There are two meanings that need to be clarified about "Eight Faces", one is the interpretation of "Eight Faces", and the other is the correct meaning of "Eight Faces". A few days ago, the author talked about this when discussing calligraphy with a friend. His understanding of "eight aspects" is the main body of creation, such as "Stone Statue", which is not correct in essence. According to the author's understanding, "eight" should be a function word, not a real one, just like the word "three or nine" in classical Chinese, which actually refers to various changes; "Out of line" means giving full play to the sharp performance of the brush. Brush strokes are part of animal hair in the composition of brush, and there are many differences in past dynasties. The brush strokes in Song Dynasty were very short. Mi Fei gave full play to the characteristics of brush strokes in Song Dynasty, and finally formed the effect of "eight-array diagram", each person only had one stroke, and Lao Mi had four unique faces.
"Eight Faces Out" mainly refers to brushwork. The brushwork is the essence of calligraphy and the most fundamental basic skill in calligraphy techniques. Zhou Xinglian in Qing Dynasty said in "On Linchi": "Calligraphy with a pen is expensive." The pen mainly uses the front, also known as making the front, moving the front and walking the front. It is the starting and ending walking law of the pen tip when writing stippling, and has its specific requirements, which are mainly realized by writing and wrist movement. Any stippling writing can't be separated from three links: starting, carrying and collecting, but it can't simply stop line by line. Relatively speaking, Mi Fei pays more attention to brushwork than to writing, but this does not mean that Mi Fei does not pay attention to writing. /kloc-More than 0/000 years ago, Mi Fei had a strong "avant-garde consciousness" when dealing with the knot, which broke the upright posture. But Miffy's brushwork is even more commendable, even to the point of showing off his skills. Mi Fei criticized that "Liu Ou is the ancestor of evil Zagreb". From this extreme rhetoric, it can be seen that Tang Jie won by structure and emphasized statutes. For example, Ou Yangxun's "Thirty-six Strategies" was deified in later generations, which was contrary to Mi Fei's position, and was severely criticized by Mi Fei. Mi Fei's strong critical consciousness of Yan shows that calligraphy has changed from law to meaning, but some of his words must be understood dialectically.
In my opinion, we can understand the "eight fronts" from four aspects: the angle, speed, contrast and strength of the pen. Angle refers to the angle formed by the contact between the brush and the paper. The speed is analyzed according to the straight curve, Fiona Fang, dynamics, convergence and dryness. Miffy calls herself "brushing words". His pen is vigorous and powerful, enjoying himself, pursuing charm, boldness, strength and, most importantly, nature. His calligraphy works, from poems to letters and inscriptions, are full of shocking, unpredictable, vigorous and fresh characteristics, as well as the momentum of a sharp knife and sword, which fully shows his personality and instant feelings when he creates. Contrast refers to the contrast between long and short paintings, the width and width of glyphs, overlapping and overlapping, and the contrast between separation and tightness. In Mi Fei's works, there are several characters with thin strokes in many double glyphs, which seem to jump. Wang Duo also retained this method. Strength mainly refers to weight, hook, thickness and so on. Mi Fei's horizontal painting is different from ordinary people, especially his thick brush, but his vertical painting is fine and heavy, which is criticized by people. Mi Fei emphasizes "Eight Fronts" and pays attention to various changes such as center, flank and exposed front, showing a dynamic aesthetic feeling. Zhou Xinglian's My Opinion on Linchi said: "This pen can be used positively, horizontally, smoothly, reversely, repeatedly, lightly, falsely, and realistically. Grasp it properly, draw a conclusion, grasp it tightly, unfold it, and do your best. This is all about keeping in sync. " Mi Fei is a rare figure in the history of calligraphy who used the pen to the extreme.
The first meaning of Mi Fei's so-called "eight sides" is a dialectical and deeper understanding of the center. Judging from the large amount of pen and ink handed down through the ages, there is almost no stippling that was not written by Feng Lu. Calligraphy places great emphasis on hiding in the front and hiding in the middle. "Hiding" means hiding your head, because the pen touches the paper, so that the pen heart often moves in stippling. Whether the pen tip moves to the left, right, rotates and changes direction, the pen tip remains on the stroke axis. But this sentence does not mean that stippling is written with a round head and a round brain, nor does it mean that the pen should always be perpendicular to the paper when writing, but it should be tilted at a certain angle according to the different strokes. Because there can't be only one front to keep the center pen. "Eight Fronts" means to use different fronts according to the different trends of different strokes. The key is to adjust the nib to no direction every time you change it, so that the nib can always remain centered. Take the horizontal folding as an example, the pen is to the right, but the front is to the left. When writing a vertical picture, the pen goes down. According to the requirements of the center, the front must be completely upward, and it needs to be changed at the corner of the horizontal and vertical transition. In the process of writing horizontal painting, adjust the front, feed the pen tip to the full, then gently lift the pen tip to make it straight and there is no direction on the paper, and then press to write vertical painting. When changing the stroke direction, press the stroke quickly, briefly and forcefully to adjust the direction, so that the turning point of stippling is both powerful and smooth.
