Famous quotes from calligraphers

Calligraphy is a science and an art. There are many famous calligraphers in our country, and their calligraphy quotes have far-reaching influence. What I bring to you below is a collection of famous quotes from calligraphers. I hope you like it!

Famous quotes from calligraphers (classic version)

1) Those who are upright, The path is straight and unyielding, and those who are very rigid are strong and unmoist; those who are reserved are too forced; those who are suspicious are addicted to stagnation; those who are slow and heavy are finally dull; those who are light-hearted are contaminated by vulgar officials. Sun Guoting's "Shu Pu" of Tang Dynasty

2) Calligraphers tend to write with great care and experience, so this is the way to save the disease. 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"

3) Books must have both yin and yang. Generally speaking, being calm and depressed is Yin; being extraordinary and bold is Yang. Qing Dynasty. Liu Xizai's "Art Introduction"

4) Strong strength should avoid wildness, and pure strength should avoid thinness. Qing Dynasty. Liang Xian's "Pingshu Tie"

5) The commentator said that the calligraphy is green, majestic, and beautiful, and I said it should be more beneficial. 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"

6) 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.

7) Old people are the strength of books, young people are the beauty of books. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

8) Wandering and pitching, graceful 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"

9) 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"

10) 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"

11) 6. Arrangements for correct interpretation of structure and composition

12) The sparse and dense characters of a knot must be multiplied and divided by each other, so sparseness is not too sparse, and denseness is not too dense. Too secretive.

13) The fonts are either neat or uneven. Neatness means correctness; unevenness means reaction. Qing Dynasty. Liu Xizai's "Art Summary"

14) 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 inevitably become sparse. Song Dynasty. Jiang Kui's "Sushu Pu"

15) 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"

16) There are several principles for a line of one character. Some are bigger on the top, some are taller on the bottom, some are taller on the left, and some are taller on the right. , not to follow the same path, but to inherit the whole path. "Eighty-Four Methods for the Structure of Large Characters" by Li Chun of the Ming Dynasty

17) 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"

18) If you want to learn to write, you must first establish a frame, and then move up and down, just change to suit your needs. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

19) 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"

20) The character refers to a city, so it is not empty when it is big, and it is not lonely when it is small. Yu Shinan's "Theory of the Essence of Writing"

Famous Quotes from Calligraphers (Latest Edition)

1) Calligraphy must have spirit, energy, bones, blood, and flesh. Become a book. Northern Song Dynasty. Su Shi's "Lun Shu"

2) When starting to learn, it is advisable to start with the muscles and bones. If the muscles and bones are not upright, the flesh will not be attached. "Lun Shu" by Xu Hao of the Tang Dynasty

3) The God of Wind has flesh in his bones. Those who are old and vigorous have bones in their flesh. Those who are determined to visit the pond should use their discerning eyes to distinguish them. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

4) Firstly, the bone body is restored, and the spirit is restored. It has skin and blood, strength and tendons... Threads come and go, with clear veins. "Details of Calligraphy"

5) The bones are already there, but the moisture is added to them.

Tang Dynasty. Sun Guoting's "Shu Pu"

6) Anyone who writes a book, no matter what the style, must have muscles, bones, blood and flesh. The muscles are what the sharp edge does, the bones are what the hair does, and the blood is where the water is. For, the flesh is what the ink does, the edge is the emotion of the pen, and the water is the marrow of the ink. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"

7) Use the muscles and bones to establish the shape and embellish it with the expression. Tang Zhang Huaiguan's "On Character"

8) The bones of a character are the bones at the lower end of the big finger; the tendons of a character are the sharp edges of the brush; the flesh of the character is the hair of the brush. Words are born from ink, and ink is born from water. Water is the blood of words. Yuan Dynasty. Chen Yizeng's "Essentials of the Hanlin Academy"

9) People are very good at writing, and it has thousands of shapes, but it is just called neutralization, fattening, and thinning. If the calligraphy is written, it should be shortened and measured, light and heavy should be balanced, yin and yang should be appropriate, and hardness and softness complement each other. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

10) Fat characters must have bones, thin characters must have flesh... Northern Song Dynasty. Huang Tingjian

11) The bones and tendons are established, and the tendons are attached to the bones and linger. The bones are shortened, and the tendons are fat and thin. The two have not yet separated, and their functions are therefore divided.

