1. Four-character idioms to describe calligraphy works
Hello, I have written a few four-character idioms for calligraphy works. Please go and take a look.
Sweeping thousands of troops describes poetry, calligraphy, etc. as being grand and powerful
Brush moving as a dragon and snake describes calligraphy as vivid and powerful.
Silkworm head and swallow tail describes calligraphy that starts with a dignified stroke and ends with a light stroke.
Fengjinduoli means that the font structure is solid and plump, and the writing power is strong.
As powerful as a frightening dragon, it is often used to describe the strong and vigorous strokes of calligraphy, or the graceful posture of dancing.
The power of penetrating through the back of the paper describes that the calligraphy is strong and powerful, and the tip of the pen almost penetrates to the back of the paper.
Penetrating into the wood describes calligraphy with great power. The problem of multi-metaphor analysis is very profound.
Iron painting and silver hook describe calligraphy as strong and soft.
Fairy Pearl describes the calligraphy as elegant and round. 2. A collection of four-character calligraphy idioms
The pen moves like a dragon and snake, Yan Jin Liu Gu, the iron painting silver hook, the power penetrates the back of the paper, and the brush moves freely bǐ zǒu lóng shé Definition: Describes the calligraphy that is very beautiful and skillful Yan Jinliu GU yán jīn liǔ gǔ Definition: Yan: Yan Zhenqing, a calligrapher of the Tang Dynasty; Liu: Liu Gongquan, a calligrapher of the Tang Dynasty.
It means that the calligraphy of the Yan and Liu families is strong and powerful, but their styles are different. Also generally known as excellent calligraphy.
Iron Painting and Silver Hook tiě huà yín gōu Definition: Describes calligraphy that is strong, soft and beautiful and penetrates the back of the paper lì tòu zhǐ bèi Definition: Describes calligraphy that is strong and powerful, with the tip of the pen almost showing through to the back of the paper. It also describes poems with profound ideas and concise words.
huī sǎ zì rú Definition: describes painting, writing, composing, being able to use the pen as one pleases. 3. Four-character idioms about calligraphy works
Four-character idioms about calligraphy works: "Sweeping thousands of troops" describes poems, calligraphy, etc. that are grand and powerful; "Zonglongshen" describes calligraphy that is vivid and powerful. Silkworm head and swallow tail describe calligraphy with a dignified start and light and fast finishing. Fengjinduoli means that the structure of the font is solid and plump, and the writing power is more than strong. Jiao Ruo Jinglong is often used to describe the vigorous calligraphy strokes, or the graceful dancing posture that penetrates the back of the paper to describe the strong and powerful calligraphy, and the sharpness of the strokes. It should show through to the back of the paper. Penetrating wood three-thirds describes calligraphy that is extremely powerful. Many metaphors are used to analyze the problem and the problem is very profound. Iron painting and silver hook describe calligraphy that is strong and soft. Fairy dew and pearl describe calligraphy that is elegant and round. Emotion and force describe calligraphy that is strong and powerful. Calligraphy works are the art of calligraphy. A relatively complete form of expression and a form of entertainment.
The main styles of calligraphy works include nave, banner, horizontal drapery, couplet, plaque, scroll and fan, etc. 4. A collection of four-character idioms in calligraphy
The dragon and snake at the bottom of the pen still mean the dragon and snake at the bottom of the pen. Calligraphy is described as vivid and powerful.
Source: Chapter 31 of "Jin Ping Mei Ci Hua" written by Lanling Xiaoxiaosheng of the Ming Dynasty: "Wen Gong is erudite and has extensive records, and his writings are about dragons and snakes. He is a true genius."
The pen moves like a dragon and a snake describes calligraphy as vivid and powerful.
Source: Tang Dynasty Li Bai's "Cursive Script Song": "From time to time, only dragons and snakes are seen walking away, left and right are frowning and shocked."
Silkworm head and swallow tail describe the dignified start of calligraphy. The writing is mild.
