The so-called middle stroke is to leave the main peak of the pen in the middle of the strokes, hide the head and protect the tail, and make the pen heart hidden in the stippling. The middle stroke can make the stippling full, round, rich and textured. Achieve the effect of penetrating the back of the paper.
Calligraphy in Song Dynasty attached importance to artistic conception, which was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of artistic conception includes four points: first, philosophical, second, bookish, third, stylized and fourth, artistic expression, while mediating individuality and originality in calligraphy creation. These are all reflected in calligraphy. If respecting the law in the Sui, Tang and Five Dynasties is the embodiment of seeking' work', then in the Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. In other words, calligraphers should not only have two levels of "nature" and "hard work", but also have "learning", that is, "bookish", so that northern Song Sijia can change the face of Tang Kai. Direct promotion and calligraphy heritage.
No matter Cai Xiang and Su Dongpo, who are talented and innovative, or Huang Tingjian and Mi Fei, who are looking up to the ancients, they all strive to show their calligraphy style and highlight an unconventional posture, so that the learning atmosphere is gloomy and sandy between pen and ink, giving people a new aesthetic mood, which is in Wuyou of the Southern Song Dynasty. Fan Chengda, Zhu, Wen Tianxiang and other calligraphers have been further extended, but the knowledge and writing skills of the Southern Song Dynasty calligraphers can no longer be compared with those of the North. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.