Calligraphy pays attention to brushwork, but sometimes brushwork is really not easy to say clearly. What should we do? The ancients were still powerful. Calligraphers and calligraphers throughout the ages made in-depth and meticulous explorations and put forward a large number of unique methods of using pens. The more these calligraphers study, the more they feel that "brushwork" is really "infinite mystery", and sometimes it is difficult to express it accurately in very clear and popular language. Therefore, they created a "metaphor method"-that is, using the images of things in nature and human society to compare how to use a pen, so that they and later scholars can understand and master the essentials of brushwork. The following nine calligraphers are selected and compared with nine pens, which are listed in approximate chronological order to encourage their peers.
1. Use a pen, such as "The eagle looks at Peng and dies."
Li Si is not only the "originator" of Xiao Zhuan, but also the first person to explain the brushwork with metaphor. He said the metaphor of "the eagle died looking at Peng" (some scholars think it was Meng Tian's words). The original words are: "When writing with a pen, you should retreat first, and then fall ill, like an eagle watching Peng die ..." It means that writing with a pen should fly in the air, hover and wait and see, and then fly down quickly to catch it, just like an eagle or a Peng bird preys. This metaphor tells us that before writing a paper, the writer should first sway in the air, make a good "psychological preparation" for writing, and be sure-know the pen, paper, ink, font and meaning; After considering the layout and style, we should start writing quickly to capture the "goal"-the expected writing effect. Zhu Hegang, a calligrapher in the Qing Dynasty, said: "Fighting rabbits is like an autumn eagle, and you can get it with a pen." The method of "eagle looking at Peng passing away" is also called "shaking the pen"
2. Use a pen, such as "You can swim for water, and the mountain has light."
These two metaphors were said by Reese at the same time, so they are expounded together. Generally speaking, the pen is unpretentious and natural and comfortable. Like a fish swimming freely and freely in the water; Floating and leisurely like a cloud rising from Jingshan Mountain. It is intended to emphasize the law of using pens from the beauty of nature.
3. "Still in the array" with a pen
Xiao He, the prime minister of Han Dynasty, was the first person to introduce Sun Tzu's Art of War into calligraphy in the history of China calligraphy. He said in "On Book Potential": "The method of writing potential is still like going to the battlefield, flexible and in front of your wrist. Both civil and military are left in the pen, and they must come and go according to it, based on yin and yang. " Compare the strokes and strokes of calligraphy to the battle of landing. It means: improvise when you go into battle, be flexible with your pen-use your wrist; On the battlefield, we must dispatch troops and arrange some paintings with pens; Fighting is expensive in the shadow, and the pen will have ups and downs; The battle should be able to be unfolded and assembled, and the pen and structure should be good at handling escapement, lifting, straightness, thickness, breaking, starting, stopping and straightness. Shu Lian, Xiangbei, Fiona Fang and so on.
4. "The pen is the general"
Wang Xizhi, a book sage, once served as a "general of the right army" and had unique views on the magical function of writing brush. He said in "On Books": "There is no need to hurry in writing, so it will be late. Why? The pen is a general and must be postponed. " Why does the book of sages compare the pen to a general who commands a battle? Because they have something in common. The command of a general is related to the victory or defeat of the war, the gain or loss of the land, and the life and death of people. When writing a book, the ink takes shape as soon as the pen falls off the paper, and the life of words (the spirit of flesh and blood) cannot be changed. Therefore, when writing, a writer should judge the situation, be cautious in what he says and does, just like a general giving a battle order, and not rush into it. Wang Youjun once compared a pen to a broadsword and a spear, which has the function of killing and seizing the life of a character, so we must be careful when using a pen.
