original sequence
Yu Gushan, Xiang Zijing, was famous for his many Dharma calligraphy and calligraphy. When Heng Yi passed by the exhibition, Changjun Dechun came down from the side and only talked about admiring the thorns. He was actually a calligrapher. Yu Xiao said to Zijing: "This man has a different day, so he should be honored." When I returned from traveling abroad for more than ten years, De Chunyou already boasted that he could calligraphy, but not long after, he was said to be able to calligraphy as well as a mouthful. Yu Shi then went on to say: "You are famous for your wisdom and talent, and I regard it as a pity to gain glory and power." However, he gave up on himself long ago and used his art to hide himself. Youjun concealed his life with a book, did he regret it later? Dechun said: If the king of Su was to be the king of Meng and Yu, it would be impossible to know whether the fate would be fought. But if it were Mo Qing who was the king of Meng and Yu, then the fight for art would be sure to win. Moreover, the Right Army was temporarily called Bian Zhongzhen when the festival was established. If you are in the industry, you will be Wang Maohong, if you are in Ningding, you will be Tao Changsha. However, the three of them are definitely not as good as You Jun. They use the book to hide it in everyone's kiss. Which one is greater than You Jun? Their distinction is like this.
Most of De Chun's books were written in the Jin and Tang dynasties, and there were many famous scholars who should not have known each other. Even if it is slightly downgraded, it will not reduce Ouyu Li. Therefore, when studying the Holy Teaching of Lanting, he must copy a piece of paper every day to supervise his own progress. Even though it's hot and cold, don't take a break. He tasted and said to people: When I was sitting quietly recently, I heard someone calling for the right army in the mud pills. This is like the dream of Boying in the past, which is also a manifestation of the divine meeting. Because of the volume "Calligraphy and Elegance". For thousands of years, the quality has been improved, and the skills have advanced. To the extent that he denounces Su Mi, slanders Yuan Zhen, and even sets his pen to write a few words, this is something that calligraphers in the near future dare not do. He also thought that if this was kept a secret for the rest of his life, Yuan Chang would definitely beat his crotches and vomit blood, so that he would not be provoked by the generals. Then he begged Yu to narrate it and pass it on, and Yu also licked his pen, and the common people talked about it with Zijing.
The right coupon is embroidered with water, meditating on the filial piety preface.
○Book system
The hippopotamus bears the picture, and the Luo turtle presents the book. This world is also the beginning of writing. Xi painted the Eight Diagrams and wrote six lines, which is why the sage king initiated the writing. If it is the name of Dragon, Phoenix, Turtle and Lin, the title of Suiyun Kedou, the seal script was made by successive generations, the ancient Li Yuan flourished, the times have changed and the times are new, it cannot be described in detail, and the current seal script and Li Yan are passed down after the letter. From the Zhou Dynasty to the Qin Dynasty, since the Han Dynasty and the Jin Dynasty, the true deeds have emerged one after another, the chapters and chapters have been soaked in Si, and the essence of writing has been fully expounded. However, the writings of books, the economics of emperors, the scholarship of sages, as well as the exhortations and punishments of Xuanwen, Neidian, Baishi, Jiuliu, poetry, and the admonitions of inscriptions, cannot be written in this way, so why are they recorded in words? Therefore, the book is a meritorious service, and it flows with heaven and earth, and it is also a person who defends and teaches the scriptures. The husband throws a pot and shoots arrows, which still marks the name of Guande, and makes a sage to explain it. It is originally ranked among the immortals. I call it Zhongni Xian as Yao and Shun. Yu Ze said: It is not easy for Yi Shao and Zhong Zhang Da Qisi to survive forever. The track of muscle strength that Tang Xian sought was also strict and cautious. Song Xianqiu was full of energy and spirit, and his mistakes were unbridled. The temperament and body that Yuan Xian seeks are also gentle and gentle. During this period, heroes rose up, often transcending the ordinary. Looking at the customs and rumors, most of them had their own advantages and disadvantages. I know the fortune, follow the rules of the Yuan Dynasty, give rich blessings to Wen Yao, secretly pursue Tang He, Shangzong Yi Shao, most of them are afraid of difficulties. Yao and Shun were all capable of doing it, so why should calligraphy and ink be afraid of them? Yi Shao is my teacher. This is what you want to learn.
However, since Zhu Wenjue died, the kings of the north and the south were in chaos. In recent years, people who have been imitating Sumi have become superficial, vulgar and weird, and it is easy to know what is wrong with them. Sumi was so excited and boastful that she rarely realized her mistake. Once this trend is established, it cannot be pursued. Attacking heresies will do more harm than good. Moreover, all academic and economic matters originate from the heart. If the heart is not right, everything will be wrong. During the Spring and Autumn Period when the Holy Spirit was proclaimed, Ziyu was far away from Yang Mo, fearing that the Taoist general would decline. What he said was enough. Liu Gongquan said: If the heart is right, the pen will be right. Yu Ze said: If people are upright, books will be upright. The selected and discarded chapters are not without the inscriptions of Shang and Han Dynasties, and the theory of the equality of minds is actually the same as the thoughts of Confucius and Mencius. Is it true that the Six Classics are not learned by heart? Isn’t it the six books that teach the scriptures? Correct calligraphy corrects people's hearts. To rectify people's hearts is to take the holy way. Ziyu was away from Yang Mo in the past, and I left Su Mi in the present. It will last for thousands of years. When those who know it come back, they will definitely have the merit of knowing the correct book, and they will be worthy of being a disciple of the saint.
