Conventional formula
The conventional "power point" is mainly at the two ends and straight folds of the stroke, and its "power point" is relatively fixed. For example, Han Li and Tang Kai are typical. No matter how different their styles are, they are very fixed in the position of various forces.
The positions of "silkworm head" and "goose tail" in all official scripts must be "power points"; The place where regular script is hidden, collected, folded and hooked must be the position of "force point" Wang Xizhi, Dong Qichang and Zhao Ziang in the cursive script are all typical examples, especially Zhao Ziang, whose "power point" almost completely abides by the law of opening letters. Its style is neat, smooth and exquisite.
Balanced type
The "power point" of balance actually has no clear power point. The first series of Xiao Zhuan is very typical, especially the iron wire. The cursive scripts of Zhu Da and Huai Su also have obvious characteristics of "force point balance".
Variant formula
The variant "power point" can fall on any part of pointillism. Quite a few regular scripts in Weibei have this distinctive feature. Compared with the conventional classic "power point", we find that some of them exert their power according to the conventional "power point", and more are not. For example, the conventional "power point" is at the beginning of the pen, and it is extremely rare to move the "power point" to other places, while the "power point" of the north and north skin can be located in any part of the pen.
This variation of "force point" will directly lead to the variation of line type and different styles. Therefore, the phenomenon of one stone, one grid, one stone and one appearance has been formed in the North Monument. In the running script system, the "strength points" of Mi Fei, Zheng Xie, Wang Duo and Zhang Ruitu vary greatly. Mi Fei, Zheng Xie and Wang Duo evolved from the conventional classic "acupuncturing" and mutation, while Zhang Ruitu's "acupuncturing" and mutation went to another kind.
When the strokes are balanced, the front becomes smaller, and the stippling shows more differences in length than in light and heavy, so its rhythm is not clear and distinct; When the strokes are unbalanced, the front becomes undulating, the linear change of stippling is bound to be rich, and the sense of rhythm is naturally clear and strong.
When evaluating the quality of brushwork, it should be a standard that can not be ignored to judge whether its "power point" is accurate and precise, and whether its variation is exquisite and ingenious. Because it can directly reflect the writer's skills and accomplishments.