Source: Song Dynasty Zhao Ji's "Xuanhe Painting Book·Yan Zhenqing" "But he is loyal to the day and has knowledge of the world, so his spirit can be seen in the expression of calligraphy and ink, which is unique and comprehensive. ... Later secular studies , I am looking for the end of its shape, so I call it a silkworm head and a swallow tail, and I just got it. "
Calm, happy, strong and fluent, vigorous and hearty. Describe poetry and calligraphy as vigorous and fluent.
Source: Volume 1 of "Yao Lu" of the Southern Dynasties and Song Dynasty quoted Yang Xin's "Able to Write People's Names from Ancient Times": "The emperor of Wu people can make grass like an elephant, and he is known as calm and happy."
Calm, happy, strong and fluent, vigorous and hearty. Describe poetry and calligraphy as vigorous and fluent.
Source: Song Dynasty Yan Yu's "Canglang Poetry Talk·Poetry Debate": "There are probably two types of them, namely, leisurely travel without urgency, and calm and happy life."
Fengjin Duolifeng : plump, plump; tendons: tendons or ligaments on bones; many: redundant. Calligraphy has muscles and bones, and the writing force is strong. It means that the font structure is solid and plump, and the writing power is strong.
Source: "Xuanhe Shupu" by Anonymous of the Song Dynasty: "At the beginning of the Three Kingdoms, calligraphy was not taught at all, so Yao became a family method, and some commentators said that it had strong muscles and strength, and was able to travel in the clouds and rain Sudden trend. ”
Feng Boluan drifts, moored: drifting with the current. It originally described the calligraphy style as free and elegant, but later it was used as a metaphor for a couple being separated or a writer being frustrated.
Source: Tang Dynasty Han Yu's poem "Xunji Mountain": "Ke Douquan's body is covered with sage, and the luan is floating on the phoenix and holding the tiger and chi."
The phoenix dances and the dragon flies to describe calligraphy The writing style is strong and flexible.
Source: Chapter 10 of "The Biography of Heroes of Sons and Daughters": "This calligraphy can also be written in such a way that the phoenix dances and the dragon flies. It is really admirable."
Feng Zhuluan returns to Zhu. : Goofy. It is a metaphor for the flying and stretching of calligraphy strokes.
Source: "Fu Yun Fu" by Lu Ji of Jin Dynasty: "Luans soar and phoenixes fly, cranes fly in fear, whale salamanders trace the waves, sharks and crocodiles rush along the road."
Ancient and modern times The different styles of calligraphy are metaphorical.
Source: Volume 2 of "Calligraphy Essentials" by Zhang Yuanyan of the Tang Dynasty: "Impermanence is called fat in ancient times, and Zijing is called barren today. The ancient and the present are different, but fat and thin are quite opposite."
Crane's knees and wasp's waist ① This refers to two of the eight diseases of poetry's rhythm. Generally refers to the mistakes made in the rhythm of poetry. ②Two kinds of diseased pens in calligraphy.
Source: Song Dynasty Wei Qingzhi's "Poet's Jade Chips·Poetry Diseases·Eight Diseases of Poetry": "The third is "Bee's Waist", the second word must not sound the same as the fifth word...The fourth is "Crane's Knees", the fourth is "Crane's Knees". The five characters must not have the same sound as the fifteenth character. "
Hu Fei Zhong Shou Hu: Hu Zhao during the Three Kingdoms period; Zhong: Zhong Yao during the Three Kingdoms period. Hu Zhao's font is fat, while Zhong Yao's font is thin. Each person is good at describing calligraphy in its own way.
Source: Tang Dynasty Zhang Yanyuan's "Book of Laws": "Liu Desheng in the Wei Dynasty of the Three Kingdoms was named Junsi, and he was famous for his running script. Hu Zhao and Zhong Yao also learned from his method. The Hu style was fat, and the Zhong style was Thin, each has its own beauty."
The calligrapher's method of painting with sand seal clay is a metaphor.
Source: "On Calligraphy" by Chu Suiliang of the Tang Dynasty: "The pen should be like a cone to draw sand, like sand and clay."
Painting worm graffiti describes poor calligraphy or writing. Often used as a word of modesty.