○Ancient and modern
The writing of letters and deeds originated from Emperor Jie, and the writing of Zuoli was popularized by Ying Zheng. He is like Zhiying, a bird in a place, a fish, an insect, a leaf, a fish, an insect, a sage leaf, and so on. Ji Mengrui's paintings were created in one day, but they are not authentic, and he only has a false reputation. Since the style is lost, how can we search for evidence? If we believe it will be passed down from now on, the value lies in the same text. Exploring treasures and searching for strange things, only if they are applicable. Therefore, the focus of calligraphy is to focus on seal script, official script, ancient Chinese script, and Zhenxing cursive script. The sect of calligraphy only used Xi to present Xiao Yong, and supported Yu, Chu and Lu Yan. If he is in a hurry, he will fly away. He should also take a look at Ouzhang Liliu, maybe he can get involved. The so-called approach is to seek the best, but only to achieve the middle. The original guide is to follow the sage, and the hope is to catch up with the predecessors. It is said that the people in this world cannot be as good as the ancients. In order to become a family, it is not necessary to have a group of talented people.
Mi Yuanzhang said: With the pressure of the times, we can't live up to the ancient times, and our own paintings are too solid. Another saying goes: The true one is in front of you, his arrogance is intimidating, and you will be more afraid of him. It is said that if the book does not enter the Jin Dynasty, it will become a low-grade book. If you see the real thing, you will be frightened and kill people. They not only pushed the two kings to be good at calligraphy, but also discouraged future generations from learning from ancient times. Yuan Zhang's merits and crimes are well balanced. Alas! Those who are uneducated in the world have nothing to do with it. Those who claim to be able to calligraphy have two diseases. The man who fishes in the sea in the rock searches for fish in the Qin and Han Dynasties every time: he sits in a well and looks at the fish. The formula is always taken from the Song and Yuan