▲ The depth of the pen lies in the distance to the paper, the distance is floating and thin, and the front weight is near. Don Lu Xie's Linchi Tactics
▲ Anyone who wants to learn how to use a pen first, wants to hook his wrist with both hands, his palm is empty, and his ring finger depends on the pen, which is powerful. On Books by Huang Tingjian
▲ The same is true of the so-called treatment, pressing, hooking, resisting, refusing and guiding. Five generations. Li Yu's Shu Shu
▲ The right army uses his pen to squat and has many fronts, so the law is strict and fascinating; Amethyst is unfolded with a pen, and its side is half of the front, so the spirit is scattered. Fang's book strategy
▲ When you start writing, you care about stability. When using a pen, it is light and healthy: light is heavy, and heavy is astringent, which is called hiding the front. The true story of calligraphy Wu
▲ Words are different from hidden front and full of enthusiasm. If you want their hands and tails to correspond, you'd better connect them up and down. Song. Jiang Kui's Continued Book Score
▲ When using a pen, it is especially necessary to hide the front. Don't hide in front, the word is sick, and the disease has not gone. How can it be? Don Xu Hao's book.
▲ I use a pen to draw sand like a cone, making it hidden and painting calmly. When he uses a pen, he often wants it to pass through the back of the paper, which is extremely successful. Tang Wei continues to "Mofu"
▲ The so-called eternal difficulty refers to the texture of the pen, not the face of the pen. Qing Zhou Xinglian's My Opinion on Linchi
▲ learn to have rules and regulations, and the words have a body method; Otherwise, the brushwork is not refined and the words are lost. The one-word method is structure: the beauty of a stroke is the beginning, and the beauty of a stroke is the end. The way of structure, especially the subtlety of brushwork. Anonymous "Eight Methods of Chanting Zi"
▲ I can use this pen in the right direction, horizontally, along, repeatedly, lightly, falsely, practically, steadily, vertically, tightly, unfolded, all by the sharpness and harmony of the pen tip. Qing Zhou Xinglian's My Opinion on Linchi
▲ The pen method can be seen at both ends of the painting, and those who were extremely rich by the ancients were cut off in the painting. There are still traces of manipulation at both ends of the cover; Among them, the reason why interception is rich but not timid is real and not empty, not bone potential, and can not be angry. Clear. Bao's "Art Boat Double Series"
▲ The pen holder is regular and flat. Song. Jiang Kui's Continued Book Score
▲ Write at the place where the pen is sent, so that it will not be depressed, but it will not be passed down through the ages. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ The ancients used the same pen to write, divide, be true, walk and cursive. They must give priority to the front and occasionally take advantage of the side. Below the book, front eight, side two, unpredictable. Fang's book strategy
▲ The ancients painted dribs and drabs to turn the front into a pen, unless it was dragged from the beginning, it was used to turn; The ancients pulled together, all rotating, holding the paper in their hearts, and there was no place where Xiaomi collapsed. Clear. Bao's "Art Boat Double Series"
▲ First of all, we must be smart, without traces of pen and ink, such as antelope hanging horns. A scholar with a keen mind and hands. But convenience must be proficient, and the turning point must be dark, in order to know the beauty of folding hairpin strands. Stay in the dark, stay in the team, stay in the team. It's really fast. And Tang's "New Interpretation of Linchi"
▲ The transfer of several paintings wants to be folded, and the rotation of a painting is expensive; The same turn, misuse is sick, and it is legal to do it separately. Da Zhongguang's Book Raft in Qing Dynasty
▲ The front is wrapped in paper, which is just the right change: when drawing a walker, the pipe is facing up; Draw a walker and turn the pipe down; Draw a left walker and turn the pipe to the right. Clear. Bao's "Art Boat Double Series"
▲ In calligraphy and painting, it is necessary to make the pen stand on the bone. Although rich and different, each is an adult. Song Li Misson's Yunxi Collection
▲ The theme of a book can be summarized in one word. Yue: The pen is round. Square, folding method, stippling the starting and ending points of waves, square pointing out, word bone also; Round, hanging in the air with a pen, pretending to be a gesture, round the arm and wrist, the word tendon is also. Zhu Qing Luzhen's Introduction to Learning Books
▲ Round as the sky, square as the ground. Fiona Fang uses each other, but Yin and Yang hide from each other. Therefore, the pen is expensive and the shape is expensive. The circle is God's circle and cannot be delayed; Fang Naitong Fang, just can't hold it. Elegant characters in Ming Xiangmu's calligraphy
▲ When the ancients wrote a book, it was round to the end when they put pen to paper, and it was convenient to the end when they put pen to paper. "Lanting" uses a circle, "Shengjiao" uses a square, and the second paste is a model of calligraphy in the past century. The so-called rules are the best in Fiona Fang.
