Zhou Yang "Speech at the Opening Ceremony of the First Congress of Chinese Calligraphers": As a unique Chinese art, calligraphy should be valued by us. ?The following is the content of famous quotes said by calligraphers that I have shared with you. I hope it will be helpful to you!
Recommended famous quotes said by calligraphers
1) Those who don’t know the attitude, apart from calligraphy Also; the skeleton is the ancestor of calligraphy. Before the skeleton is corrected, the attitude is still there, how can we not abandon the original and eliminate the evil? Zhao Zigu's "On Calligraphy"
2) The characters of Jin and Tang people must be recorded one by one. Participate frequently, this is the most important thing. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"
3) If it is straight and similar, shaped like a counter, with the top and bottom straight, and the front and back flush, it is not a book, but it can be painted with its stippling. Eastern Jin Dynasty. Wang Xizhi's "Inscribed on Mrs. Wei's Writing Arrangement and Pictures"
4) If there is a main calligrapher, the discipline will be orderly. Write about the Shuijia, with thousands of valleys and rocks, and a full layout. Among them, the main peak must be established first, and the main peak must be established. The rest of the mountains are stacked on top of each other, with blood flowing out from side to side. The same goes for writing books. Determine the main character in each word. All the layout, potential development, structure, control, side relief, and force support are all controlled by the master. With this master writer, breathing is connected in all directions. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"
5) The characters are smooth and stable. First, you need to use a pen with a backbone, a back, a back, a side, or a slant; it may be small or large, short or long. Jin. Wang Xizhi's "Shu Lun"
6) Don't want to be too fat with your pen, as fat will make the shape turbid; and don't want to be too thin, as thinness will make the shape dry; don't want to show too much sharpness, otherwise the meaning will not be solemn. "You don't want to hide the corner of the body deep, otherwise the body will be weak." Song Dynasty. Jiang Kui's "Sushu Pu"
7) If you want to structure a font, it must be like an object, like a bird, like an insect eating grain, like a mountain, like a tree, like a cloud Like fog, there are supports vertically and horizontally, and when combined, it can be called a book. Tang Dynasty. Cai Xizong's "Lun of Dharma Calligraphy"
8) The pointer refers to the eyebrows and eyes of the characters; the horizontal strokes refer to the shoulders and back of the characters; the straight strokes refer to the body and bones of the characters; the left and right strokes refer to the hands and feet of the characters. If you are picky, the steps of the words, the turning points, the method of the square and the circle, the hanging needle, if it hangs down and then shrinks. Ming Dynasty. Chen Tong's "Cabinet Secret Biography"
9) In one word, although all desires are good, there must be something, draw, hook, tick, drape, brush the master; one article. Among them, although all desires are good, there must be one or two characters that reach the pinnacle, like fish, birds with scales, and phoenix, which are the main ones and make people play Duo. Yuan Xie Jin's "Miscellaneous Notes on Spring Rain"
10) Those who paint mountains must have the main peak, which is the direction of the peaks; those who write calligraphy must have the main pen, which is the rest of the pen, and the rest of the pen is the arch. If there is a difference in the main peak, all the remaining strokes will fail, so those who are good at calligraphy must strive for this stroke. Qing Dynasty. Liu Xizai's "Art Summary"
11) One point becomes one word, and one word is the final word. Violate but not violate, be harmonious but not different. Tang Dynasty. Sun Guoting's "Shu Pu"
12) The theory of spreading white in separate lines is not uniform. If it is deeper than the rules of the rules, then the historian can do things well. Qing Dynasty. Bao Shichen's "Yizhou Shuangji"
13) The measure of black is divided into points, and the empty and pure white is cloth. Qing Dynasty. Dan Chongguang's "Book Raft"
14) The composition of a book has different sizes, as small as a word and a number, as large as a line or several lines, a picture or several pictures, all of which must avoid and form each other. The wonderful response.
15) In all books, the strokes should be firm and thick, the posture should be strange but steady, and the composition should be varied and consistent. Qing Dynasty. Liu Xizai's "Art Introduction"
16) Beginners should strive for fairness and justice, and strive to pursue dangers and dangers. In the beginning, it is said that it has not been reached, in the middle, it is passed, and in the later period, it is called Tonghui. At the time of the general meeting, everyone was old. Sun Guoting's "Shu Pu" of the Tang Dynasty
17) Writing a book requires concentration. Whenever you write a word, it must be connected up and down, echoed left and right, and overlapped one by one to achieve perfection. That is to say, numbers, several lines, and dozens of lines are always united in spirit, and the spirit is not scattered. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"
18) Romantic and sparse, it is seen in the composition and comes from the writing method. When the flowers are in full bloom, the flowers are exhausted internally and the color fades externally; when the vegetation is deep in autumn, the leaves are withered and the branches are sparse, this means the business is condensing internally and the vitality is left externally. The romance of the book is due to the weak power, the pen cannot capture the ink, and the fingers cannot foreshadow the ink, and can be released at will, so the disadvantages of the romance are especially serious at the end of the painting; the sparseness is due to timidity, the pen power is exhausted in the painting, and the knotting method stops in the words. It is maintained with a reserved heart, so the withered and sparse state is especially evident at the beginning of the painting. Qing Dynasty. Bao Shichen's "Yi Zhou Shuang Ji"
19) In fact, the lines are laid out in white, but the outer frame is framed; the frame is established, and then changes vertically and horizontally, which is no better than ambition.