Source: Ming Dynasty Song Lian's "Preface to Han Bo in Kuaiji": "Gu Yu is not sensitive and practices useless learning. He only writes empty words to meet the needs of the times, draws graffiti, and has no time to give." 5 . What are the four-character idioms in calligraphy works?
Sweep the army, the pen moves the dragon and the snake, the silkworm head and the swallow tail, the strong muscles and the strong strength, the iron painting silver hook, the fairy dew pearl, the quiet and far-reaching, the vivid charm, the powerful Bold and unrestrained, frank and simple, unique, hearty and unrestrained, natural and interesting, right in the center, relaxed in the tight, masterpiece handed down from generation to generation, handsome and elegant, gorgeous and natural, smooth and subtle, elegant and graceful, solemn and simple, dignified and elegant, fresh Frank, steep and sparse, thunderous, mighty and powerful, vigorous, powerful, strong, soft and clumsy, round and smooth, well-equipped, self-contained, well-proportioned, flexible, beautiful and sparse, compact and steep, leaning Side graceful, free and easy, straight and strong, strong and powerful, vigorous and powerful, compact structure, flying dragons and phoenixes, graceful style, pen moves like a dragon and snake, as powerful as a startling dragon, pen force is strong, pen power is dangerous, sinister momentum, strong and upright, power penetrates the back of the paper , penetrating into three parts, combination of hardness and softness, smooth expression, concise brushwork, skillful brushwork, smooth flow, free expression, hearty, pleasing to the eye, elegant and beautiful, etc.
Chinese calligraphy is an ancient art, which is accompanied by Developed with the development of Chinese civilization. There are only a handful of nations in the world that possess the art of calligraphy. Chinese calligraphy has a long history.
As an artistic creation, calligraphy has profound mysteries. From oracle bone inscriptions and bronze inscriptions, it evolved into large seal script, small seal script, and official script. In the Eastern Han, Wei, and Jin dynasties, cursive script, regular script, running script, and other styles were basically finalized. Calligraphy always exudes the charm of ancient art.
Hui Feng He Chang refers to the gentle wind that makes people feel warm and comfortable.
Dragon flying and phoenix dancing originally described the winding and majestic mountains, and later also described the powerful and flexible calligraphy strokes.
Sweeping thousands of troops describes poetry, calligraphy, etc. that are grand and powerful.
The pen moves like a dragon and snake describes calligraphy that is vivid and powerful.
Silkworm head and swallow tail Describes calligraphy that is dignified in starting strokes and light in finishing.
Fengjinduoli means that the structure of the font is solid and plump, and the writing force is more than strong.
Jiao Ruo Jinglong is often used to describe the strong and vigorous calligraphy strokes. Or dance gracefully
Penetrate through the back of the paper to describe the calligraphy that is strong and powerful, and the strokes of the pen almost penetrate to the back of the paper.
Penetrate into the wood to describe the calligraphy that is very powerful. The problem of multi-metaphor analysis is very profound.
Iron paintings and silver hooks describe calligraphy as strong and soft.
Immortal dew and pearls describe calligraphy as elegant and round.
