What is "through wood and through paper"? The "incisiveness" of brush calligraphy originated from the legend of Wang Xizhi. According to Zhang's "Broken Tang Book", "Wang Xizhi's book is willing to be published, tailored and incisive." See Yan Zhenqing's "Twelve Chapters of Zhang Changshi": "Make it penetrate the back of the paper with the front." Xu Wei wrote "Xu Mo" in the Tang Dynasty: "Sand is like a cone with strokes, so that it can be hidden in the front and painted calmly. When using a pen, it often tries to get it through the back of the paper, which is extremely successful. " Later, it became two exaggerated idioms, both describing the strength of calligraphy. ? As we all know, the power of calligraphy is different from that of craftsmanship, not because of my poor strength, but because of how to use a pen. The principle of using a pen depends on the aesthetic principle of calligraphy. The basic requirements of calligraphy for strokes are texture and three-dimensional sense, that is, roundness. Dot painting is not round, it is not healthy, there is no three-dimensional sense. From the perspective of artistic appreciation,-'it must be as thin as paper and as soft as a belt, and it won't be calligraphy. ? How can we show the three-dimensional sense of strokes? The key lies in: first, the center should use a pen. Zhou Xinglian in Qing Dynasty said: "Calligraphy with a pen is expensive." The ancients said that "the pen heart always moves in stippling", that is, when the pen tip moves, the main stroke always runs in the center of the stroke and the auxiliary strokes are on both sides of the stroke. If you can use the pen like this, the ink at the end of the pen will ooze from the center of the stroke. The stroke written in this way has the center of gravity in the middle, as if the pen tip rolled into a ditch and the two sides of the stroke gradually became shallow, as if forming a "V" shape. This effect is like the nib penetrating the paper, giving people a strong sense of strength. ? Another key to expressiveness lies in the convergence of the pen. The so-called astringency means that strokes can break through the resistance of paper and struggle forward, instead of slipping. This kind of power is called superiority. The stronger the superiority, the stronger the strokes. Liu Xizai in Qing Dynasty said, "If I use the author ... I don't know how to make it rough, but I want to use a pen. If I have something to refuse, I will try my best to fight it, and I will converge as expected. " Bao Chen Shi said: "Qi Li has five fingers, so it may be astringent." The strokes written in this way are calm, dignified and natural. ? The pen is the same as that used in the center. If you break the barrier, you should still be the center. You shouldn't drag the pen flat, but stand upright. In this way, the positive application has both tension and pressure on the paper (the brush itself must be healthy), and with deep efforts, it naturally achieves the effect of "penetrating the back of the paper".