Talking about success in calligraphy

1. The pen is important for writing, and it depends on the person who uses it. Therefore, those who are good at calligraphy use pens, and those who are not good at calligraphy use pens.

2. The heart of the pen is handsome, and the secondary hair is also a pawn. Qing Dynasty. Liu Xizai's "Art Summary"

3. The writing tips of ancient people say: "Double hooks hang on the wrist, let the left side and the right side, the empty palm points to the real point, the intention is before the stroke and behind the stroke." On the calligraphy momentum: "Like The traces of leaks in the house are like wall bumps, like cones drawn with sand, like sealing mud, like broken hairpin strands. "Ming Dynasty. Fengfang's "Shu Jue"

4. Zhang Changshi folded the forked strands, and Taishi Yan. In the method of leaking the house, Wang Youzuo draws sand and seals with mud. Huaisu wind birds come out of the forest, frighten snakes into the grass, and sling silver hooks to the tails of grasshoppers. It is the same one-stroke method: the heart does not know the hands, and the hands do not know the ears of the heart. Huang Tingjian's "Lun Shu"

5. Within an inch, the method is in the palms and fingers; outside an inch, the method is in the elbow and wrist. The palm and finger techniques are constant, while the elbow and wrist techniques are subject to change. Yuan Dynasty. Zheng Shuo's "Combined Notes on Yanji"

6. The big characters are moved up the wrist, and the small characters are moved down the wrist. If the flesh is not lined with the paper, the pen will be like flying. "Shu Jue" by Fengfang of the Ming Dynasty

7. If you hold the pen low, you will be calm, and if you hold the pen high, you will be elegant. Qing Dynasty. Liang Xian's "On Holding a Pen"

8. Anyone who learns calligraphy must first learn to hold a pen. If it is a real calligraphy, remove two inches from the top of the pen. If it is cursive, remove one cent from the top of the pen. The strokes, dots, and curves of Bonnet all require one's strength to deliver them. Wei Shuo's "Brush Formation Picture" of the Eastern Jin Dynasty

9. The depth of the brush depends on the distance between the paper and the paper. The distance is superficial and weak, and the distance is the weight of the front. Tang Lu Xie's "Linchi Jue"

10. Anyone who wants to learn calligraphy must first learn to use the pen. The method of using the pen is to hook both hands back to the wrist, use the empty palm to point to the solid point, and use the ring finger to press the pen, then the pen will be powerful. . Huang Tingjian's "Lun Shu"

11. The so-called rules are: suppress, hook, uncover, resist, and guide. Five Dynasties. Li Yu's "Shu Shu"

12. If you want to hold the pen tightly and move the pen vigorously, you cannot refer to the movement of the pen. You should use your wrist to move it. The writing is in the hand, and the hand does not control the movement; the movement is in the wrist. The wrist does not know how to hold on. Sun Guoting has the method of "zhu".

13. Every book should be written step by step, and the point should be made at the starting point, and the point should be made at the end. The calligrapher's two words "Ti Jian" are consistent but not separated. Therefore, the heavy parts of the pen need to be lifted by flying, and the light parts of the pen need to be pressed firmly to avoid falling and drifting. Qing Dynasty. Liu Yizai's "Art Summary"

14. When using the pen, the wrist must be light and weak. Too slow and muscleless, too fast and boneless. Tang Dynasty. Yu Shinan's "The Essence of Writing"

15. The writing should be skillful and clumsy. Skillful means flexible, and clumsy means muddy. If you combine them, you will not be frivolous and muddy when writing. "Painting Things Jinliang" by Qin Zuyong of the Qing Dynasty

16. Calligraphy uses the pen, and the pen uses the sharp edge. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"