Vigorous and powerful describes calligraphy as strong and powerful. 6. How can there be a good description of calligraphy 4 Words
Calligraphy: The pen is vigorous and the ink is full: the pen and ink are used very freely and fully. It mostly describes calligraphy and poetry that are smooth and vigorous.\x0dThe pen moves like a dragon and the snake: the pen is full of dragon and snake. It describes the vigorous and vigorous calligraphy strokes. Free and easy. He also writes calligraphy on behalf of the commander.\x0dWritten Huang Ting for the first time: Huang Ting: Taoist classic "Huang Ting Jing", Jin people have "Huang Ting Jing" small regular script calligraphy. In old times, when commenting on calligraphy, there was an idiom "When I first wrote Huang Ting, it was just right". Later Used to describe doing things just right. \x0dSpring earthworm and autumn snake: Metaphor for poor calligraphy, as curved as the tracks of spring earthworms and autumn snakes.\x0d Dreaded: The sword is drawn from the sheath and the bow is opened. Describes the situation Nervous, on the verge of breaking out. Later, it is also used as a metaphor for calligraphy that is vigorous and powerful.\x0dExample: Zuo Qiu Ming wrote a biography of "Spring and Autumn" and classified the calligraphy of "Spring and Autumn" into several categories and gave a general explanation. Later, it is said to be a classification example. The style of the book is "exemplify the extraordinary". See "exemplify the extraordinary".\x0dLi penetrating the back of the paper: originally refers to the strong and powerful calligraphy, but now it is also used to describe the vivid, profound and powerful poems.\x0d龙飞峰五: Like a dragon flying soaring , like a flying phoenix. The original description was unrestrained and majestic. Nowadays, it mostly describes the lively calligraphy strokes, flexible and skillful writing, and also describes the lifelike dragon and phoenix sculpture art.\x0dDragon and snake flying: describes the vigorous and vivid calligraphy strokes. Su Shi's "Xijiang" "Yue? Pingshan Hall" lyrics: "I haven't seen the old immortal in ten years, and dragons and snakes are flying on the wall." \x0d Luan Piao Feng Bo: Luan: a bird like the phoenix in the legend. It originally described the calligraphy as free and unrestrained. It also It is a metaphor for the separation of husband and wife of advanced students. \x0d Luan Xiang Feng Zhu: Zhu: Flying high. It is a metaphor for the flying posture of calligraphy strokes. \x0d Beautiful hairpin flower: describes the beauty and beauty of calligraphy or poetry style. \x0d Three points into the wood: It originally described calligraphy as a powerful one (it is said that when Wang Xizhi of Jin Dynasty wrote on a wooden board, the ink penetrated into the wooden board three-thirds deep), but now it mostly describes the profound and powerful force of analysis, description, and discussion.\x0dIron painting and silver hook: painting: stroke; hook: hook. The calligraphy is described as strong and beautiful. 7. The four-character idiom is suitable for calligraphy works
yuán yuǎn liú cháng
Explain that the source is far away and the water flow is long. Metaphor has a long history.
Source from "The Epitaph of Li's Wife, Mrs. Pei Jun, the Governor of Haizhou" by Bai Juyi of the Tang Dynasty: "The one with far-reaching origins has a long history, and the one with deep roots has luxuriant branches."
Structural joint type.
Usage has a positive connotation. It is mostly used for the origin and origin of historical things. Generally used as predicates and attributives.
The correct sound is long; it cannot be pronounced as "zhǎnɡ".
Identify the source of form; cannot write "original".
Synonyms: endless, steady, steady stream
Antonyms: tree without roots, water without source
Example: China has a history of five thousand years ;Chinese culture can be described as~. 8. Four-character idioms suitable for calligraphy learning
The pen is full of ink: the pen and ink are used very freely and fully.
It mostly describes calligraphy and poetry as smooth and vigorous. The pen moves the dragon and the snake: The pen depicts the dragon and the snake leaping.
Describes the vigorous and free-spirited style of calligraphy. He also writes on behalf of the commander.
First written about Huang Ting: Huang Ting: Taoist classic "Huang Ting Jing". After Jin people had "Huang Ting Jing", they used it to describe doing things just right. Spring earthworm and autumn snake: a metaphor for poor calligraphy, as crooked as the tracks of earthworms in spring and snakes in autumn.
The sword was at war: the sword was drawn from its sheath, and the bow was opened. Describes a situation that is tense and about to explode.
Later, it also means that calligraphy is vigorous and powerful. For example, Zuo Qiu Ming wrote a biography of "Chun Qiu" and wrote "Chun Qiu".
Strongly penetrating the back of the paper: Originally referring to the powerfulness of calligraphy, it is now also used to describe vivid, profound and powerful poetry. Dragon flying and phoenix dancing: Like a dragon soaring, like a phoenix flying.
The original description is unrestrained and majestic. It also describes the lifelike dragon and phoenix sculpture art.
Flying dragon and snake: describes the vigorous and vivid calligraphy strokes. Su Shi's "Moon over Xijiang River."