▲ In order to turn the beam, it is round inside; In terms of pen quality, the bone is square and round. This is a certain principle. Qing Zhou Xinglian's My Opinion on Linchi
▲ Soft is round, fat is thin, hard is dry and flat. Therefore, the truth lies in temperament, reaching form, being round in form and based on temperament. Clear. Bao's "Art Boat Double Series"
▲ The round pen was used for lifting, but it was frustrated. Fang Bi turned the conversation to dinner and mentioned the contract. The round pen should be sharp, and Fang Bi should turn it over. If the round pen is not sharp, it will be weak, and if Fang Bi does not turn it over, it will be weak. Modern. Kang Youwei's Guang Yi and Zhou Shuang.
▲ Using the pen tip is like a falling front, and there is no such thing as a sharp front. The scene is vivid and refreshing, and it is a word, so it must be integrated. On Jin and Wang Xizhi's Books
▲ When writing a book, you should write a pen instead of a letter. Cover the letter pen, its wave painting is weak. As soon as I start writing, I am dominated by every turn. The characters "Zhuan" and "Liang" are clever tactics of calligraphers. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ From the beginning, there are priorities, true and false, and anti-parallel strings, which are connected by far and near. Clear. Liu Xizai's Art Outline
▲ Use a pen to be calm and calm, and the pen will not float; Also want to be empty, empty spirit is not good. Using a pen to solve this problem has its own gradual effect.
Use the pen skillfully, and cleverness is the spirit. If you are clumsy, it will be ancient, and if you are combined, there will be no disease of lightly picking turbidity. Clear. Qin's "Painting Method with Tone"
▲ There are two ways to write a book: one is illness and the other is astringency. There are two ways to get sick, and the book is wonderful. Eastern Han dynasty Cai Yong's Stone Chamber Magic Pen
▲ the pen is expensive around the left, and the book is still late. This is also the way of monarch and minister. Don Lin Yun's Preface to the Removal of Stirrups
▲ If you write a book with a pen too soon, there will be no frustration, and if it is too late, it will be invalid. Xian's Theory of Learning Books
▲ I'm familiar with the expression of astringent pen, but I don't know how to astringent. Only when the pen wants to do it, if there is anything to refuse, try your best to fight it, so that it will not be astringent. Qing Liu Xizai's On Writing with a Pen.
▲ Writing is just never delayed, and calligraphy is thick and deep. Don. Zhang Yanyuan's Book of Dharma.
▲ Mountain boat: the pen should be soft, and softness is awkward; The style of writing should be long, and the spirit should be long; When the ink is full, it is full; Write quickly, you'll be out soon. Clear. Liang on frequent elections.
▲ The brushwork is too revealing and easy to hurt rhyme.
When you start writing, you must go against the trend, and you can't procrastinate, that is, you are not angry and naive. Clear. Qin's "Painting Method with Tone"
▲ People know that pen and ink have charm, but they don't know that the charm is all in my hands. Da Zhongguang painted Sasakawa in Qing Dynasty.
