1. In ancient times, those who were good at calligraphy lived longer because their minds were calm. If a person can set his mind, there is nothing he cannot do.
2. Calligraphy is also based on Buddhism. It starts from precepts, is mastered in concentration and wisdom, is realized in the source of the heart, is wonderful in understanding, and to the extreme, it cannot be taught by words or hands.
3. The inner canon "Golden Sutra" says: "What is illegal is not illegal." If a calligrapher understands this secret, there is no need to worry about not following the past.
4. The book is like Ye, like his learning, like his talent, like his ambition, in short, like his person.
5. A pure heart and few desires, words generate spirit, which is a proof of Yicheng's form and appearance.
6. When the dross goes away, the clear light will come. If the mind is full of confusion, even if the writing is excellent, it will be useless. Therefore Yangzi said: Words are pictures of the heart.
7. There is a couplet in the past that goes: What should I do? Is it natural? The most truthful sayings. You should also know this when writing books.
8. If Qi is strong, the words should be short or long, and the sound should be high or low. The same goes for books.
9. "If you shake your clothes and run thousands of hills, your water will flow thousands of miles." Writing a book must have this atmosphere. And if you use your mind carefully, it is like a needle threader trying to make a hole through the thread. If there is even a slight difference, the key will not hit the hole.
10. The windows are bright and clear, and the pen and ink are excellent. I sometimes take out paper and draw a few strokes of paper to draw what is in my heart, but the book is not good! If the voices are noisy and the paper and ink are poor, even if the skills are as good as those of the two kings, it will not help.
11. A "Diamond Sutra" is specially designed to teach the Dharma to all living beings, and also teaches people to separate from appearances. To study the ancients is to listen to the Buddha's teachings. Recognizing the beauty of calligraphy in the Qin, Han, Jin and Tang dynasties, and being able to use one's own nature and spirit, this is the reason why one can be separated from others and achieve Buddhahood.
12. Burn incense and sit in meditation every day, clean up your mind, make it clean, have time to study, and pick up a pen when you feel like it, so that you can write your own temperament. Cherish the remaining abilities.
13. You must be respectful when writing calligraphy. It is not just about being good at calligraphy, it is learning. Wei Mingdao's words mean that writing words can control a feeling of discomfort, which is also a way to calm the mind.
14. Copying the ancient method is like a ghost enjoying a sacrifice, but inhaling its breath but not eating its substance.
15. Nothing can be accomplished if you are careless and careless. Although the book is a small road, it must be calm and composed.
16. Look at the pens used by the ancients and avoid distracting thoughts. This is also a way to keep your mind at ease.
17. If the shape is similar, the calligrapher is the best. However, there is very little information in this, so don’t let it die at the end of the sentence.
18. Huang Shanshan said: "Poems cannot be forced into being by cutting holes in them. They are created by waiting for the situation." I said that books cannot be made by cutting out the holes in the air. God and the ancients will be together and they will be created by themselves.
19. The way to hold a pen is to use the empty palm and the real finger. If the fingers gather, the palm will be strong; if the fingers are strong, the palm will naturally be empty.
20. Death refers to the living wrist, and the calligrapher has no other curse. If the finger is dead, it will be straight, if the wrist is alive, the word will be smart.
21. The most powerful thing is to start with reverse strokes. Chu Henan's books are all reversed, and they are also official.
22. The writing must be delivered pen-by-stroke. When the pen edge is collected, the pen is still lifted straight before it can be delivered.
23. When writing regular script, you must clearly understand the official rules, and when writing official script, avoid regular script. To be an official, you must have the atmosphere of thousands of valleys and rocks rushing to your feet.
24. The most important thing to avoid when using a pen is to use your pen force indiscriminately. The tip of the pen is not touching the paper but the hand has moved, so it is floating and light, which means that the writing force is outside.
25. "The flow of water is not racing, and the clouds are too late to notice." These two sentences are the most wonderful calligraphy. It is the scene of the previous sentence that the pen is followed without intention, and it is the scene of the next sentence without drooping or shrinking, and it remains when you want to go.
26. When you first learn to write calligraphy, you should first look for similarity in form. If you don’t have good timing, let alone the writing and writing skills.
27. The most important thing when writing regular script is to distinguish the guest and the host. For example, when writing the character "日", the left vertical column is the guest, which should be light and short; the right vertical column is the main character, which should be heavy and long; the middle painting is the guest, which should be virtual and euphemistic; the lower painting is the main character, which should be solid and strong.
28. The pen must be flying in the air, which is solid. However, scholars misunderstood Sri Lankan language and slipped all the way into the sky. It must be said that only when the Qi is empty and the pen is solid can there be no harm.
29. Nothing hangs down, nothing shrinks. When you want to go, you still stay. The beauty of "Orchid Pavilion" ends in this.
30. Books are valuable if you are familiar with them, and if you are familiar with them, you will be happy. It is taboo to be familiar with books, and familiarity will lead to vulgarity. Failure to draw straight and straight lines and seeking magic suddenly is like leaving the rules to seek cleverness, which is not something I dare to know.
