What should I pay attention to when writing lowercase letters?

To write fine print, writing and lifting the wrist are key issues. Zheng yue said, "the husband holds the author, and the key to the dharma book is also." Although there is not much difference between general law enforcement running script and capital letters, capital letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing capital letters: (1) "Finger is solid and palm is weak, wrist is flat and palm is vertical" is the basic law. The so-called "referring to reality" is the five-finger writing method of pressing, checking, stopping and reaching. "Press the belly of the thumb in the first quarter near the top of the pen tube, and force it to the upper right, sideways. The upper end of the index finger abuts against the outside of the pen tube, and the force is opposite to that of the thumb. Hook the upper middle finger near the horizontal bar, bend it into a hook and hook the pen tube, and force it to the right and down. The joint between the ring finger and claw is close to the pen tube, and the strength is opposite to that of the middle finger. Press the little finger against the lower end of the ring finger to increase the finger force of the ring finger. Due to the reasonable distribution of five fingers, the strength is gathered from all directions, and a pen is firmly held in your hand. When writing small print, it is advisable to write lightly, and stick the finger tip on the tube because the finger tip feels sensitive. If you write shallowly, your palm will naturally be weak, and your palm will be weak, so you will be comfortable to exercise and there will be no obstacles. Calligraphers in the past dynasties have different interpretations of the "stirrup-pulling method" proposed by Li Houzhu in the Southern Tang Dynasty. Some people think that people who are good at riding horses can easily get in and out on tiptoe. Some people think that stirrup pulling is that the ancients pulled out the lamp core with a small stick with their fingertips, which is a metaphor for shallow grip. Some people think that it is because of the shallow writing that the tiger's mouth is like a horse's stirrup (that is, the writing of the process). When writing lowercase letters, you shouldn't hold the pen too tightly or too loosely. If it is too tight, the pen will be stiff, if it is too loose, the stippling will be weak. Therefore, it is best to combine hard and soft, tight but not dead, loose but not loose, not wide and not fierce, and there is a way of neutralization. Zhao Yiguang said in "Talking on a Broom in Cold Mountain": "It is unwise to hold the tube too tightly and stop there, but to command at will. "This is indeed a learned saying. The power of the pen should penetrate to the tip of the pen through the shoulders, elbows, wrists and fingers, and the muscles of each joint should not be tense and hard. If you hold it too tightly, the force will stop on the tube, and if you are nervous, you will not be able to penetrate the pen tip. Therefore, Su Shi suggested that the pen should be wide, and only when it is wide can it be used freely. When writing fine print, if you hold the pen too deeply (that is, hold it in the middle of the middle finger), the palm of your hand will be empty, and the fingers will be deep and solid, so that the pen can not rotate back and forth, which will easily lead to stagnation of qi and invalid transportation. When writing small print, the pen should not be too high, so it is about an inch away from the writing head. If it is low, it is calm and firm, and words are not erratic. Tang Wei Rongzong said, "The real book is small and dense, and it is just right to hold it on your head. "Zhao Yiguang's" Talk about a Broom in Cold Mountain "also said:" The real book should be stable, so write one inch or one inch. "When writing fine print, if the pen is too high, the painting is vain, but there is no power. In this case, lowercase letters are mainly composed of thick ends, and a lower pen can better control the pen force. When writing small print, the wrist should be flat and the palm should be upright (that is, the elbow and wrist should be flat on the desktop, and the palm should be slightly erect when the wrist can stand up, keeping an oblique angle with the paper). When the wrist is flat and the palm is vertical, the front is easy to straighten, the front is regular and full of potential. It must be clear here that when writing small print, the pen tube does not always move vertically and parallel to the paper. When the pen tube is centered on a straight line, it will roll up and down with the action of the pen. Only when it is made by will, and when it is closed, if the end guides the rope, it will eventually remain upright, then the pen gesture will naturally be round. Especially when writing fine print beside Fang Bi, it is not appropriate to hold it straight down when raising a pen. When the pen tube is slightly tilted to the right, it will be smooth and smooth, and often it can achieve handy results. Zhu Hegang's New Interpretation of Linchi said: "I even said that the pen is like a marksmanship. When I am left and right, I will turn to the front. In front, I will follow the trend, concentrate on manipulating my heart, and sometimes lean slightly, which will be more ingenious. "This passage is worth our aftertaste. If we insist on taking the center as the fixed method and blindly take it as the correct method, it is doomed to fail to achieve comprehensive and natural changes. In short, the method of writing, but should be appropriate, not curious, so as to give full play to the pen. (2) Fingering dead wrist is the basic method of writing fine print. Wrist should be loose and flexible, not too nervous and not too hard, which will make the wrist stiff. Even with wrist strength, this force can't be exerted. The function of the wrist is mainly to adjust the pen tip, and secretly change the pen center by lifting and stumbling, so as to achieve the purpose of central stroke. Only