12) Muscles and bones are not born from the pen, but the pen can increase or decrease it; flesh and blood are not born from the ink, but the ink can increase or decrease it.

13) The flesh is tender and plump, and the tendons are dark and moist. If you are plump, you will be more charming, and if you are moist, you will be more attractive. Qing Dynasty. Da Chongguang's "Book Raft"

14) A horse with more tendons and less meat is considered to be the top, and a horse with more meat and less tendons is considered to be the bottom. The same is true for books. Zhang Huaiguan of the Tang Dynasty, "Essay on Medicine and Stone"

15) The book has muscles, bones, flesh and blood, and the predecessors have already prepared it, but what more can be said? It is divided into four, and when combined, it becomes one. In other words, the tendons come out of the arms and wrists, and the arms and wrists must be rotated, and the tendons will grow when they are rotated; the bones come out of the fingers, and if the fingertips are not solid, it will be difficult to form bones; blood is ink, and the ink must be adjusted; flesh is the brush hair, and the pen is Virtual, round and healthy. Blood can be beautiful and beautiful, and the posture can be seen from the inside; however, flesh and blood are born from the muscles and bones, and if the muscles and bones are not upright, the flesh and blood cannot be proud of itself. Therefore, the book puts the muscles and bones first. Qing Dynasty. Zhu Lvzhen's "The Essentials of Learning Calligraphy"

16) Therefore, the initial learning is rough but not the essence; if it is too slow, it will be stagnant and there will be no tendons; if it is too fast, it will be sick and there will be no bones; the sides of the hair will be damaged. If the tube is straight, it will be slow and meaty; if it is straight and sharp, it will be dry and exposed. Qing Dynasty. Feng Wu's "Zhiyi"

17) Today, when I read the ancient books, I don't learn their form, but I seek their strength, and the form comes from itself. Everything I do is done with intention first, so the results can come true. Tang Dynasty. Li Shimin's "Brushwork Techniques"

18) Softness makes the posture graceful, rigidity makes the execution beautiful... Tang Dynasty. Zhang Huaiguan's "Essay on Medicine and Stone"

19) The one who has the color of the eagle and falcon and flies violently to the sky, has strong bones and fierce energy; the person who has the color of the eagle and flies soaring for a hundred steps has rich flesh. The strength is heavy. If the algae is shining and soaring high, it is like a phoenix of books. Song Dynasty. Zhu Wenchang's "Sushu Duan"

20) The bones are rich and the flesh is moist, and it is wonderful and spiritual. Qing Dynasty. Feng Wu's "The True Story of Calligraphy"

Famous Quotes from Calligraphers (Popular Edition)

1) If you are restrained, you will lack power; if you are free, you will be pure and innocent. The flesh is weak, less ink is floating and astringent, and too much ink is dull. Emperor Wu of Liang Dynasty's "Yu Da Lun"

2) If there are bones, there must be flesh, and if there is strength, there must be weakness. Otherwise, it will be majestic and almost sinister, without any ethereal and ethereal potential. Qing Dynasty. "Xishan Wofu Lu" by Sheng Sheng

3) Calligraphy tends to be strong and strong, and wildness is the most taboo. Qing Dynasty. Liang Xian's "Xue Shu Lun"

4) The style of writing is vigorous and powerful, without revealing the muscles and bones, which is eye-catching. Hualin, Qing Dynasty, "Secrets of the Southern Sect"

5) 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 more 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

6) 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"

7) Thin but showing bones, fat but showing flesh, are not considered good; thin but not showing bones, fat not showing flesh, are considered superior. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

8) 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 relaxed, it will be weak; pure bones will have no 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"

9) 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"

10) 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.

11) 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"

12) The characters must have bones, the meat must be wrapped with tendons, and the tendons must hide the flesh. The paste is beautiful and moist, the layout is stable and not vulgar, dangerous but not strange, old and not withered, moist 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"

13) 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.

14) 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"

15) 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 of the Qing Dynasty

16) 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"

17) 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"

18) 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"

19) 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 "Sushu Pu"

20) Those who move their husbands should move their hearts first, and then their bodies. All the strength of their bodies should be directed to their arms and wrists, which are as strong as iron, and they should focus on fingertip. Qing Dynasty. Zhu Lvzhen's "Essentials for Learning Calligraphy"

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