31. Books are valued only after they are mature.
32. There is no fixed law in writing. Could it be that nature calls it law? The official law promotes the Han Dynasty, and the regular script promotes the Jin Dynasty. It is natural. People in the Tang Dynasty regarded the law as too strict, so the official script was not as good as that of the Han Dynasty, and the regular script was not as good as that of the Jin Dynasty.
33. It is appropriate to learn regular script from the Tang Dynasty to the Jin Dynasty, but it must be the Han Dynasty to follow the official script.
34. The Han official pen is reversed and the pen is accumulated. The starting point is reverse, the ending point is accumulation.
35. If you are a beginner, please make sure that the layout is strict, the stipples are clear, and you should not talk too much about magic.
36. The vertical and horizontal characters are like the beams of a house. They should be straight and not tilted.
37. For characters with extremely complicated strokes, small paintings should be promoted and large paintings should be developed. For example, in "Jiucheng Palace", the words "Chi", "Jian", "Tai", and "Ying" are all used.
38. It is important to be familiar with the ancient stele and look at it, but it is not important to see it in life. In order to understand the wonderful things, you need to borrow a pen to express them, and then you can achieve a spiritual resemblance.
39. The intention comes first, and the form follows the law.
40. It’s not expensive to write more, and it’s best to write without interruption.
41. Guest and host, manipulation, opening and closing, virtual and actual, obedience and reversal can all be used to speak to people. In addition, if you want to speak, you will not be able to speak, and if you speak, you will be confused.
42. Since it is said that the space is white, and it is said that horses can walk in sparse places, but airtight in dense places, how can it be said that there is no conspiracy? I don’t know that the preface is about legislation, and the postscript is about gaining momentum. If you don’t do both, how can you achieve perfection? The Beihai and Henan books in the Tang Dynasty were really good at taking advantage of the situation.
43. If you want to know, the next stroke will start, and the previous stroke will stop. If you understand this, then the strokes will echo each other, the words will be connected, the front, back, left, and right, and they will be able to create each other in one breath.
44. If you don’t make up for the sparse potential, make up for it by dense potential. In "Jiucheng Palace", the character "Sheng" is painted above and the character "Shun" is dotted below, both of which are supplementary methods. If the words "Nai" and "Li" are used, the top left, right and bottom are lacking potential and cannot be supplemented.
45. The brushwork should be round, but if it is too round, it will be weak and boneless. The genre should be square, but if it is too square, it will be rigid and unrhymed.
46. Practice makes perfect, as is the case in everything. The book is not yet familiar and he specializes in bizarre and demonic ways. It is better to be clumsy than to be clumsy.
47. Scholars start from not working and seek work, and then from work to not working. Those who do not work are the ultimate in work. Zhuangzi said: "After carving and polishing, return to simplicity." Good man!
48. In the books of Qin and Han Dynasties, the cleverness can be reached, but the clumsiness cannot be reached.
49. The paper is strong and the paper is weak, and the paper is strong and the paper is weak. When hardness and softness are combined, the book is like a will.
50. If you work hard, the structure will be stable; if you have a good posture, you will be outstanding as soon as you put pen to paper.
51. It is not allowed to speak harshly without removing the dregs. Once the pen is free of dust and feels a little weak, then write straight and thick, it will be ingenious.
52. The heart of a word is precious and cannot be combined.
53. It is advisable to use a large pen to write with a large pen in the sky to develop the momentum.
54. The smaller the characters, the clearer they should be. No trace of residue should be allowed. When writing in regular script, it should be clear and plump. The tip of the pen is too small, although it is clear but not plump.
55. If you work hard, you will be moist even if you are dry; if you are energetic, you will be fat even if you are thin.
56. The calligraphy written by people from the Jin Dynasty is not coherent in form but coherent in spirit; the calligraphy written by people in Tang Dynasty is coherent in form and spirit.
57. Among the sages of the Tang Dynasty, there were differences in the way of writing that were quiet and impetuous, and there were differences in the three-dimensional styles, but in reality they reached the same destination through different paths and there was no difference.
58. The pen used in European calligraphy is neither square nor round; it is both square and round. If scholars want it to be square, it will tend to be dull; if they want it to be round, it will tend to be slippery . This news is best suited for micro-meetings.
59. The people of the Tang Dynasty were strict with the law. The so-called law is just looking left and right, calling forward and responding, breaking the pen and connecting the pen, shortening the length, and alternating the sparse and dense.
60. European books are square in appearance but round in meaning; Chu books are soft in appearance but strong in mind; Yan books are sharp in appearance but gentle in mind.
61. Linhan stele should have stone energy, but it is not called boxing music. Question: What is stone gas? Said: It cannot be said.
62. Yan’s calligraphy is extremely magical, and it is executed with deep ink and heavy brushstrokes, but it is often out of place. Question: What’s so wonderful about this? Said: Wherever a scholar cannot go, that is his magical place.
63. To learn from the stems and inscriptions of the Han, Wei, Jin and Tang dynasties, each must return his own expression and face. I must not be around, as it is customary for me to be around. After you become proficient, you will gain many advantages, but you can't do it without me. Without me, there will be chaos.