when the front is hidden can it go deep into the bone marrow. When you die, you should use your wrist to finger, but you know you have a wrist but you don't know you have a finger. When you use your wrist, you shouldn't criticize your fingers. Song Cao said in the Book of Calligraphy: "The hand is not the main luck, the wrist is the main luck, and the heart is the luck. "This is a very subtle wrist movement method. Only by using the pen skillfully can we achieve the freedom of forgetting each other's hearts and hands and being handy. Finger death does not mean that fingers are stiff, but wrist movement means that fingers can live with wrist movement. Yao's Memories of Characters said: "Death refers to living wrists, and calligraphers don't have this spell. Death refers to straight, wrist life is the spirit of words. "According to legend, Liu Yong, a calligrapher in the Qing Dynasty, used a twister when writing lower case letters, which is another way. Although it can be used for reference, beginners should focus on wrist movements. The strength of sitting in lower case lies in your fingers, so you don't have to hang your wrist high, because each word in lower case is only two or three points square, and your gestures are limited. On the other hand, small letters are calm and heavy, and the pen is delicate and meticulous, which is really difficult for beginners to control and control. Therefore, novices should not hang their wrists high. Before the Jin Dynasty, people sat on the floor and had nothing to rely on. Therefore, predecessors advocated that small print should also be hung. For example, Qingjiangheng's "The Inscription and Postscript of Zhuo Cuntang" said: "Make the pen hang in the center, and the finger is like a stone, making it a masterpiece of flying head and lower case letters. The so-called mustard seed is not easy to do magic, and I want to save bamboo slips and lacquer books to prevent my ears. "According to legend, Mi Fei, a calligrapher in the Song Dynasty, was good at writing fine print. On one occasion, his schoolmates, Chen Boxiu and his son, asked him for advice on how to raise a pen. Mi Fei said, "If you point at the paper with your wrist, the pen tip has finger strength but no arm strength. Then Poerxiusi asked, "Can I write the fine print with a pen hanging on my elbow?" "Mi Fei just laughed, so he took out a pen and paper, sat on his wrist and wrote a" praise table ". Words are like flies, strokes are neat, and genres are like big characters. It's very accurate. Bo Xiu and his son were greatly impressed. Asked about the method, Mi Fei replied, "It's not difficult, as long as you make it in the future. "This story has had a certain impact on later generations. For example, Jiang Ji's "On the Continuation of Books" said: "It is better to hang your wrist in small letters, not riding down, but cantilever, and you can be calm and calm. If you don't sit, you will stand." "Another example is Wang Yun of the Qing Dynasty. He also scoffed at people who can't write fine print. He said: "Although the ancients hung their wrists and fanned their heads, they didn't have to study Huang Ting carefully. The statutes were the strictest, but people didn't pay attention to it. At present, most people write small characters according to fixed norms, and dare not write big characters such as Chunhua and Shengjiao. The small ones are covered by machines, and the big ones are exposed. "I don't think it is necessary for beginners to cantilever for small letters. Generally, you can use the method of lifting your wrist, that is, leaning on the desktop and lifting your wrist in vain. The so-called virtual lift is that the wrist sticks to the desktop and keeps an arm's length away from the desktop. This can not only effectively control and control the pen, but also make the wrist rotate flexibly, so as to give full play to the pen power and gestures. For example, if you write small words (about two words per word), if you write small words (each word is half a centimeter square), you can use the wrist method, that is, the wrist is attached to the desktop, but you can't get stuck. Just using your fingers without moving your wrist will make the pen-making machine stagnate. When writing small print, you should also pay attention to certain gestures. Generally speaking, when sitting in lower case, your feet should be flat, your feet should be on the ground, your shoulders should be open and flush, your upper body should lean forward slightly, and your chest should keep a distance of about one inch from the edge of the table. If you are unreliable on the table, don't press your eyes on the paper. When you keep it at about a foot, your elbow should be open, press the paper with your left hand, and then write lowercase quietly. Correct posture can not only help you maintain your physical strength and protect your eyesight, but also help you maintain your eyesight. The above are the methods that must be paid attention to when writing small letters. In fact, the only way to really master the skill of using a pen is to write more and appreciate more. At first, I was conscious and passive. When I was extremely proficient, I would be self-harmonious, self-consistent, automatic, wrist-self-spiritual, finger-self-coagulation, pen-self-end, finger-penetration and centering. As Zhu Luzhen said in "An Introduction to Calligraphy": "The husband's heart is the first, his body is the second, and his strength belongs to his wrist. He is as strong as a bent iron and concentrates on his fingertips. After a long period of transportation, his fingertips will be strong, his pen will fly around like a fly, he will be extremely skilled, his hair will break, his house will leak, and his walls will be wonderful. In short, the ultimate goal of correct fingering and wrist technique is nothing more than getting the words "potential" and "strength". The writer is playing with this pen. If you play with this pen in your hand, you will reach a state of "forgetting your heart and hands".