Qing Dynasty. Zhu Hegen's "Linchi Xinjie"
20) All actions complement each other and are related but not inconsistent. Sui Dynasty. Shi Zhiguo's "Ode to the Heart"
Selected famous quotes from calligraphers
1) The commentator on calligraphy said that it is green, majestic and beautiful. Is it more beneficial? Deep? word. Everything is green but old and bald, masculine but lost in roughness, beautiful but frivolous, so it is not deep. Qing Dynasty. Liu Xizai's "Art Introduction"
2) The so-called old man has a sophisticated structure, ancient style, curved rocks and towering peaks, and an array of flags. The so-called young ones are full of energy, elegant and elegant, with various tastes and thousands of styles. Although he is old and quite old, he is old and majestic, but his appearance is fresh and beautiful. Young but not old, although graceful and delicate, it lacks the meaning of heavyness and solidity.
3) Old people are the strength of books, young people are the beauty of books. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"
4) Wandering and pitching, calm and romantic. When it is strong, it is like an iron painting, when it is charming, it is like a silver hook, when it is beautiful, it leans against the grain and is clear. Tang Ouyang Xun's "On Using the Brush"
5) The difficulty of using the brush lies in the strength. Qiu Jin is not just the strong force of an angry pen, but a powerful person who has strength all over his body and can easily rise up. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"
6) Zuo's narrative is divided into complex ones, supplemented by lonely ones, lively by rigid ones, gentle by straight ones, elegant by vulgar ones, and plump by dry ones. "This is a great preparation for tailoring the method of transportation and transformation." Qing Dynasty. Liu Xizai's "Yi Gui"
7) 6. Arrangements for correct interpretation of structure and composition
8) The sparse and dense knots must multiply and divide each other, so sparseness is not too sparse, and denseness is not too dense. Too secretive.
9) The fonts are either neat or uneven. Neatness means correctness; unevenness means reaction. Qing Dynasty. Liu Xizai's "Art Summary"
10) The book uses sparseness as the wind god and denseness as the old spirit. When it is sparse but not sparse, it will become cold begging; when it is dense but not dense, it will be sparse. Song Dynasty. Jiang Kui's "Sushu Pu"
11) It is composed of one point and one stroke, one word and one line, arranged one after the other. The font sizes of the ancient stickers are quite similar, such as an old man traveling with his young grandson. The lengths vary, but the affection is sincere and the pain and itching are related. Qing Dynasty. Bao Shichen's "Yi Zhou Shuang Ji"
12) There are several principles for a line of one character. Some have a large upper cover, some have a longer bottom, some have a higher left, and some have a higher right. , not to follow the same path, but to inherit the whole path. Ming Dynasty. Li Chun's "Eighty-Four Methods for the Structure of Large Characters"
13) There are eight methods for using pens in real writing. In one word, the long and short complement each other, the oblique and upright are leaning on each other, and the fat and thin are mixed together, seeking to be beautiful and charming after adulthood. Song Dynasty. Jiang Kui's "Sushu Pu"
14) If you want to learn to write, you must first establish a frame, and then make ups and downs, just change as you see fit. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"
15) Those facing away are like people looking at and pointing at the painting, facing each other. Those who start on the left should be on the right, and those who start on the top should lie on the bottom. Generally speaking, the facilities have their own reasons. Looking to the ancients, Wang Youjun is the best. Song Dynasty. Jiang Kui's "Xu Shu Pu"
16) The character is a city, so it is not empty when it is big, and it is not lonely when it is small. Yu Shinan's "Bi Mui Lun"
17) For writing, it is better to combine them into one, or to separate them into different bodies. Since they can be formed individually, it is also about density, size, length, width, and narrowness. It should be considered auspicious. "Thirty-Six Methods" by Ouyang Xun of Tang Dynasty
18) The style of writing must follow the correct method. The shape of the characters should not be wide at the top or narrow at the bottom. It should not be dense, otherwise you will be plagued by malaria; it should not be sparse, or it will look like a drowned bird; it should not be long, or it will look like a dead snake hanging from a tree; it should not be short, or it will look like a toad trampled to death. This is a taboo, don't be careless! Jin .Wang Ting's "Principles of Calligraphy"
19) The structure of the structure is nothing more than dividing the white space. Taking advantage of the situation, avoid overlapping, spread out and promote all the methods. Qing Dynasty. Liang Xian's "Study of Calligraphy"
20) Use the pen to make full use of the strokes, but it must be controlled and controlled; the knotting of words must obtain its true form, but it must reflect the beauty of practice. Qing Dynasty. Feng Ban's "Yin Shu Yao"
A collection of calligrapher's famous sayings
1) Calligraphy is about strong bones and strength, and the most taboo is wildness. Qing Dynasty. Liang Xian's "Xue Shu Lun"
2) The style of writing is vigorous and powerful, without revealing the muscles and bones, making it dazzling. Hualin, Qing Dynasty, "Secrets of the Southern Sect"
3) Those who are good at penmanship have many bones, and those who are not good at penmanship have more flesh. Those with more bones and less flesh are called sinews, and those with more flesh and less bones are called ink pigs. Those with strong tendons are holy, those with weak tendons are sick. "Brush Formation Picture" by Wei Shuo of Jin Dynasty
4) Use all your strength until it sinks into your bones, but the brush can be reconciled. Harmony is neither hard nor soft, and changes are everywhere. Therefore, those who know harmony are those who have deep energy and are not indulgent.