▲ People who have tasted brushwork but can't ink, don't have brushwork, don't use the author. Clear. Bao's "Art Boat Double Series"
▲ Ink will not come out, which is excellent for calligraphers. And Tang's "New Interpretation of Linchi"
▲ With the method of ink and wash, the water is scattered and the traces are floating and gathering, which is natural. Don Lu Xie's Linchi Tactics
▲ However, brushwork is based on pen and is formed in ink, so brushwork is a key to calligraphy. In fact, the pen is heavy, but it is floating. Clear. Bao's "Art Boat Double Series"
▲ Those with rich pen and ink are called vigorous, and those with thin pen and ink are called Gaoyi. Clear. The queen plays "essays on the rain window"
▲ the ink is light and hurts. Thick is sluggish. Fat is dull, thin is obvious; It's not surprising that you don't hurt your weakness and anger. The true story of calligraphy Wu
▲ The ink should be light and thick, dry and wet, and naturally get angry in one go. Clear. Qin's "Painting Method with Tone"
▲ Make it moist with ink, not boring, especially avoid being fat, which is a great evil. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ Horizontal can't be flat, vertical can't be straight, wrist can't be unfolded, eyes can't be noted, and distribution can't work; If the distribution is not good, the rules cannot be prepared; Rules are harmful and laws are difficult to learn. Da Zhongguang's Book Raft in Qing Dynasty
▲ Learning books is neither illegal nor illegal. As the saying goes, once you get a fish, you forget it. Zhu Qing Luzhen's Introduction to Learning Books
▲ If the book is natural, it must have bones and muscles, thick blood and old bones, hidden muscles and wonderful posture. In modern times, Kang Youwei's Talk about Guang Yi and Zhou Shuang
▲ Writing words is like a person, but the bones and muscles are flesh and blood, and the spirit is crucial. After eight preparations, it can be a person or a corpse. Clear. Wang Shu's Lun Shu and Teng Yu
▲ A book will not become a book if it has spirit, qi, bone, blood and flesh. Northern Song Dynasty. Su Shi's On Books
▲ Beginners should start with the bones and muscles, and the bones and muscles are not standing, and the meat is attached. Don Xu Hao's book.
▲ Fengshen people have meat in their bones. Those who are old and energetic are all in their bones. People who are interested in swimming pools should distinguish them with their eyes. And Tang's "New Interpretation of Linchi"
▲ Show your bones first, restore your spirit, have skin and blood, and strengthen your muscles. Silk comes and goes with clear veins. Detailed explanation of calligraphy
▲ The bone is preserved, but it is moist. The Book Score of Don Sun Guo Ting
▲ Stand with bones and muscles and polish with expressions. Zhang Tang Huai Guan's On Characters
▲ The bone of the word, the bone of the lower phalanx; The tendon of the word, the pen also; The flesh of words is the essence of pens. Words are born in ink, ink is born in water, and the blood of words is also in water. Yi once wrote Hanlin Yaoze.
▲ People are comfortable with books, but they are neutral and fat. If the book is also short, the degree of coordination should be balanced, yin and yang should be appropriate, and rigidity and softness should be combined. Elegant characters in Ming Xiangmu's calligraphy
▲ Fat characters should have bones, and thin characters should have meat. Northern Song Dynasty. Huang tingjian
▲ Bone is implanted with tendons, and the tendons are attached to the bones, and the bones are short and thin. The two are separated from each other before the start, so the functions belong to each other.
Bones and muscles are not born by pens, but can be damaged by pens; Blood and flesh are not born in ink, and ink can be increased or decreased.
The meat is tender and full, and the tendons are moist. Thin is charming, moist is colorful. Da Zhongguang's Book Raft in Qing Dynasty
▲ Fumajin is more than meat, meat is more than muscle, and so is the book. Don. Zhang Huaiguan's book review on medical stone.
▲ softness is graceful and graceful, while rigidity is elegant and graceful. Don. Zhang Huaiguan's book review on medical stone.
▲ If you are caught, you will be weak. If you put too little, you will be unappreciated by pure bones, weak by pure meat, and dull by little ink. Liang Wudi began to answer again.
▲ If there is bone, there must be meat, and if there is reality, there must be time. Otherwise, it is majestic, close to sinister, and there is no ethereal trend. Clear. Master's Biography of Mount Xi
▲ Calligraphy is often strong and powerful, and it is the most taboo. Xian's Theory of Learning Books
▲ The brushwork is vigorous and vigorous, not explicit and not eye-catching. Clear. Karin's "The Secret of Nanzong"
▲ People who are good at writing are skinny and not good at writing; Skinny and fleshy are called muscle books, and fleshy ones are called ink pigs; Strength and strength are sacred, weakness and muscle deficiency are morbid. Jin weishuo's pen map
▲ Do your best. As for sinking into the bone, the pen can be reconciled. Harmony is different, not rigid and not soft, and change comes out. An old friend who knows peace, full of energy, runs away if he doesn't go straight. Clear. Wang Shu's Lun Shu and Teng Yu
▲ Thin, fat and fleshy, not good-looking; Thin but not obvious, fat but not showing meat, is for the upper position. Elegant characters in Ming Xiangmu's calligraphy
▲ When the painting is improved, the words will be horizontal, the painting will be sparse, and the font will be slow; If you catch it, you will lack potential, and if you let it go, you will have less potential; Pure bones are not flattering, pure flesh is weak, less ink is floating and astringent, and more ink is stupid, all of which are the same. And Tao's book of seclusion
▲ The world takes anger as its bones and muscles, and I don't know that it has its own bones and muscles. Northern Song Dynasty. Miffy's Sea Yan Yueming
▲ The essence of a book is the word "backbone". Those with backbone say that holes are holes, with holes in the middle and holes on the sides. Just be broad-minded, otherwise you will be ill.