5. Draw sand with a pen, such as "Yin Yinni"
These are the original words of Chu Suiliang, one of the four great calligraphers in the early Tang Dynasty, in On Books. "Paisha" and "Yin Yinni" are two famous terms that express the meaning of the pen, and they are indispensable concepts for people engaged in calligraphy. "Knocking on the sand" refers to drawing the cone front of weapons (or tools) such as spears into a flat battlefield, and the sand shape is convex on both sides and concave in the middle. When using a pen on paper, it should be like "drawing sand with an awl", and the nib should be in the middle of the line, so as not to show the traces of starting and stopping the pen. Ink floats on both sides of the line, which makes people feel dignified, prominent, dangerous and three-dimensional, rich in texture, strength and astringency. "Yin Yinni" means that a pen should be as deep, powerful and clearly visible as a seal printed on sticky purple mud, so as to achieve the effects of uniform layout, rigorous modeling, clear distinction between black and white, roundness and strength, and flexibility. These two metaphors vividly outline the "magic of using a pen" achieved by the center after paying attention to the hidden front. If you can deeply understand its meaning, the central figure of "getting to the point" and "coming out through the paper" will use the pen "knowledgeable person" to understand it.
6. Use a pen, such as "A lonely tent shook, flying sand and stones."
Zhang Xu, a calligrapher in the Tang Dynasty, said when he talked about using a pen: "It is strange to think of it as a book, because it is self-resonating." "solitary crown vibration" means that the pen should shake like a solitary crown grass, touch and rise, turn and rush. "Flying sand" means that the pen should fly naturally like shaken sand, run freely and stir with pride. Zhang Xu, nicknamed "Zhang Dian", is famous for his cursive script of French bamboo slips. The meaning of this sentence is that he saw the above two natural phenomena and realized the application of calligraphy (cursive script), which made his brushwork have a novel change and reached the expected "flying" realm.
7. Use a pen, such as "missing mark"
"Leak Marks" was said by Yan Zhenqing, the founder and calligrapher of Yan calligraphy in Tang Dynasty, in a conversation with Huai Su, a monk who asked him for advice. Su Yue said,' I have seen many strange peaks in Xia Yun, and I need to learn from them often. Its happiness is like a bird out of the forest and a snake into the grass. It is natural to run into a wall again. "Zhenqing said,' What's the leak in the house?' Sue got up, shook hands with everyone and said, "I got it!" " Here, Huai Su, who is known as "drunk", used four metaphors in succession when talking about his pen experience: Xia Yun Qifeng, a bird out of the forest, a snake into the grass, and a road to the wall. It should be said that he already knows how to use a pen. But Yan Zhenqing, a word "what is a leak? Hearing this, Huai Su had an epiphany, an epiphany, and stood in awe, shaking his hand and shouting, "Yes!" It can be seen that the metaphor of "leak mark" is more vivid, appropriate, accurate and classic. What do you mean by "missing bid"? After the Tang Dynasty, many calligraphers had this explanation. Most people think that it means that the center or Tibetan front uses a pen to "speak without revealing the angle."
Shen, a modern man, explained clearly in On Calligraphy that the "leak mark" is: "Rain seeps into the wall and condenses into drops before it can flow down slowly. Its flow does not fall straight, but it will be slightly turbulent and vertical, leaving traces on the wall. " It can be seen from Mr. Shen's explanation that the "image" of this "mark" is natural, astringent, textured and generally vertical. If writing with a pen dipped in ink can achieve this effect, it will enter the highest realm of brushwork. "Leak mark" is a very famous figurative metaphor for the use of pens and artistic effects, and it is an indispensable concept for people interested in calligraphy. It should be pointed out that Huai Su's "four metaphors" can also be used for reference, in which "the road to the wall" refers to the "cracks" in the wall that naturally crack, and there is no artificial arrangement. If the pen can do this, stippling will be natural. This metaphor is often quoted by later generations.