The second meaning of "attacking from all sides" is that the center adopts a variety of offensive methods. In Mi Fei's works, there are many offensive ways that others don't often use, or they are more ingenious, such as attacking, attacking sideways, dragging vertically and so on. Generally speaking, there are usually two kinds of inversion, one is real inversion and the other is virtual inversion. The real reverse means that the pen tip touches the paper gently, runs in the opposite direction of stippling for a very short time, and then adjusts the pen tip to lift the pen; Virtual inversion means that the pen tip does an inversion in the air, and the pen tip does not touch the paper during the inversion, that is, it does an inversion in the air. Mi Fei often used the method of virtual inversion, which essentially absorbed the method of Chu Suiliang's volley, leaving a lot of movements in the air, and Mi Fei's dharma books were rarely connected. Many people think that the profile is not desirable, it is a sick pen. However, if the outline is used properly, stippling can be full of ups and downs, thus making the font beautiful and vivid. Miffy's "Trace" is largely benefited from this. Standing in front of the pen is a short pause in the pen movement, which often appears in Mi Fei's adhesive tape painting writing. Drag the front end to tilt the pen tube in different directions at will. Specifically, gently lift the pen with the front end and gradually lift it off the paper. Don't float feebly, skim it off. You should concentrate your strength from the tip to the end of the stroke. In fact, these actions are all done in an instant. Mainly to increase the romantic degree of the characters and express aesthetic feeling, Mi Fei is often used as the last main pen without hiding the front, so as to increase the momentum space.
In addition, Miffy is also good at spreading and grasping the relationship between writing speed and linear quality. The purpose of painting is to match stippling with flesh and blood, and not to be stiff and powerless, not just to draw with a pen tip. Otherwise, the written words will be shriveled, bloodless and spineless. Make good use of positive people and try to make every hair on the paper work. Generally speaking, the advantage of writing slowly is that stippling is dignified and vigorous, but the disadvantage is that it is easy to be stubborn and slow; Fast brushstrokes can make stippling bright and refreshing, but it is easy to bring the disadvantages of lightness and slipperiness. Ou Yangxun's Teaching Tactics says, "If you are busy, you will lose motivation. If you are slow, you will be stupid. " Therefore, unilaterally emphasizing "late" or "fast" is biased and should be combined according to one's proficiency. At that time, he used bamboo paper, which was suitable for fast writing, and the strokes were not deformed, which was not as difficult to control as Shengxuan. Liu Xizai's "Outline of Books" said: "No matter how late you write, you must prepare the law. People with good writing will soon prepare the law, and those with poor writing will be left behind. " Mifei's calligraphy is fast on the one hand, and solid on the other.
In Mi Fei's specific creation, there are many propositions that need to be declared, such as mocking the strokes "like steamed cakes", thinking that deliberate affectation is unnatural, and calligraphy is an emotional ink play from the heart, which is precious in essence. Under the trend of advocating calligraphy style, it is still very important to pay attention to this point. Mifei has the mentality of "being tired of slave books and not playing with geese". Most of Lao Mi's calligraphy traces are small characters half an inch square, such as Shu Sutie's poems and Shao Xi's poems, and some notes. Even if Song is shorter than Feng Ying, he can be handy. Mi Fei's masterpieces, such as Poems of the Classic Building, Selected Poems of Hongxian County and Inscription of Yanshan Mountain, are more accurate than those of Xiao Zhuan, and their brushwork has reached the perfection of perfection. The common brushwork of Broken Hairpin and Leaked Marks shows that Mifei's brushwork is extremely deep, and it can be easily grasped and released by adjusting the brushwork from any direction. The "showing off on all sides" advocated by Mi Fei is essentially the final result of natural skills, which is popular among a hundred schools of thought. "I don't know what to do when I am old." With Miffy's qualifications and superb skills, one should put oneself in the other's shoes when standing on a high place. If we copy mechanically and take it out of context, we are bound to be divorced from the root and the root.