The pen should be collected in August and September. The pen is one inch long, the tube is five inches long, and the front is waist-high. Its inkstone is fried with new stone, moist and astringent, floating and bright. Its ink is pine smoke from Lushan Mountain and antler glue from Dai Jun County, which is stronger than stone for more than ten years. Paper takes dongyang fish eggs, which are empty, smooth and clean. To learn calligraphy, learn to write first. If calligraphy is authentic, write two inches and one minute. If you write cursive script, you should write three inches a minute. When you pick up the pen, you must do your best to send it. Beginners should learn big books before they grow up. Good writers don't write, and good writers don't read. Those who are good at writing have many bones, while those who are not good at writing have many bones; Skinny and fleshy are called muscle books, and fleshy ones are called ink pigs; Strength and strength are sacred, weakness and muscle deficiency are morbid. 1 1. Use it from its news.
A horizontal cloud is like a thousand miles, but it is tangible.
As the peak comes out, it is as real as a collapse.
The rhinoceros elephant is broken.
Fold a hundred bows and arrows.
∣ [vertical] Long live the withered vine.
, [si] breaking waves and thunder
Cross-folded hook crossbow tendons.
The seven pen arrays on the right go in and out in the cutting diagram. There are seven ways to write it. Those who are impatient, those who write slowly, those who write slowly. If the pen is close but not tight, the heart and hand are uneven, and the former will be defeated; If the pen is far and urgent, the one who intends to write first wins. There are also six kinds of pens: the structure is as vigorous as seal cutting, the wind is like grass, the risk is like eight points, the graceful entry and exit is like flying white, the standing is like a crane head, and the depression is like an ancient plum. However, the heart is curved, and every word is wonderful. Yonghe four years, Shangyu system.
Note: the magical use of the ancient three-terminal did not precede the use of the pen; The mystery of six arts is not more important than calligraphy. Li Si, the former prime minister of Qin Dynasty, saw Zhou Muwang's calligraphy and sighed for seven days. He was not satisfied with his brushwork. Cai Yong went to Hongdu to watch the monument and could not bear to return for a hundred days. He kept praising those excellent inscriptions, so he knew little about the origin of Tongda's book and calligraphy. In modern times, they did not learn from the ancients, but deviated from books by interest and only remembered their own names. Some of them have no knowledge and knowledge, which leads to no achievement and wastes their spirit. Therefore, people who have no connection with the gods and can influence others are not enough to talk to them about this. At present, Li Si's Bimiao has been edited and revised to make it complete. To sum up, there are seven articles, and the description is listed on the left, which will always be a model for future generations. I hope future learners have time to look at it. The bristles should be taken from the rabbit hair on the steep mountain and hunted in August and September. The pen should be one inch long, the tube should be five inches long, the front hair should be neat, and the front waist should be strong. The inkstone should be light black and dry new stone, which can give consideration to lubrication and stagnation, and can glow the luster of ink. As for ink, pine smoke from Lushan Mountain and antler glue from Dai Jun County should be raw materials made more than ten years ago. Paper should be made of Dongyang fish egg paper, which is soft and smooth. If you want to learn to write, you must first learn how to write. If it is a photo book, you must write two inches. If it's cursive, take a three-inch pen. The next pen is full of twists and turns, and we must do our best. Beginners should learn big characters first, not small ones. Those who are good at appreciating are not good at writing, and those who are good at writing are not good at appreciating. People who are good at writing are skinny, but those who are not good at writing are human flesh. Those with more bones and less meat are called "Jin Shu" and those with more bones and less meat are called "Mo Zhu". It is advisable to have more strength and muscles, but it is wrong to be weak without muscles. We should learn the mystery, understand the essence and use it reasonably.
Horizontal painting: like a thousand miles of clouds, it actually has different shapes and different heights.
Side point: Like a stone falling from a mountain peak, it is actually collapsing.
Skimming: Feng Hua can cut off rhinoceros horn ivory on land.
Gabe: Like a bow and arrow.
Nubi: It's as knotty and thin as a dead vine.
Backflip: Be as good as Xu Chi.
Bow posture: be as vigorous as a strong crossbow.
On the right, there are seven pen arrays coming in and out. There are seven situations in writing.
Sometimes it is urgent but not tight, sometimes it is loose but tight. The pen is close but not tight, and the intentional pen succeeds first. So there are six ways to use the pen: the structural font and layout are complete, such as seal cutting; The brushwork is elegant, free and unrestrained, like Zhang Cao; The waves are as dangerous as stereotyped writing; The elegant brushwork is like a flying white paper; The strokes stand upright like a crane's head book; As vigorous as ancient Li. However, it is necessary to think carefully and carefully, and then create a word, each with its own shape, in order to achieve a wonderful situation and exhaust the whole book. Years old in Yonghe for four years, painting and writing in Shangyu.
Jiang Xun: On the Beauty of Chinese Calligraphy from Wang Xizhi's Three Calligraphy Classes
Mrs. Wei, a famous calligrapher with elegant words, was a female calligrapher in the Southern and Northern Dynasties. Mrs Wei's fame spread all over the world before her death. Wang Xizhi, a famous calligrapher, worshipped her as a door and studied calligraphy in her teens.
She taught Wang Xizhi three calligraphy lessons, especially three life lessons.