64. There are all ancient steles that cannot be copied, just like the cliffs in the Northern Dynasties. If you cannot copy them with your hands, you can copy them with your heart. The mind knows its wonder, and the hand follows it.
65. In Li Beihai's calligraphy, the right side of the first half of each character is extremely flat, and at the end of the painting, both sides are flat. It is steep because of it, and it is stable because of its flatness. This is not only the case in Beihai, but it is especially obvious in Beihai. It is better to be thin than to be fat, and to be cautious than to be fat.
66. Chu’s books are brilliant, while European books are submerged. If you fail to learn from Europe, you will carve swans that look like ducks; if you fail to learn from Chu, you will paint tigers that look like dogs.
67. Tang stele is the most difficult to learn. Each painting has its own steps, and each word has its own steps. If a painting is done in a row, it will be a burden of one word; if a word is done in a row, it will be a burden of the entire painting. Like the Han Dynasty and the Six Dynasties, it can be saved due to loss, because it is difficult to see a coincidence, it is not like one of the Tang dynasties.
68. Han Li is the middle line between seal script and regular script. "Ode to the Stone Gate" has many seal script meanings; "Ode to the West Narrow" has many regular script meanings.
69. The main calligraphy is static to control the movement, and the cursive calligraphy is dynamic to control the stillness.
70. There are genuine running scripts and cursive scripts. The true walk is close to the true, but it is true; the grass is close to the grass, but it is close to the grass.
71. Calligraphers do not have Seal Sage or Li Sage, but they have Cao Sage. There are millions of ways to build the grass. If you persist in pursuing them, you will lose them further. Who can achieve the highest perfection if you are not a god who has achieved it by himself?
72. Yan's book is expensive, and the bones are exposed and the muscles are hidden; Liu's book is expensive, and the muscles and bones are exposed.
73. Gu Gu broke up his books and studied "He Ming". He was thin, strong and clear, and had a truly iron-clad skill.
74. When copying a book, it is easy to be satisfied with it, but it is hard to get it right.
75. If the heart can turn the wrist and the hand can turn the pen, the book will be as desired.
76. If you are not familiar with it, there will be no words; if you are familiar with it, it will be lifeless. Familiarity is within, not outside, familiarity lies in the Dharma and not in appearance.
77. If you study the calligraphy of one family, you will know its good points but not the bad ones. If you study the calligraphy of various families, you will know your likes and dislikes.
78. If you don’t see the authentic relics, you won’t know the beauty; if you don’t look at the ancient carvings, you will fail to discern the writing.
79. There are three grades of characters: Yong, Gao and Qi. The extreme of mediocrity is called time, the extreme of high is called wonderful, and the extreme of marvelous is unknowable.
80. The ancients' Dharma books have their own chapters, each line has their own practice, each word has its own calligraphy, and each painting has its own painting method. This is why the famous calligraphy should not be scrupulous about half a line of words.
81. Loving the past and not knowing the present will always lead you to the evil path; following the times and not knowing the past, you will invade and get stuck in the current customs.
82. Words will change as they become familiar. If they become familiar but remain unchanged, they will become vulgar and boring. If the characters change, they must be familiar, but if they cannot change, they will make fun of them.
83. Beginners should learn to read in a big way first, not in a young age.
84. Mr. Zhong Taifu said: Those who have more strength and tendons will win, but those who are weak and have no tendons will suffer from disease. Mrs. Wei said: The former wins with the intention of writing, and the latter loses with the intention of writing. Both words are excellent.
85. If there is merit but no nature, the spirit will not be born; if there is nature but no merit, the spirit will not be real.
86. Arrange carefully and write boldly.
87. The word knot changes with time, and it is not easy to use the pen through the ages.
88. Seal characters must be straight and must be written with full pen and thick ink.
89. To learn seal script, one must have extensive knowledge of the past, knowledge of ancient utensils, and a simple and upright demeanor that can help others.
90. Small seal scripts in seal scripts and small regular script in genuine books must be made of strong paper. When writing with two bodies, don't rush to the old ears.
91. If you have never worked in Han Dynasty, but you want to know the regular script of Jin and Tang Dynasties, you may forget your ancestors after reading all the classics, which will not help in the end.
92. The Jin and Tang Dynasties are comparable, the Jin wins with rhyme, and the Tang wins with strength. The laws of the Jin people are hard to fathom, but the laws of the Tang people are countless.
93. Zhiyong and Shinan are generous and gentle, and they are young and handsome.
94. Ouyang has strong bones, but lacks a warm face.
95. Yan Liu gained a solemn appearance, but lost his integrity.
96. Li Beihai gained boldness but lost his embarrassment.
97. You will gain pleasure from going to court, but you will lose frugality.
98. Xu, Su has gained the happiness of transcendence, but it is strange to lose it.
99. Mi Yuanzhang's calligraphy is written in a relaxed and relaxed manner, and he appreciates the humor in his writing.
100. Zhao Mengfu has a gentle and elegant attitude, but he is too charming.
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