sages of calligraphy attach great importance to the internal relationship between calligraphy and Yin and Yang. Cai Qi and Wang Xizhi both used Shinto calligraphy as a cover to reveal the logical method of calligraphy, that is, Yin and Yang are born and hidden, and pointed out that the logical method of "Yang Qi is bright, China stands on the wall, Yin Qi is strong and flourishing" was used to write calligraphy to reflect its artistic characteristics. Ancient calligraphers also believed that calligraphy was an art of "taking the objects near and the objects far away". Therefore, the dialectical logic of Yin and Yang not only becomes an important category of calligraphy, but also becomes the main factor of dialectical brushwork. The methods of starting and closing the pen, advancing and retreating, raising pressure, slowing down and hiding dew are also distinctive dialectical. This shows that the method of calligraphy is not a mechanical way to die, but a dialectical way to live, as the sage of calligraphy expounded and embodied: "The way to change the situation is to reach the danger of foreigners." "Not lonely, not widowed; Face is not close, back is not far. " "Violate and not commit crimes, and be harmonious and different; If you don't stay too late, you won't get sick ... if you are poor, you will be abnormal at the end, and you will be suitable for paper. " It can be seen that if we want to rise from writing to the realm of calligraphy art, we must deeply understand the significance and function of dialectical reasoning of Yin and Yang. If we only understand it from the forms of "Yin is inside, Yang is outside", "Left is Yang, right is Yin", we can't understand the true meaning of Yin and Yang, and we can't flexibly use the method of writing.