[Point]: Rockfall at the summit
When I first saw Mrs. Wei's Pen Map, I was shocked, too, because the record she left was so simple that it was not easy to guess. For example, when she takes a word apart, there is an element, which is probably the most basic element in China's calligraphy-a dot.
It seems that Mrs. Wei didn't teach Wang Xizhi to write, but just took the words apart. Mrs Wei introduced Wang Xizhi into visual aesthetics, and only taught him to write, practice and feel this point. She showed her childhood Wang Xizhi the traces left by the brush touching the paper, and by the way, she also noted four words: "The peak falls."
She wants the children who are learning calligraphy to feel-come down and feel a stone falling from a cliff, and that "point" is the power of a stone falling from a height.
Someone must be curious: Does Mr. Wei teach calligraphy or physics free fall?
We found that Mrs Wei taught Wang Xizhi more than just calligraphy.
Mrs. Wei may really take the child up the mountain, let him touch the stone, let a stone fall from the peak, and even throw a stone for Wang Xizhi to pick up. At this time, the homework of "falling rocks at the top of the mountain" becomes very interesting.
I wonder if the "point" written by Wang Xizhi when he grew up is related to Mrs. Wei's education.
Preface to Lanting is Wang Xizhi's most famous work. Many people say that the word "knowledge" in it is different from each other.
If a teacher "rescued" us from the classroom when we were young and took us to the mountains to play, let us throw stones and feel the shape, weight, volume and speed of the stones, we would probably be very happy. After touching the "stone", then the teacher needs to point out the cognition of the object and the physical knowledge about weight, volume and speed. One day-maybe a long time later-this knowledge will become a "point" understanding of calligraphy when children grow up!
In fact, there are many gaps in teacher Wei's class. I don't know how long Mrs. Wei let Wang Xizhi practice, whether it was months or years, before she continued to develop into the second lesson. But this basic skill about "point" seems to have a far-reaching influence on a later great calligrapher.
"One": a thousand miles of clouds
Mrs Wei's second lesson is to lead Wang Xizhi to know another element of Chinese characters, that is, "one".
"One" is a word, or it can be just such a line.
When Mrs. Wei taught Wang Xizhi to write, there were not many previous masters to learn from, and Mrs. Wei did not seem to encourage a child to imitate the handwriting of the previous calligraphers too early. Therefore, Wang Xizhi didn't start to know the horizontal line from the "one" written by his predecessors.
The process of understanding "one" is carried out on a vast land.
Mrs Wei took Wang Xizhi outdoors. A young child stood on the vast plain, staring at the horizon, staring at the openness of the horizon, staring at the clouds that spread slowly to both sides on the vast horizon. Mrs. Wei whispered in the child's ear: "A thousand miles of smoke."
The word "a thousand miles of clouds" is not easy to understand. I always feel that writing "one" should only look at the horizon or horizontal line. In fact, "a thousand miles of clouds" refers to the arrangement of clouds on the horizon. Clouds are arranged, arranged and rolled low on the horizon, which is called "Wan Liyun". There is a feeling of vastness, feeling that both sides are horizontally extended.
The word "cloud array" also made me think for a long time. Why not something else?
There is slow motion when the clouds are lined up, much like the water in the brush slowly smudges and permeates on the rice paper. Therefore, "a thousand miles of clouds" is the relationship between brush, ink and paper silk with strong water absorption. Then, will "a thousand miles of clouds" also have special significance? That is, when writing horizontal lines, how to make them open and form an interactive rhythm relationship between water and ink on paper is a memory of the quiet flow of clouds on the quiet earth, and an understanding of the vastness, quietness and vastness of life, so that when writing "one" in the future, there can be a yearning for dialogue between heaven and earth.
This is the second lesson of Wang Xizhi.
"Vertical": Long live the dead vine
The third calligraphy lesson that Mrs Wei gave Wang Xizhi was "vertical", and there was a long stroke in the middle when writing the word "zhong".
Mrs. Wei took Wang Xizhi to the deep mountains and learned the power of gesture from the withered thick vines.
She taught Wang Xizhi to watch Long Live the Dead Vine, and climbed an old vine when climbing the mountain, a life that grew up in the long years. Children hang their bodies by the power of vines, and they hang in the air by the power of vines. Hanging in the air, you can feel the tenacity of a vine-a hard and stubborn force that cannot be pulled away.
The old vine keeps pulling, and it has a very tenacious and tenacious power. This memory becomes an understanding of calligraphy. The "vertical" word line should be written continuously, forcefully and flexibly, and there will be a tension developing to both sides.
"Long live the withered vine" is not only a plant in nature, but also a symbol of tenacious life in China's calligraphy. Long live the withered vine is a tribute to all seemingly old but uncompromising strong lives.
Wang Xizhi is still an infant, but Mrs. Wei's Long Live the Dead Vine gave him a strong experience on the long road of life, which made him enter the country of calligraphy.
The beauty of calligraphy has always been associated with life.
"Peak falling rocks" understand weight and speed.
A Thousand Miles of Clouds learned an open mind.
Long live the withered vine knows how to persevere.
Mrs Wei is a teacher of calligraphy and life.
(Excerpted from The Beauty of China's Calligraphy, published by Guangxi Normal University Press)