8. Use a pen such as "paddling for many years"
Huang Tingjian, a poet and calligrapher in the Northern Song Dynasty, said in "Inscription and Postscript of the Valley": "Yuan You's book is plain in brushwork, with few pens. Entering the gorge late, you can see the paddle for a long time, which is a way to solve the pen. " The word "long" is pronounced "up" here. "Long-term" is the name people in the Three Gorges of the Yangtze River call the boatman with a bow pole. "Paddling all year round" means boatmen paddle. Huang Tingjian sailed across the Three Gorges at the age of 56 in1kloc-0/065438, so he entered the gorge late. The meaning of this sentence is that Huang Tingjian has been troubled by "unable to use a pen" and "dull brushwork" for many years. In his later years, he crossed the Three Gorges by boat and saw the boatmen leaning back and forth rhythmically in a certain space, pushing the paddles out to save and coordinating nature once and for all. Huang Tingjian realized how to use a pen to "get in place" naturally through the action of boatman's paddle. From then on, the pen began to "ripple" leisurely like a boatman, sweeping away the "plain" brushwork. Later generations commented on Huang Tingjian's calligraphy works, "fluttering, probably with the help of years of paddling." Huang Tingjian lived to be 6 1 year-old, and paid attention to using pens all his life. He once said: "Ancient manual books are no different, and pen ears are available." "Anyone who studies books wants to learn to use a pen first." Huang Tingjian's understanding of "elegant" brushwork comes from "paddling for many years", which is the result of his epiphany after years of studying brushwork and accumulating rich practical experience.
9. use a pen, such as "folding"
Jiang Kui, a poet, musician and calligrapher in the Southern Song Dynasty, said in "Continued Book": "Break the hairpin to make it tortuous, round and powerful." Hairpin, a kind of jewelry on women's hair bun, is mostly made of gold and silver with good toughness, and generally consists of two strands. Broken hairpin is a brushwork that uses the image of "gold and silver hairpin" as a metaphor at the turning point of strokes. It means that when using a pen to reach the turning point of a line, the pen should be flat, the front should be straight, round, not deformed and not deviated, so that the line at the turning point is like a curved "hairpin", with a smooth and balanced surface and strong internal strength, showing a state of wide leisure and round beauty. Later calligraphers also have many explanations for this metaphor. Zhu Luzhen, a calligrapher in the Qing Dynasty, said in "An Introduction to Calligraphy": "Those who fold a hairpin like a hairpin are called rounded corners."
The above 16 metaphor of Li Si, Xiao He, Wang Xizhi, Chu Suiliang, Zhang Xu, Yan Zhenqing, Huai Su, Huang Tingjian and Jiang Kui involves the importance, concept, posture, movement, skill and effect of using a pen, which is an important part of "brushwork" and one of the important traditions of "calligraphy". Those who step into the "book road" must know the above metaphor. But "metaphor" is a metaphor after all. It is only a kind of "approach" to the essence of things, not the thing itself. Learners can only refer to it in practice, but can't stick to it. Because in the final analysis, "killing the pig and killing the tail-each has its own killing method", the above nine people are calligraphers, and everyone's brushwork-metaphor feeling is different.
For the convenience of memory, the author calls the above metaphorical conjunctions "penholder formula":
The pen is a general, and you are still in the array. The eagle hopes Peng dies, the fish gets water, and the mountain gets light. Paddle for years, sit in the sand and fly, and the tent vibrates. Xia Yun Qifeng, the road to the wall, the snake into the grass, the bird out of the forest. Cone painted sand, Yin Yinni, broken hairpin, leakage mark. If you realize the mystery, you will be able to communicate with God with a pen.
It should be pointed out that, looking through ancient books, it is found that calligraphers in Yuan, Ming and Qing Dynasties after the Song Dynasty basically repeat, annotate and continue the statements made before the Tang and Song Dynasties when discussing the "metaphor" of the pen method, and there are few new metaphors with original opinions. So the author only chose before the Song Dynasty. It can be seen from this aspect that before the Song Dynasty, how to use a pen had been thoroughly studied. Therefore, people who want to learn books should pay more attention to calligraphy theory's works and classic Mo Bao before the Song Dynasty when learning and mastering the method of writing with a pen.