Dynasties. If it is too little, it will lose its balance. Guan means that the present is not as good as the past. It is said that those who use the slave book as a mockery claim to be good at starting a family alone. Those who do not learn ancient methods are nonsense. How can those who know the ancients follow the scholars of the Zhou Dynasty? Fu Xia's custom of using the Shang Ding is no longer the custom of drinking from a defiled person. It is also different from the custom of living in a nest in a cave. He was born in three generations and was not a citizen of the three emperors. When Mr. Xi is born today, he will definitely turn against the ancient ways. Therefore, Yao, Shun, Yu and Zhou were all saints, but Confucius alone was the greatest saint. Shi, Li, Cai, and Du were all the ancestors of the book, but Youjun was the master of the book. However, the ancient disciples did not understand the beauty of the times, so they only thought that one painting was too long and one wave was too strong, and they arrogantly praised the style of quality. Who knows that the sages of three generations and the philosophers of the two Jin Dynasties still have too many simple ideas. Xuan Sheng said: If you are gentle and polite, then you are a gentleman. Sun Guoting said: In ancient times, people were not good, but now they are not good. Shensi's second language changes with the world. Rules come from the heart and are based on neutrality. He said: Heaven has not lost its gentleness, and its leisure is less than it is now. It is as humble as a human being. Who can I return to?
○Distinguish the body
夫人灵于万物；心主于百骸。故心之所发；藴之为道徳，显之为经纶。树之为勛猷，立之为节操。宣之为文章，运之为字迹。爰作书契政，代结绳删述，侔功神仙等妙。苟非达人上智，孰能玄鉴入神。但人心不同，诚如其面，由中发外，书亦云然所以。染翰之士虽同法家，挥豪之际各成体质。考之先进固有説焉。孙过庭曰：矜敛者弊于拘束，脱易者失于规矩，躁勇者过于剽迫，狐疑者溺于滞澁。此乃舍其所长而指其所短也。夫悟其所短，恒止于苦难；恃其所长，多画于自满。孙子因短而攻短，予也就长而刺长。使艺成独擅，不安于一得之能。学出専门，益进于通方之妙。理工辞拙，知罪甘焉。
夫人之性情，刚柔殊稟，手之运用，乖合互形。谨守者拘敛襟懐，纵逸者度越典则。速劲者惊急无藴，迟重者怯鬰不飞。简峻者挺掘鲜遒，严宻者紧实寡逸。温润者妍媚少节，标险者彫绘太苛。雄伟者固愧容夷，婉畅者又惭端厚。庄质者葢嫌鲁朴，流丽者復过浮华。驶动者似欠精深，纎茂者尚多散缓。爽健者涉兹剽勇，稳熟者缺彼新奇。此皆因夫性之所偏而成，其资之所近也。他若偏泥古体者，蹇钝之迂儒。自用为家者，庸僻之俗吏。任笔骤驰者，轻率而踰律。临池犹豫者，矜持而伤神。専尚清劲者，枯峭而罕姿。独工丰艶者，浓鲜而乏骨。此又偏好任情，甘于暴弃者也。第施教者，贵因材。自学者，先克已。审斯二语，厌倦两忘。与世推移，量人进退。何虑书体之不中和哉。