Qing Dynasty. Wang Shu's "Lun Shu Teng Yu"
5) Thin but showing bones, fat but showing flesh, are not considered good; thin but not showing bones, fat but not showing flesh, are considered superior. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"
6) If the painting is accelerated, the calligraphy will be horizontal, and if the painting is sparse, the calligraphy will be slow; if it is restrained, it will lack momentum; if it is released too little, it will be pure bones without charm, and pure flesh will be weak. A little ink is floating and astringent, while a lot of ink is dull and dull, both are the same. Xiao Yan's "Answers to Tao's Seclusion"
7) People in the world only think of anger as muscles and bones, but they don't know that anger does not have muscles and bones. Northern Song Dynasty. Mi Fu's "Haiyue Mingyan"
8) The essence of the book is unified by the word "integrity". In terms of bone quality, it is called a hole in the middle, which means a hole in the middle, and a hole in the side. Dongda means that whether it is dense, fat or thin is good, otherwise it will be a disease.
9) The word has the power of courage, which is the bone; the word has the power of endurance, which is the tendon. Use bones to get bones, so take the fingertips; use tendons to get tendons, so take the wrist hang. Qing Dynasty. Liu Xizai's "Art Summary"
10) The characters must have bones, the muscles must be wrapped around the muscles, and the muscles must hide the flesh. Not fat. Abnormality values ??form but not suffering. Suffering produces anger, and anger produces strange things. Value the form rather than the painting. The painting should be translated into painting, and the painting should be translated into vulgarity. This is all a disease of calligraphy. Northern Song Dynasty. Mi Fu's "Haiyue Mingyan"
11) All characters must be soft and moist when they are alive, and hard and dry when they die, and the same is true for plants and trees.
12) If it is soft and moist, all fat and thin parts will be round; if it is hard and dry, all long and short parts will be flat. Therefore, the straightness lies in the temperament and reaches the form and quality. The roundness and flatness are due to shape and quality, but are based on temperament. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"
13) Tang Taizong said: When I was young, I observed the formation and knew the strength and weakness. Today, when I read ancient people's writings, I don't learn from their situation, but seek their bone strength, and get their bone strength, and the situation will arise by itself. "Learning Calligraphy" by Liang Zhangju, Qing Dynasty
14) Learning calligraphy is like learning boxing. Those who learn boxing must use body techniques, footwork, techniques, twist the tendons against the bones, and move hands and feet to the best of their abilities. To make the internal energy flow through and the external energy flow out, so to copy the ancient stickers, the strokes must be more than half longer than the ancient stickers, and this is the one who can maximize the potential and convey the meaning. By the time the boxing is completed, the true energy and oxygen will be sufficient, the joints can be rotated, and the tendons are straight. Even if the opponent is strong, he can be hit within a reasonable distance with one finger as if nothing happens. The same is true for calligraphers' self-importance. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"
15) People know that the power of straight painting is exhausted, but they do not know that the power of hairspring is stronger and more sharp. Qing Dynasty. Da Chongguang's "Shu Raf"
16) The characters have bones, flesh, tendons and blood, which are filled with Qi. The six rounds of the book are dominated by Qi. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"
17) Generally speaking, the most valuable thing is that the pen is old, and it can shine even if there are few mistakes. What is valuable is that the thick fibers are out, the blood is connected, the muscles and bones are old and strong, the wind is flowing, the posture is equipped, the true attitude is true, the attitude of doing is doing, the attitude of grass is grass, must be learned extensively, and can do both. Song Dynasty. Jiang Kui's "Xu Shu Pu"
18) The man who transports his heart first, and then his body. All the strength of his body is transferred to his arms and wrists, which are as strong as iron, and he concentrates on fingertip. Qing Dynasty. Zhu Lvzhen's "The Essentials of Learning Calligraphy"
19) Those who are upright are straight-forward; those who are very rigid are strong and unruly; those who are reserved are too coercive; those who are suspicious are indulgent. Those who are stagnant and astringent; those who are slow and heavy will end up being dull; those who are light-locked will be stained by vulgar officials. Tang Dynasty. Sun Guoting's "Shu Pu"
20) Calligraphers are very experienced in writing, so they can save the disease of Qingmi. However, it is spicy and spicy, and it is caused by medicine. It is best to use the pen to make the beautiful parts like iron and the tender parts like gold. Qing Dynasty. Wu Dexuan's "Essays on Calligraphy at Chuyuelou"
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