The running track of the pen refers to the path that the brush moves and advances on the calligraphy carrier (paper, silk, bamboo, wood, etc.). ) and the traces it left. The trajectory of the pen varies with the style of the book.
Zhengshu (including seal script, official script and official script) pays attention to writing against the front and returning to the front to collect the pen. The so-called "reverse entry and flat exit" and "no sag, no contraction and no retraction" are the basic requirements for the pen's running track. In the process of starting and receiving a pen, the nib often passes the same point twice. In the process of writing, the pen moves in an arc at the place where the strokes turn round; Where the strokes are straight, the pen moves in a straight line.
Because the strokes are fast and the brushwork is coherent, the requirements of reverse recovery in the book are diluted. In a stroke, strokes rarely pass through the same point twice (except for crossing). At the same time, lines and cursive scripts are rich in changes, while straight lines are relatively few. The pen moves in a curve and keeps moving forward.
As far as calligraphy style is concerned, the turning point of Jun Fang's calligraphy is to raise the pen first, then press the pen inward, and the strokes are restrained and slightly overlapped. If the circle expands, press the pen directly to the right at the corner, and the circle turns downward, and the pen intends to expand outward.
Second, the speed of the pen.
The running speed of a pen refers to its slowness and quickness. Disease means fast. But "illness" is not just fast, but also ups and downs, sharp and powerful. Slow means to keep the pen, but it is not stagnant. Different strokes of Chinese characters have different stroke speeds, so there are "diseases" and "astringency". Qing Liu Xizai's "Outline of Art-Outline of Books" said: "When the ancients talked about using pens, it was nothing more than the word" disease ". The astringency is neither too late nor too fast. Being late is sick, and nothing can be sick. " Qingjianghe's Authentic Calligraphy-Exquisite brushwork-Masterpiece of Fingering said: "If you are sick, you will be sick; If you don't get sick, you lose your strength; If you are astringent, you will get sick. "
Generally speaking, the speed of writing a correct book is slower, but you must be smart and cursive, and write cursive faster, but you must be slow and steady.
The running speed of the pen is not fixed, but moves forward alternately according to the specific situation.
Third, the contact part between the pen and the performance carrier
The contact part between the pen and the performance carrier, that is, the highest point where the pen contacts the performance carrier. We can divide the brush into three parts, one third near the pen tube is called the root, one third near the pen tip is called the tip, and the middle third is called the abdomen. The part below the root of the pen (namely, the belly and the tip of the pen) can be divided into three parts, namely, the first, second and third parts from bottom to top. In this way, brush strokes can be roughly divided into four parts: from the pen tip to twenty or ninety, from twenty or ninety to forty or ninety, from forty or ninety to sixty or ninety, and more than sixty or ninety are roots.
Generally speaking, with a pen, the lines are light and smart; With dichotomy, the lines are strong and moist; With a three-point pen, the lines are thick and steady; With the pen root, the lines are light and wild. In the actual writing process, the contact between the brush and the expression carrier often changes between multiple parts to enrich the external form and internal quality of the lines. This conversion is achieved by lifting strokes. When the strokes are shallow, the strokes are light and thin, and when the strokes are deep, the lines are heavy.
Fourth, the position of the pen tip in the stroke.
According to the position of the pen tip in the stroke, there are three ways to use the pen: center, side and side.
The center, also called the front, refers to the pen in the middle when writing a book. In order to make stippling round, calligraphers have always advocated "pen heart", because the pen tip runs in the middle of stippling, ink drips down the pen tip and permeates around evenly, and stippling has the shortcomings of no weight on the bottom, light on the bottom, light on the left and light on the right, and light on the left and right. Therefore, "centering" is the fundamental brushwork of calligraphy. "Sand attack" and "leak mark" are central metaphors. Wang Qingshu's "Remarks on Books" said: "Those who move forward in the middle, draw in front of the cloud, and be flat and determined. If used, lead the rope. This way, the pen does not tilt up and down, nor does it tilt left and right. It is possible to attack from all sides, and the pen attacks from all sides. Not suitable for application. "
Deviate from the front, that is, when lifting the pen, the pen tip deviates from the side of stippling. Pointillism often has the shortcomings of lightness, lightness and unevenness in hair quality. Generally, calligraphers fail by being eccentric.
Lateral forward refers to the method of using a pen, in which the position of the nib is between the center and lateral forward. The winger's pen is a necessary complement to the center's pen. On the premise of focusing on the center, the appropriate use of side bars can make stippling vivid, colorful and changeable. As the ancients said, "we should take advantage of strength and beauty." "It is the main bone, and the side is the state." In the works of calligraphers such as Wang Xizhi, Su Shi and Mi Fei, we can often see the use of profiling.
Verb (abbreviation for verb) the verticality of the pen
According to whether the plane between the pen and the calligraphy expression carrier is vertical or not, and the relationship between the inclined direction of the pen and the running track, the upright degree of the pen can be divided into three situations: vertical (basically vertical), basically consistent with the running track, and inconsistent with the running track.
Vertical means that the pen is basically vertical to the plane of the performance carrier. This is the basic state of the pen when the center uses the pen. In the Ming Dynasty, Zhao Huanguang's "Hanshan broom talk-material" said: "The front is in the tube, hold the tube straight, and you can't get the front side." Holding the tube is to seek its front. "
The inclination that is basically consistent with the running trajectory means that the inclination direction of the pen is basically consistent with the direction that the pen wants to go or has passed. There are two situations: the brush is behind, the pen holder is in front (it can be called "dragging") and the brush is in front and the pen tube is in the back (it can be called "pushing"). Lei, a contemporary calligrapher, often uses the method of "dragging" when writing seal script, while He often uses the method of "pushing" when writing book.
The inclination inconsistent with the running track refers to the inclination of the pen tube away from the stippling side. Usually the pen tip is on one side of stippling and the pen tube is on the other side. This method is often used for sidestepping. If the pen tube is too inclined and the belly of the pen is horizontal to the paper, it is eccentric and cannot be used. It is flat and thin to use.
Six, the rotating state of the pen
According to whether the pen rotates during operation, there are two ways to use the pen: turning the pen and not turning the pen. Turning the pen refers to the use of changing the contact position between the finger holding the pen and the pen tube and twisting the pen tube to make the pen tube rotate. If you don't turn your pen, it means the opposite.
Turning pen is the key point of brushwork and an important aspect of calligraphy. It is the basic condition of the center brush, because only by turning the pen can the pen tip always walk in the painting. "The water bearer and the princess fight for the way" and "flying in a wild goose" are vivid metaphors of the ancients for turning pens. "Tao" and "Goose" are penholders, "Princess Sedan" and "Goose's Foot" are fingers on both sides of the penholder, and "Struggle" and "Row" are fingers twisting back and forth.
The direction of turning the pen depends on the trajectory of the pen. If the sides are opposite, when writing, turn left vertically and turn right vertically. On the other hand, the pen rotates in the opposite direction, turning left and right, and turning right and left. Horizontal painting depends on its pitch, while folding painting depends on its extension and internal troubles to determine the rotation direction of the pen. On the other hand, the different rotation direction of the pen determines the stroke trajectory and calligraphy style.