○形质
穹壤之间，齿角爪翼，物不俱全，气稟使然也。书之体状多端，人之造诣各异，必欲众妙兼备，古今恐无全书矣。然天地之气，雨暘燠寒，风雷霜雪，来备时叙。万物荣滋，极少过多，化工皆覆。故至圣有参賛之功，君相有燮理之任，皆所以节宣隂阳而调和元气也。是以人之所稟，上下不齐。性赋相同，气习多异，不过曰中行，曰狂曰狷而已。所以人之于书，得心应手。千形万状，不过曰中和，曰肥曰痩而已。
若而书也脩短合度，轻重协衡；阴阳得宜，刚柔互济。犹世之论相，者不肥不痩，不长不短为端美也。此中行之书也。若専尚清劲，偏乎痩矣。痩则骨气易劲而体态多瘠，独工丰艶偏乎肥矣。肥则体态常妍而骨气每弱。犹人之论相，者痩而露骨，肥而露肉，不以为佳。痩不露骨，肥不露肉乃为尚也。使骨气痩峭，加之以沉宻雅润，端庄婉畅，虽痩而实腴也。体态肥纎，加之以便捷遒劲，流丽峻洁，虽肥而实秀也。
痩而腴者，谓之清妙，不清则不妙也。肥而秀者，谓之丰艳，不丰则不艳也。所以飞燕与王嬙齐美，太真与采苹均丽。譬夫桂之四分，梅之五瓣，兰之孕馥，菊之含丛，芍药之富艶，芙渠之灿灼，异形同翠，殊质共芳也。临池之士，进退于肥痩之间，深造乎中和之妙。是犹自狂，狷而进中行也，慎毋自暴且弃哉。
○品格
夫质分高下，未必群妙。攸归功有浅深，詎能美善，咸尽因人而各造其成，就书而分论其等，擅长殊技，畧有五焉：一曰正宗，二曰大家，三曰名家，四曰正源，五曰傍流，并列精鉴，优劣定矣。
会古通今，不激不厉。规矩諳练，骨态清和。众体兼能，天然逸出。巍然端雅，奕矣奇鲜。此谓大成已。集妙入时中，继往开来，永垂模轨，一之正宗也。
篆隶章草，种种皆知，执使转用，优优合度，数点众画，形质顿殊，各字终篇，势态逈别，脱胎易骨，变相改观，犹之世禄巨室，万宝盈藏，时出具陈，焕惊神目，二之大家也。
真行诸体，彼劣此优，速劲迟工，清秀丰丽，或鼔骨格，或炫标姿，意气不同，性真悉露，譬之医卜相术，声誉广驰，本色偏工，艺成独步，三之名家也。
温而未厉，恭而少安，威而寡夷，清而歉润，屈伸背向，儼具仪刑，挥洒弛张，恪遵典则，犹之清白旧家，循良子弟，未弘新业，不坠先声，四之正源也。
纵放悍怒，贾巧露锋，标置狂颠，恣来肆往，引伦蛇挂，顿拟蟇蹲，或枯痩而巉巗，或穠肥而泛滥，譬之异卉奇珍，惊时骇俗，山雉片翰，如鳯海鲸，一鬛似龙也，斯谓傍流，其居五焉。
夫正宗尚矣，大家其博名家，其専乎？正源其谨傍流，其肆乎？欲其博也，先専与其肆也。寧谨由谨而専，自専而博规矩，通审志气，和平寝食，不忘心手，无厌虽未，必妙入正宗，端越乎名家之列矣。
○资学
书之法则；点画攸同形之，楮墨性情各异，犹同源分派，共树殊枝者。何哉资分高下，学别浅深。资学兼长，神融笔畅。苟非交善，詎得从心。书有体格，非学弗知。若学优而资劣，作字虽工，盈虚舒惨，廻互飞腾之妙用弗得也。书有神气，非资弗明。若资迈而学疎，笔势虽雄，钩揭导送，提抢截拽之权度弗熟也。所以资贵聦颖，学尚浩渊，资过乎学。每失颠狂，学过乎资。犹存规矩，资不可少，学乃居先。
古人云：葢有学而不能，未有不学而能者也。然而学可勉也，资不可强也。天资纵哲，标奇炫巧，色飞魂绝于一时。学识諳练，入矩应规，作范垂模于万载。孔门一贯之学，竟以参鲁得之甚哉，学之不可不确也。然人之资，稟有温弱者，有剽勇者，有迟重者，有疾速者，知克已之，私加日新之学，勉之不已，渐入于安万川会海，成功则一。若下笔之际，枯澁拘挛，苦廹蹇钝，是犹朽木之不可雕，顽石之难乎琢也。已譬夫学謳之徒，字音板调，愈唱愈熟。若唇齿漏风，喉舌砂短，没齿学之，终奚益哉。
附评
夫自周以后，由汉以前，篆隶居多，楷式犹罕，真章行草，趋吏适时，姑略上古且详今，焉夫道之。
统绪始自三代，而定于东周。书之源流，肇自六爻，而盛于两晋。宣尼称圣时，中逸少永，寳为训。葢谓通今会古，集彼大成，万亿斯年，不可改易者也。第自晋以来，染翰诸家，史牒彰名，縹緗著姓，代不乏人，论之难殚。若品格居下，真迹无传，予之所列无復议焉。葢闻张钟羲献书家四绝，良可据为轨，躅爰作指南，彼之四贤，资学兼至者也。然细详其品，亦有互差，张之学钟，之资不可尚已，逸少资敏乎？张而学则稍歉，学篤乎？钟而资则微逊伯英，学进十矣，资居七焉。元常则反乎张，逸少皆得其九。子敬资稟英藻，齐辙元常，学力未深，步尘张草，惜其兰折不永躓彼骏驰，玉琢復磨畴追驥骤。自云：胜父有所恃也。加以数年，岂萍语哉。六朝名家智永，精熟学号深矣。子云飘举资称茂焉。至于唐贤之资，褚李标帜，论乎学力，陆颜蜚声。若虞若欧、若孙若柳、藏真张旭，互有短长，或学六七而资四五，或资四五而学六七，观其笔势生熟姿态端妍，槩可辨矣。
宋之名家，君謨为首，齐范唐贤，天水之朝书流厎柱，李苏黄米，邪正相半。总而言之，傍流品也。后之书法，子昻正源，邓俞伯机亦可接武，妍媚多优，骨气皆劣，君謨学六而资七，子昂学八而资四，休哉。蔡赵两朝之脱颖也。元章之资不减褚李，学力未到任用天资，观其纎浓诡厉之态，犹夫排沙见金耳。子昂之学上拟陆颜，骨气乃弱酷似其人，大抵宋贤资胜乎学？元手学优乎资？使稟元章之睿质，励子昂之精，専宗君謨之遒劲，师鲁直之悬腕，不惟越轨三唐，超踪宋元，端居乎？逸少之下，子敬之上矣。
