"Draw sand with a cone," referring to the beam: "Draw sand with a brush like a cone, like."
The phrase "broken hairpin" comes from the Southern Song Dynasty's "Continued Book Spectrum", which says: "Those who break hairpin want to bend it, which is round and powerful."
"Leak mark" comes from Lu Yu's shihuaisu and Yan Zhenqing on cursive script in the Tang Dynasty: Yan Zhenqing and Huai Su on calligraphy, and Huai Su said, "I have seen Xia Yunduo's strange peaks, which often have an effect, and its pleasure is like a bird out of the forest, a snake into the grass, and a cliff." Yan Zhenqing said, "What's the leak?" Huai Su got up and shook hands and said, "You got it!" In addition, in the Southern Song Dynasty, Jiang Kui's "Continued Book Spectrum" said: "If there are leaks in the family, I want it to be endless."
Draw sand with an awl, as Chu Suiliang said, the center writes. With the effect of "hiding the front", it is necessary to draw sand with an awl in front of the pen, and the sand on both sides is flat and convex, with positive traces and looks like a "center". Therefore, the awl sand painting is used to describe the roundness of the book trace and the calmness of the brushwork.
Yin Yinni means printed on the mud, and what Chu Suiliang said is mainly the pen in the middle, with a slight flank. The mud here is not the mud used for seals now, but made of paraffin pine branches and pigments in ancient times. It melts when heated slightly, and is used to seal bottles and letters. And printing, printing on this kind of mud, is profound, powerful and eternal. Describing the profundity, roundness, steadiness, accuracy and vigor of brushwork also means that the structure and stroke arrangement of a word should be appropriate, precise and just right, just like the arrangement of seals.
The discount shares were first put forward by Huai Su, who wanted to write them in the center. Metaphor is a skill of using a pen. Wood was originally a gold and silver ornament on ancient women's heads, which was strong and tenacious: the strokes used to describe the turning point later should be round and powerful, without horns, like bows and arrows, although curved, but still round and full.
According to legend, Yan Zhenqing, Huai Su and (Wu Tong is Huai Su's aunt and cousin, Yan Zhenqing's classmate and Zhang Xu's student. ) When they were talking about Zhang Xu's cursive script, they said that Zhang Xu saw Aunt Sun's sword, and the tip of the sword returned to Xiang Zhuang from high to low in the air, and the cursive script was realized. This kind of strong return, Huai Su said such as broken hairpin, Yan Zhenqing said such as leakage.
"Leak mark" was first put forward by Yan Zhenqing. The method and artistic effect of stroke center, horizontal, horizontal, vertical and even strokes and hidden front. When writing, the pen tube should fall down together, and the pen tip should run around in frustration, just like the water drops leaking from a broken house trickling down the uneven mud wall, winding down and betting, forming a bulging semicircle. The brush strokes are round, lively, thick and full, with a sense of three-dimensional, heavy and flowing.
The spread of Buddhism is divided into general biography and secret biography, and so is the inheritance of calligraphy. Yan Zhenqing studied calligraphy from Zhang Xu and went to Luoyang for many times. The first two times, Zhang Xu threw Yan Zhenqing a few words without saying anything. You can write it yourself. Until the third time, Zhang Xu saw that the young man was not bad and could inherit the mantle, so he called him to a deserted place and passed on his brushwork and calligraphy. This is also the first time that the brushwork in Wei and Jin Dynasties was passed on to outsiders. Before that, calligraphy was passed down within the family. If it weren't for the notes written by Yan Zhenqing after learning the brushwork (On the Twelve Meanings of Zhang Changshi's brushwork), we still don't know that the inheritance of calligraphy can be divided into two parts: "Fa" and "Ji". Only this time, and only once, is the inheritance record of the book. In addition to Zhang Huaiguan's disclosure in his book Duane, it never appeared again. Shu Ji was lost in the late Tang Dynasty, and all calligraphy theory we can see belongs to the category of general biography.