▲ This word has the power of courage and backbone; Have the power of forbearance and be stiff. Take the bone with the bone, so take the finger; Use tendons to get tendons, so take wrist suspension. Clear. Liu Xizai's Art Outline
▲ People know the exhaustion of straight painting, but they don't know that the power of hairspring is stronger and more powerful. Da Zhongguang's Book Raft in Qing Dynasty
▲ The words are flesh and blood, and the gas field is full. In the sixth inning of the book, the emphasis is on Qi. Bao Qing Chen Shi is in Wu An.
▲ It is important to be older and make fewer mistakes, which can also be reflected. What is more expensive is that the fiber is thick, the blood is connected, the bones and muscles are strong, the wind is scattered, and the posture is prepared. You really have a true attitude, an attitude of doing things and an attitude of planting grass. You must study extensively and be proficient at the same time. Song. Jiang Kui's Continued Book Score
▲ Husband, first move your heart, then move your body, do your best, return to your wrist, be as strong as a bent iron, and pay full attention to your fingertips. Zhu Qing Luzhen's Introduction to Learning Books
▲ Books should have yin and yang. Generally, it is calm and depressed, and yin is also; Seven or eight Hao Da, Yang Ye. Clear. Liu Xizai's Art Outline
▲ Stiff and avoid wild, clear and avoid thin. Liang Qing presented "Pingshu Sticker"
It is always the power of books, but less the endowment of books. Elegant characters in Ming Xiangmu's calligraphy
▲ Wandering and pitching, tolerance and airflow. It's just an iron painting, as charming as a silver hook, as beautiful as leaning on it. On Don Ou Yangxun's Use of Pen.
▲ It is difficult to cover the pen, and it is difficult to be vigorous. And vigorous is not the name of qi and wood, but the strength of the whole body, but the ability to bear. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ Left narrative, struggle for correction, lonely people make up, board people live, straight people are graceful, vulgar people are elegant, and dry people are embarrassed; Cut the edge, be prepared. Clear. Liu Xizai's Art Outline
The arrangement of amending the constitution by intransitive verbs
▲ The density of words must be multiplied and divided by each other, so it is not too sparse or too dense.
The fonts are neat and uneven. Neat, get the right answer; Uneven, take it as it should be. Clear. Liu Xizai's Art Outline
▲ Books are as sparse as Shen Feng and as dense as square. When it is not sparse, it becomes cold begging; Dense is thin. Song. Jiang Kui's Continued Book Score
▲ One painting, one word, one word, one line. The font size of ancient stickers varies greatly, such as the old man carrying his young grandson, whose length is uneven, but his affection is sincere and painful. Clear. Bao's "Art Boat Double"
▲ There are several reasons for the one-word trip, such as covering the top, painting the elders, being high on the left and being high on the right. They walked on different tracks, and all the people were on the same line. Ming Mason Lee's Eighty-four Rules on the Structure of Chinese Characters
▲ There are eight ways to use a pen for real books. Between words, the long and short complement each other, lean against each other, mix fat and thin, and seek to be charming after adulthood. Song. Jiang Kui's Continued Book Score
▲ If you want to learn a book, you must first put a shelf, and then you will have ups and downs, but you will be suitable. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ The word is a city, not empty, small, not lonely. On the Essence of Pen by Yu Shinan
▲ Use a pen to do what you can, but you must be measured; The knot is in its true state, but it must be reflected in the beauty of learning. Clear. Feng Ban's "Blunt Songs"
▲ Jin and Tang people must record a word and often take it. That's all that matters. Ming Dong Qichang's Essays on Painting Zen Rooms
▲ If it is straight and similar, it looks like a symbol, the top and bottom are whole, and the front and back are flush, it is not a book, but it has its stippling ears. Eastern Jin dynasty Wang Xizhi's "After Mrs. Wei's Painting"