明兴以来，书迹杂糅，景濂有贞仲珩，伯虎仅接元踪，伯琦应禎孟举，原博稍知唐宋。希哲存礼资学相等。初范晋唐晚归怪俗，竞为恶态骇诸凡夫。所谓居夏而变夷，弃陈而学许者也。然令后学，知宗晋唐，其功岂少补邪。文氏父子徵仲，学比子昂资甚不逮，笔气生尖殊乏藴緻。小楷一长秀整而已。夀承休承，资皆胜父，入门既正，克绍箕裘。要而论之得处，不逮丰祝之能，邪气不染二公之陋。仲温章革古雅微存，公綬行真朴劲犹在。高阳道復，仅有米芾之遗风；民则立纲，尽是趋时之利手。若能以丰祝之资，兼徵仲之学，夀承之风逸，休承之峭健，不几乎欧孙之再见耶。若下笔之际，苦澁寒酸如倪瓉之手，纵加以老彭之年，终无佳境也。
○规矩
天圆地方，群类象形，圣人作则制为规矩，故曰：规矩、方圆之。至范围，不过曲成不遗者也。大学之旨，先务修齐正平。皇极之畴首，戒偏侧反陂。且帝王之典謨训誥，圣贤之性道文章，皆託书传垂教万载。所以明彛伦而淑人心也。岂有放僻邪侈，而可以昭荡平正直之道者乎。
古今论书，独推两晋，然晋人风气疎宕不羈，右军多优体裁独妙。书不入晋固非上流。法不宗王詎称逸品。六代以历初唐，萧羊以逮智永，尚知趋向一体成家。奈自怀素降及大年，变乱古雅之度，竞为诡厉之形，暨夫元章以豪逞卓犖之才，好作鼔努惊奔之笔。且曰：大年之书，爱其偏侧之势，出于二王之外，是谓：子贡贤於仲尼，丘陵高於日月也。岂有舍仲尼而可以言正道，异逸少而可以为法书者哉。
奈何今之学书者，每薄智永子昂，似僧手誚真卿公权，如将容夫颜柳过于严厚，永赵少夫奇劲，虽非书学之大成，固自书宗之正脉也。且穹壤之间，莫不有规矩，人心之良，皆好乎中和，宫室材木之相称也，烹炙滋味之相调也，笙簫音律之相协也，人皆恱之。使其大小之不称，酸辛之不调，宫商之不协，谁復取之哉。试以人之形体论之，美丈夫贵有端厚之威仪，高逸之辞气。美女子尚有贞静之徳性，秀丽之容颜。岂有头目手足粗邪癩瘇，而可以称美好者乎？形象器用无庸言矣。至于鸟之窠，蜂之窝，蛛之网，莫不圆整而精密也。可以书法之大道，而禽虫之不若乎？此乃物情犹有知识也。若夫花卉之清艶，蘂瓣之疎藂，莫不圆整而修对焉，使其半而舒半而挛也，皆瘠螙之病，岂其本来之质哉。独怪偏侧出王之语肇自元章，一时之论，致使浅近之軰争赏豪末之奇，不探中和之源，徒规诞怒之病殆哉。书脉危几一缕矣。况元章之笔，妙在转折结搆之间，略不思齐鉴倣，徒拟放纵剽勇之失，妄夸具得神奇，所谓舍其长而攻其短，无其善而有其病也。与东施之效顰復奚间哉。
圎为规以象天，方为矩以象地，方圎互用，犹隂阳互藏。所以用笔贵圎，字形贵方。既曰：规矩，又曰：之至。是圎乃圎神不可滞也。方乃通方不可执也。此由自悟岂能使知哉。晋魏以前，篆书稍长隶则少匾，钟王真行会合中和。迨及信本，以方增长。降及旭素，既方更圆。或斜復直有。如何本两字，促之若一字。腰昇本一字，纵之若二字者。然旭素飞草用之无害世，但见草书若尔。予尝见其郎官等帖，则又端庄整飭，儼然唐气也。后世庸陋无稽之徒，妄作大小不齐之势，或以一字而包络数字，或以一傍而攅簇数形，强合钩连，相排相纽，点画混沌，突缩突伸。如杨祕图张汝弼马一龙之流，且自美其名曰：梅花体。正如瞽目丐人烂手折足，绳穿老幼恶状丑态，齐唱俚词游行村市也。夫梅花有盛开，有半开，有未开，故尔参差不等。若开放已足，岂復有大小混杂者乎。且花之向上倒下，朝东面西，犹书有仰收俯压，左顾右盼也。如其一枝过大，一枝过小，多而六瓣，少而四瓣，又焉得谓之梅花耶。形之相列也，不杂不糅。瓣之五出也，不少不多。由梅观之，可以知书矣。彼有不察而漫学者，寧非海上之逐臭哉。
○常变
宣尼疾固规矩诸説，无乃固乎。古人有缺波折刀之形，画沙印泥之势，无乃越于规矩之外哉。夫字犹用兵，同在制胜。兵无常阵，字无定形。临阵决机将书审势，权谋庙算务在万全。然阵势虽变，行伍不可乱也。字形虽变，体格不可踰也。譬之青天白云，和风清露，朗星皓月，寒雪暑雷，此造化之生机，其常也。迅霆激电，霪雨颶风，夏雹冬雷，扬沙霾雾，此隂阳之杀机，其变也。凡此之类势不终朝，四时皆然晦冥，无昼矣。所以脱巾跣足，大笑狂歌，园林丘壑，知己相逢，饮酒翫花，或可乃尔如君亲侍从之前。大宾临祭之日，岂容狂放恣肆，若此乎是故。宫殿庙堂，典章纪载，真为首尚。表牘亭馆，移文题勒，行乃居先。借使奏状碑署，潦草颠狂，褻悖何甚哉。
信知真行为书体之常，草法乃一时之变，赵壹非之，岂无谓哉。所云：草体有别法焉，拨鐙提捺，真行相通。留放钩环，势态逈异。旋转圎畅，屈折便险。点缀精彩，挑竪枯劲。波趯耿决，飞度飘颺。流注盘紆，驻引窈绕。顿之以沉鬰，奋之以奔驰，奕之以翩躚，激之以峭拔。或如篆籀，或如古隶，或如急就，或如飞白，又若：众兽骇首而还跱，群鸟举翅而欲翔，猿猴腾挂乎藂林，蛟龙蟠蜿于山泽，随情而绰其态，审势而扬其威。每笔皆成其形，两字各异其体，草书之妙毕于斯矣。至于行草，则復兼之，衂挫行藏，缓急措置，损益于真草之间，会通于意态之际，奚虑不臻其妙哉。
○正奇
书法要旨有正与奇。所谓正者：偃仰顿挫，揭按照应，筋骨威仪，确有节制是也。所谓奇者：参差起復，腾凌射空，风情恣态，巧妙多端是也。奇即运于正之内，正即列于奇之中。正而无奇，虽庄严沉实，恒朴厚而少文。奇而弗正，虽雄爽飞姸，多譎厉而乏雅。奈夫赏鑑之家，每指豪端努奋之巧，不悟规矩法度之踰。临池之士，每炫技于形势猛诞之微，不求工于性情骨气之妙。是谓：轻道徳而重功利，退忠直而进奸雄也。好奇之説伊谁始哉？
