[Reprint] What is the calligraphy language?

The so-called calligraphy language: it is the professional language to explain calligraphy, how to explain calligraphy, some special terms and languages. For example, if we open the handwriting of famous people such as ancient calligraphy works, we can see similar calligraphy language. The special language used in calligraphy is: Linchi is a technical term, and Linchi means imitation learning. There are also problems such as shelf structure, white, white is black, white is black, etc. This is a relationship between how we should suppress black and ink, but it turns out that you are not suppressing black. For example, stippling is also a calligraphy term. The praise of stippling is very appropriate, beautiful, beautiful and powerful, healthy and chic. The meaning expressed in it is almost incomprehensible. Speaking of stippling, how do you understand it? This is a matter of self-cultivation. For example, the back of paper, the leakage marks of cone painting sand and so on are all technical terms. Su Shi has read that Yoga Yu is an unintentional beauty of calligraphy, and that any kind of art lies in beauty intentionally, because just like art, it is necessary to create beauty to give people beauty, but calligraphy is not. I don't want calligraphy to have no specific meaning to our pursuit of beauty, but it is also a natural beauty, that is, unintentional beauty. Just as Laozi said in the Tao Te Ching that people who do nothing want to do something, he said that doing nothing is everything. These dialectical relations are shown in calligraphy as Yoga Yu is better than unintentional. Now some people call calligraphy point line drawing, which is a superficial understanding. A line is the outline of an appearance. In fact, this is an artistic language, which is not suitable for calligraphy. Su Shi's unintentional Yoga Yu mainly refers to the cursive part. Calligraphy is not a creative process, but a natural writing process. When learning the word "Sun", European characters generally don't write too thick strokes. Different from Yan characters, European characters are clumsy and not delicate, and European characters are thin and hard. Of course, there is also a problem of being too thin. If beginners write too thin to hold the paper, they have to master it well. Too heavy, too weak and too bloated, depending on your writing level. Zizi and Twisted String have one thing in common, that is, they are both big radicals, and they need to be written longer, unlike the small radicals like "Zi Shan Kou", so generally speaking, the right side is not higher than the left side. When writing "Sun Zi", don't start too sharply, but start intermittently. Don't exceed too many horizontal strokes and vertical strokes, just a little more, otherwise it won't affect the strokes on the right, but it's better not to exceed too much. This is a principle that the left becomes the right. When writing the script of Sun Tzu, the pen slightly brings out an upward virtual tip. The cursive Chinese character Sun is like our simplified Chinese character Sun. Technically, the cursive Chinese character Sun is very tall on the left and very short on the right. And the right side must not be written in cursive, which will become cursive. There are two meanings about reading posts: one is to focus on the text, that is, to understand the content of the text; One is the technique, look at its stippling, its structure and its composition.