1. About neatness and fairness
Sun Guoting of the Tang Dynasty said: "Beginners learn distribution, but strive for fairness." 』
Xiang Mu of the Ming Dynasty: "There are three commandments in the book: when you first learn the distribution, you will be warned about unevenness and stagnation; when you learn the rules, you will be warned against inactivity and stagnation; when you become proficient in it, you will be warned against craziness and vulgarity." 』
2. Regarding the stability of the upper and lower parts
Wang Xizhi of the Jin Dynasty: "The shape of the characters should not be wide at the top and narrow at the bottom. If so, the weight and lightness will not be commensurate." ...The space is white, the distance should be balanced, the top and bottom can be accommodated, and it will be naturally flat and hidden. 』
Ouyang Xun of the Tang Dynasty: "There are many characters that are based on the word "Shang", but the top, the heavier, the lighter, and the top are used to gain power. Such as overlap, surprise, sound and so on. The Eight Jue refers to the way a person is called when he is at the top and wears his clothes when he is at the bottom. It is also said that the head should not be taken lightly but the tail should be taken seriously. 』
Yan Zhenqing of the Tang Dynasty: "If you want to write a book, anticipate the shape of the characters first, and arrange them to make them stable, or unexpectedly form them, causing them to have different trends. This is called cleverness..."
3. About Both the left and right sides are called
Ouyang Xun of the Tang Dynasty said: "Beginners should first establish the general body, place it horizontally and vertically, and treat the cloth and white to make sure they are uniform." 』
4. Regarding the balance of weight and weight
Chen Yizeng of the Yuan Dynasty once said: "All radicals must be narrow and long, so that there will be room on the right." The same goes for those on the right. ... examine its importance, make the appearance bear the burden, calculate its size, and make the appearance worthy. 』
5. About uniform distribution
Ouyang Xun's "Eight Secrets of Calligraphy" of the Tang Dynasty: "It is also necessary to spread white in intervals and mix it evenly for stippling." 』
Chiang He of the Qing Dynasty said: "There are three kinds of cloth white: cloth white in the words, cloth white every word, and cloth white between the lines." When you are new to learning about distribution, once you know it is even, you need to look for changes, such as diagonal, straight, dense and scattered. 』
Chen Yicheng of the Yuan Dynasty once said: "If the sparse places are full, the dense places will be lifted; the flat places will be full, and the dangerous places will be lifted; the full places will be fat, and the lifted places will be thin." 』
6. About contrast and harmony
Wang Xizhi of the Jin Dynasty: "The stippling is divided evenly, and the distance and nearness are related; the brushwork and ink are spread and refined, and the brush and ink are harmonized; the edges and fibers come and go, and the density and density are connected." ”
Xiang Mu of the Ming Dynasty said: “People are very good at writing, and they have thousands of shapes, but they are called neutral, fat, and thin. If the length of the book should be in harmony, the weight should be balanced, the yin should be advanced appropriately, and the hardness and softness should complement each other. If the book is not fat or thin, neither long nor short, it is beautiful. 』
7. Regarding continuous differences
Bao Shichen of the Qing Dynasty: "The original interpretation of the word "Lu" is an example of transformation, such as the abbreviation of the word "庐", which is changed in the beginning. The first slant of the word "爱" is hard and the second slant is gentle; the word "Feng" is dotted up and down; the word "Zou" is dotted up and down. Another example is the overlapping of three or four horizontal, three or four vertical, three or four points, as well as the overlapping of words such as mouth, field, and person. They should all be changed and should not be the same. 』
8. Regarding repeated changes
Sui monk Zhiguo: "The emphasis is still on the combination: it means that the characters such as Lu, Chang, and Yao should be small at the top and big at the bottom; Lin, Ji, Si Characters such as ", Yu" should be wide on the left and wide on the right; characters such as "sen", "lei" and "miao" should be used together. 』
Zhang Huaijin of the Tang Dynasty: "Yan Yang and back: It means that the two characters are combined into one character. It is necessary to draw up and down to have the tendency of separation and union." The scales and feathers are uneven: it means that the stipples should not be arranged evenly, as if the scales and feathers are uneven. 』
Wang Xizhi of the Jin Dynasty: "The two characters are combined into one. The weight should not be long, the single should not be large, and the complex should not be large. Dense is better than sparse, and short is better than long." 』
9. About the natural image
Mrs. Wei talks about calligraphy: "A [point] painting is like a falling stone from a peak, and the bump is like a collapse; a [horizontal] painting is like a falling stone. Thousands of miles of cloud formation, faint but actually tangible; 丨 [vertical] painting is like a long-lived withered vine; 丿 [left] is like a rhinoceros elephant with a broken land; 丶 [捺] painting is like crashing waves and thunder running; Yi [folding] painting is like the hair of a hundred jun crossbows ;? [Horizontal bent hook] The painting is like a strong crossbow tendon joint... Each word is a character, and each resembles its shape. This is a wonderful creation, and the calligraphy is completed. 』
10. About the vivid weather
According to Jiang Kui's "Sequel Book" of the Song Dynasty: "The God of Wind must first have a high moral character; secondly, he must learn ancient methods; thirdly, he must have paper and pen." Good; the four whiskers are dangerous and vigorous (the book starts with the backbone); the fifth whiskers are brilliant (the spirit of Yingshuang, with bones and then the Qi); the sixth whiskers are moist; the seventh whiskers are suitable for the back; the eight whiskers come up with new ideas from time to time. Naturally, the long one is like a handsome man, the short one is like a capable man; the thin one is like the thin man in the mountain, the fat one is like the son of a noble traveler, the strong one is like a martial artist, the charming one is like a beautiful woman, and the slender one is like a drunken fairy. Duankai is like a wise man.
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11. Regarding corresponding coherence
Modern Ding Wenjun's "Essential Theory of Calligraphy": "Coherence is the dot painting between words... It means that the momentum is connected without slackening; such as Human limbs and bones only rely on the connection of muscles and bones to be able to move freely and lively, otherwise they will be broken into pieces and become as stiff as a puppet. 』
12. On the unity of style
Zhang Shen's "Calligraphy Interpretation" of the Ming Dynasty said: "The ancients wrote, just like composition has calligraphy, organization, text, and final structure. , corresponding from beginning to end. ”
Sun Guoting of the Tang Dynasty said: “One point becomes the rule of one word, and one word is the final chapter of Huai.” 』
Wang Shizhen of the Ming Dynasty: "After the law was established, the fonts were regulated; one character controlled two characters, two characters controlled three characters, and so on one line; one line controlled two lines, two lines controlled three lines, and so on one line Paper. All this is what scholars should know. 』