伯英急就元常楷跡，去古未逺，犹有分隶餘风。逸少一出揖让礼乐，森严有法，神彩攸焕，正奇混成也。子敬始和父韵后宗伯英，风神散逸爽朗多姿，梁武称其绝妙超群，誉之浮实，唐文目以拘挛饿隶，贬之太深。孙过庭曰：子敬以下鼔努为力标置成体，工用不侔神情悬隔。斯论得之，书至子敬，尚奇之门开矣。嗣后智永専范右军，精熟无奇，此学其正而不变者也。羊欣思、齐大令举止依様，此学其奇而不变者也。迨夫世南传之智永，内含刚柔立意沉粹。及其行草遒媚不凡，然其筋力稍觉寛骳矣。李邕初师逸少，摆脱旧习笔力更新，下手挺耸终失窘迫，律以大成殊越彀率，此行真之初变也。欧阳信本亦拟右军易方为长，险劲痩硬崛起削成，若观行草復太猛峭矣。褚氏登善始依世南晚追逸少，遒劲温婉丰美富艶，第乏天然过于雕刻，此真行之再变也。
考诸永淳以前规模大都清雅，暨夫开元以后，气习渐务威严颜清，臣蚕头燕尾閎伟雄，深然沉重不清畅矣。柳诚悬骨鯁气刚耿介特，立然严厉不温和矣。此真书之三变也。张氏从申源出子敬，笔气绝似北海，抑扬低昻则甚雕琢矣。释氏懐素流从伯英，援豪大似惊蛇，圎转牵掣则甚诡秃矣。此草行之三变也。书变若尔，岂徒文兵云哉。大抵不变者情拘于守正，好变者意刻于探奇。正奇既分为二，书法自醇入漓矣。然质朴端重以为正，剽急骇动以为奇，非正奇之妙用也。世之厌常以喜新者，每舍正而慕奇，岂知奇不必求乆之自至者哉。假使雅好之士留神翰墨，穷搜博究月习嵗勤，分布条理諳练于胸襟，运用抑扬精熟于心手，自然意先笔后妙逸忘情，墨洒神凝从容中道，此乃天然之巧自得之能。犹夫西子毛嬙天姿国色，不施粉黛辉光动人矣。何事求竒于意外之，笔后垂超世之声哉。
○中和
书有性情，即筋力之属也。言乎形质，即标格之类也。真以方正为体，圎奇为用；草以圎奇为体，方正为用。真则端楷为本，作者不易速工；草则简纵居多，见者亦难便暁。不真不草行书出焉。似真而兼乎草者行真也。似草而兼乎真者行草也。圎而且方方而復圆。正能含奇竒不失正会乎。中和斯为美善。中也者无过不及是也，和也者无乖无戻是也。然中固不可废和，和亦不可离中，如礼节乐和本然之体也。礼过于节则严矣，乐纯乎和则淫矣。所以礼尚从容而不迫，乐戒夺伦而皦如，中和一致位育可期，况夫翰墨者哉。
方圆互成正奇相济，偏有所著即非中和，使楷与行真而偏不拘钝，即稜峭矣。行草与草而偏不寒俗，即放诞矣。不知正奇参用斯可与权，权之谓者称物平施，即中和也。唐之诸贤虽各成家，然有一手而独擅一二长者，有多能而反拙一二体者，临学之士贵择善而从焉，陆柬之得法于世南，晚擅出蓝之誉。予尝见其所书兰亭诗，无一笔不出右军，第少飘逸和畅之妙。尔张伯高世目为颠，然其见担夫争逍，闻鼔吹观舞剑而知笔意，固非常人也。其真书绝有，绳墨草字奇幻百出，不踰规矩。乃伯英之亚，懐素岂能及哉，米芾乃誚其变乱古法惊诸凡夫，何其苛于责人而昏于自反耶。颜清臣虽以真楷知名，实过厚重。若其行真如鹿脯帖，行草如争坐祭姪帖，又舒和遒劲丰丽超动，上拟逸少下追伯施，固出欧李辈也。独其自叙一帖，麤鲁诡异且过鬰浊酷，非平日意态，米芾乃独倣之，亦好奇之病。尔唐书虽有三变，虞褚之真与行草，陆李之行真，鲁公之行草，率更之真书，长史之飞草，所谓出类拔萃，固非随波逐流者也。懐素圣母藏真亦多合作，大字千文则穠肆矣。小字千文太平淡矣，世传自叙帖殊过枯诞不足法也，主善以为师，寧非步王之阶梯哉。
○老少
书有老少，区别浅深，势虽异形，理则同体。所谓老者：结搆精密体裁高古，巖岫耸峰旌旗列阵是也。所谓少者：气体充和标格雅秀，百般滋味千种风流是也。老而不少，虽古拙峻伟而鲜丰茂秀丽之容。少而不老，虽婉畅纎妍而乏沉重典实之意。二者混为一致，相待而成者也。试以人品喻之，谋猷諳练学识宏深，必称黄髪之彦。词气清亮举动利便，恒数俊髦之英。老乃书之筋力，少则书之姿颜。筋力尚强健，姿颜贵美悦。会之则并善，析之则两乖。融而通焉，书其几矣。
玄鉴之士，求老于典则之间，探少于神情之内。若其规模宏逺意思窈窕，抑扬旋折恬旷雍容。无老无少难乎名状，如天仙玉女不能辨其春秋，此乗之上也。
初视虽少细观实老，丰采秀润结束巍峩，引拂轻颺气度凛毅，世所谓少年老成，乗之次也。鳞羽参差峰峦掩映，提拨飞健縈紆委婉，众体异势各字成形，乃如一堂之中老少群聚，则又次焉。
筋力雄壮骨气峻洁，剑拔弩张熊蹲虎踞，祗见其老不见其少，有若师儒夀耉正色难犯，又其次焉。
灿烂似锦艷丽如花，初视焕彩详观散怯，正如平时夸伐自称弘济，一遇艰大节义遂亏抑，又其次矣。若夫任笔成形聚墨为势，漫作偏欹之相，妄呈险放之姿，踈纵无归轻浮鲜著，风斯下矣，復何齿哉。
○神化
书之为言：散也、舒也、意也、如也。欲书必舒散怀抱，至于如意所愿，斯可称神书。不变化匪足语神也。所谓神化者，岂復有外于规矩哉。规矩入巧乃名神化，固不滞不执有圎通之妙焉。况大造之玄功，宣洩于文字神化也者，即天机自发气韵生动之谓也。日月星辰之经纬，寒暑昼夜之代迁，风云雷雨之聚散，山岳河海之流峙，非天地之变化乎？高士之振衣长啸，挥麈谈玄；佳人之临镜拂花，舞袖流盼。如艷卉之迎风泫露，似好鸟之调舌搜翎，千态万状愈出愈奇。更若烟霏林影有相难著，潜鳞翔翼无迹可寻。此万物之变化也。
人之于书，形质法度端厚和平，参互错综玲瓏飞逸，诚能如是可以语神矣。世之论神化者，徒指体势之异常，豪端之奋笔，同声而賛赏之，所识何浅陋哉。约本其由深探其旨，不过曰：相时而动从心所欲云尔。宣尼逸少，道统书源，匪由悉邪也。乡党之恂，恂在朝之侃。侃执圭之踧，踧私覿之怡。怡于鲁而章，甫适宋而缝掖至夫。汉方朔賛意涉瓌奇，燕乐毅论情多抑鬰。修禊集叙兴逸神怡，私门誓文情拘气塞，此皆相时而动根乎。隂阳舒惨之机从心所欲，溢然闗雎哀乐之意，非夫心手交畅，焉能美善兼通若是哉。相时而动或知其情，从心所欲鲜悟其理。葢欲正而不欲邪，欲熟而不欲生，人之恒心也。规矩未能精諳，心手尚在矜疑，将志帅而气不充，意先而笔不到矣，此皆不能从心之所欲也。至于欲既从心，岂復矩有少踰者耶？宣尼既云：从心。復云：不踰者恐越于中道之外尔，譬之投壶引射，岂不欲中哉。手不从心发而不中矣，然不动则不变，能变即能化，苟非至诚，焉有能动者乎？澄心定志，博习専研，字之全形宛尔在目，笔之妙用悠然忘思，自然腕能从臂指能从心，瀟洒神飞徘徊翰逸，如庖丁之解牛，掌上之弄丸，执笔者自难揣摩，抚卷者岂能测量哉。中庸之为物不贰生物不测。孟子曰：深造自得左右逄源。生也逄也皆由不贰深造得之，是知书之欲变化也，至诚其志不息，其功将形著明，动一以贯万变而化焉，圣且神矣。噫！此由心悟不可言传。
字者孳也，书者心也。字虽有象妙出无为；心虽无形用从有主。初学条理必有所事；因象而求意终及通。会行所无事；得意而忘象。故曰：由象识心，狥象丧心。象不可著；心不可离。未书之前定志以帅其气；将书之际养气以充其志。勿忘勿助由勉入安，斯于书也无间然矣。夫雨粟鬼哭感格神眀，徵往俟来有为若是。法书仙手致中极和，可以发天地之玄微，宣道义之藴奥，继往圣之绝学，开后觉之良心.功将礼乐同休，名与日月并曜。岂惟明窗浄几神怡务閒，笔砚精良人生清福而已哉。
○心相
葢闻：徳性根心。睟盎生色，得心应手，书亦云。然人品既殊性情各异。笔势所运邪正自形。书之心：主张布算想像化裁。意在笔端未形之相也。书之相：旋折进退，威仪神彩。笔随意发，既形之心也。试以人品喻之，宰辅则贵有爱君容贤之心，正直忠厚之相。将帅则贵有尽忠立节之心，智勇万全之相。諫议则贵有正道格君之心，謇諤不阿之相。隐士则贵有乐善无闷之心，遗世仙举之相。由此例推，儒行也、才子也、佳人也、僧道也、莫不有本来之心，合宜之相者。所谓有诸中必形诸外，观其相可识其心。柳公权曰：心正则笔正。余今曰：人正则书正。心为人之帅，心正则人正矣。笔为书之，充笔正则书正矣。人由心正，书由笔正。即《诗》云：思无邪。《礼》云：无不敬。书法大旨一语括之矣。
尝鍳古迹，聊指前人世不俱闻略焉。弗举如：桓温之豪悍，王敦之扬厉，安石之躁率跋扈，刚愎之情自露于豪楮间也。他如李邕之挺竦，苏軾之肥欹，米芾之努肆，亦非纯粹。贞良之士不过啸傲风骚之流尔。至于褚遂良之遒劲，颜真卿之端厚，柳公权之庄严，虽于书法，少容夷俊逸之妙要，皆忠义直亮之人也。若夫赵孟頫之书，温润閒雅似接右军正脉之传，妍媚纎柔，殊乏大节不夺之气。所以天水之裔，甘心仇讎之禄也。故欲正其书者先正其笔，欲正其笔者先正其心。若所谓诚意者；即以此心端已澄神，勿虚勿贰也。致知者；即以此心审其得失，明乎取舍也。格物者；即以此心博习精察，不自専用也。正心之外岂更有説哉？由此篤行。至于深造自然秉笔思生，临池志逸新中更新，妙之益妙，非惟不奇而自奇，抑亦巳正而物正矣。夫经卦皆心画也，书法乃传心也。如罪斯言，为迂予固甘焉勿避矣。
○取舍
苏米之迹世争临摹，予独哂为效顰者，岂妄言无谓哉。苏之点画雄劲，米之气势超动，是其长也。苏之穠耸稜侧，米之猛放骄淫，是其短也。皆縁天资，虽胜学力。乃疎手不从心，藉此掩丑。譬夫优伶在塲歌喉不接，假彼锣皷乱兹音声，耳夫顰一也。西子以顰而加妍，东施效之而増丑何哉。西子眀眸皓齿光彩射人，闺情幽怨痛心攅眉，悽悽楚楚可悯可怜，是知顰乃其病非其常也。使其馆娃宫中姑苏臺上，懨懨闷闷蹙锁蛾眉，夫差岂復见宠耶。东施本无丽质，妄自学其愁眉，反见陋媸，殊可憎恶。临拟之士取长舍短，岂非善学者哉。
抑自周秦以后，逸少以前，専尚篆隶，罕见真行，简朴端厚不皆文质两彬，缺勒残碑无復完神可倣，逸少一出会通古今，书法集成模楷大定，自是而下优劣互差。试举显名今世遗迹仅存者，拔其美善，指其瑕疵。庶取舍既明，则趋向可定矣。智永世南得其寛和之量而少俊迈之奇，欧阳询得其秀劲之骨而乏温润之容，褚遂良得其鬰壮之筋而鲜安閒之度，李邕得其豪挺之气而失之竦窘，颜柳得其庄毅之操而失之鲁獷，旭素得其超逸之兴而失之惊怪，陆徐得其恭俭之体而失之頺拘，过庭得其逍遥之趣而失之险散。蔡襄得其宻厚之貌，庭坚得其提衂之法，孟頫得其温雅之态。然蔡过乎嫵重，赵専乎妍媚，鲁直虽知执笔而伸脚桂手，体格扫地矣。苏軾独宗颜李米芾，復兼褚张苏，似肥艷美婢抬作夫人，举止邪陋而大足，当令掩口。米若风流公子染患痈疣，驰马试剑而叫笑旁若无人。数君之外无暇详论也。择长而师之，所短而改之。在临池之士玄鉴之精尔。
陆友仁《研北杂志》云：蔡君謨摹倣右军诸帖，形模骨肉纎悉具备，莫敢踰軼。至米元章始变其法超规越矩，虽有生气而笔法悉绝矣。予谓君謨之书。宋代巨擘苏黄与米，资近大家学入傍流，非君謨可同语也。朱晦翁亦谓字被蘓黄冩壊，并笔法悉绝之言，两语皆刻矣。数公亦有笔法不尽冩壊，体格多有踰越，葢其学力未能入室之故也。数君之中，惟元章更易起眼且易下笔，每一经目便思倣模，初学之士切不可看，趋向不正取舍不明，徒拟其所病不得其所能也。米书之源出自颜褚，如要学米，先柳入欧，由欧趋虞，自虞入褚，学至于是自可窥大家之门，元章亦拜下风矣。如前贤真迹未易得见，择其善帖精専临倣，十年之后方以元章参看，庶知其短而取其长矣。若逸少《圣教序记》，非有二十年精进之功，不能知其妙亦不能下一笔，宜乎学者寥寥也，此可与知者道之。
○功序
临池赏鑑，代不虚人；评论体势，悉非真諦。拟形于云石，譬象于龙蛇。外状其浮华，内迷其实理。至若无知率易之辈，妄认功无百日之谈，岂知王道本无近功，成书亦非嵗月哉。初学之士先立大体，横直安置对待布白，务求其均齐方正矣。然后定其筋骨，向背往还开合连络，务求雄健贯通也。次又尊其威仪，疾徐进退俯仰屈伸，务求端庄温雅也。然后审其神情，战蹙单叠迴带翻藏，机轴圎融风度洒落。或字餘而势尽，或笔断而意连，平顺而凛锋芒，健劲而融圭角，引伸而触类，书之能事毕矣。然计其始，终非四十载不能成也。所以逸少之书五十有二而称妙，宣尼之学六十之后而从心。古今以来莫非晚进。独子敬天资既縦家范有方，入门不必旁求，风气且当専尚，年几不惑便著高声，子敬之外岂復多见耶。
第世之学者，不得其门从何进手，必先临摹方有定趋。始也専宗一家，次则博研众体，融天机于自得，会群妙于一心，斯于书也集大成矣。第昔贤遗范优劣，纷紜倣之，贵似审之，尚精倣之，不似来续尾之讥，审之弗精，启叩头之誚。舍其所短取其所长，始自平整而追秀拔，终自险绝而归中和，心与笔俱，専月继年不厌譬之。抚絃在琴，妙音随指而发。省括在弩，逸矢应鵠而飞。意在笔前，翰从豪转后圣再起，吾言弗更矣。若分布少明即思纵巧，运用不熟便欲标奇，是未学走而先学趋也，书何容易哉。
学书次第前言巳槩，拘局之士未免惧疑。姑以浅言俟彼易晓。大率书有三戒：初书分布戒不均与欹，继知规矩戒不活与滞，终能纯熟戒狂怪与俗。若不均且欹，如耳目口鼻开濶长促，邪立偏坐不端正矣。不活与滞，如土塑木雕不説不笑，板定固窒无生气矣。狂怪与俗，如醉酒巫风丏儿村汉，胡言乱语颠仆丑陋矣。又书有三要：第一要清整，清则点画不混杂，整则形体不偏邪。第二要温润，温则性情不骄怒，润则折挫不枯澁。第三要閒雅，閒则运用不矜持，雅则起伏不恣肆。以斯数语慎思篤行，未必能超入上乗定可为卓焉名家矣。若前所列规矩正奇老少神化诸篇，隂阳向背缓急抑扬等法，葢有彼具而此略，所当参用以相通者也。
○器用
《笔阵图》曰：纸者阵也，笔者刀矟也，墨者鍪甲也，砚者城池也。孙过庭云：疑是右军所製，尚可启发童蒙常俗所传不藉编録。又云：笔势论十二章文鄙理疎，意乖言拙。详其旨趣，殊非右军。予观其论固难尽宗，摘其数言，不无合旨孙子外之斯语苛矣。《笔阵图》以墨拟之鍪甲，以砚譬之城池，喻失其理恐亦非右军也。予试论之以俟君子，夫身者元帅也，心者军师也，手者副将也，指者士卒也，纸者地形也，笔者戈戟也，墨者粮草也，砚者囊槖也。纸不光细，譬之驍将骏马行于荆棘泥泞之塲，驰骤当先弗能也。笔不颖健，譬之志奋力壮手持折缺朽钝之兵，斩斫击刺弗能也。墨不精玄，譬之养将练兵粮草不敷，将有饥色何以作气。砚不硎蓄，譬之师旅方兴，命在餱粮餽餉乏绝何以壮威。四者不可废一，纸笔犹乃居先。俗语云：能书不择笔，断无是理也。夫工欲善其事，必先利其器。木石金玉之工，刀锯鑪剉之属，苟不精利，虽有雕鏤切磋之技，离娄公输之能将安施其巧哉。俗有署书以騣以帚间或可用，若捲箬搏素描丝露骨，以示老健之形风神之态。至于画尘影火聚米注沙，頽骫无致俗浊无藴。借令逸少家奴有灵，寧不抚掌于泉下哉。
○知识
嗟哉！能书者固绝真手，善鉴者甚罕真眼也。学书者，不可视之为易，不可视之为难。易则忽而怠心生，难则畏而止心起矣。鉴书者，不可求之浅，不可求之深。浅则涉畧泛观而不究其妙，深则吹毛索瘢而反过于譎矣。学书之法，考之往言，参之今论，无事再喙矣。姑以鉴书之法照后贤焉。大要开卷之初，犹高人君子之逺来遥而望之，标格威仪清秀端伟，飘颻若神仙，魁梧如尊贵矣。及其入门近而察之，气体充和容止雍穆，厚徳若虚愚，威重如山岳矣。迨其在席器宇恢乎，有容辞气溢然倾听，挫之不怒，惕之不惊，诱之不移，陵之不屈，道气徳辉蔼然服众，令人鄙吝自消矣。又如佳人之艷丽含情，若美玉之润彩夺目，玩之而愈可爱，见之而不忍离，此即真手真眼意气相投也。
故论书如论相，观书如观人，赏鑑能事大槩在斯矣。然人品既殊，识见亦异，有耳鉴。有目鉴。有心鉴。若遇卷初展，邪正得失，何手何代，眀如亲覩不俟终閲。此谓识书之神，心鉴也。若据若贤有若帖某卷在某处，不恤貲财而逺购焉。此赢钱之徒收藏以夸耀，耳鉴也。若开卷未玩意法，先查跋语谁贤，纸墨不辨古今，只据印章孰赏，聊指几笔虚口重賛，此目鉴也。耳鉴者，谓之莽儿审乐。目鉴者，谓之村嫗翫花。至于昬憒应声之流，妄傲无稽之辈，胸中豪无实见，遇字便称能知，家藏一二帖卷，真伪漫尔弗求。笔纔歳月涂描，点画茫焉未暁。设会神通佳迹，每嗟精妙无奇。或经邪俗伪书反嘆误愆多，致此谓吠日吠雪，骇罽骇龙，考索拘乎。浅陋好恶任彼偏私，先有成心将何定见，不若村野愚氓反有公论也。评鉴书迹要诀；何存温而厉，威而不猛，恭而安宣，尼徳性浑然中和气象也。执此以观人味，此以自学，善书善鉴具得之矣。
