The Essence Of Chinese Calligraphy Theory

The essence of Chinese calligraphy theory for thousands of years is here!

1. The word is like the person / the product is first

●The paintings and calligraphy are noble, character is the first priority, and the quality is excellent. Not only everyone values ​​their pen and ink, but also admires them. Qing. Songnian "Yiyuan Painting Theory"

●A person who establishes a product has an upright concept outside his pen and ink. Qing. Wang Yu

●Also, its grandeur and dazzling embrace are all in the brush and ink. The so-called high quality, the rhyme wins by itself. Zhang Yuan "Shi Tao's Painting Quotations"

●Ancient people's comment on books: one must have a high character, and the other must learn from the ancients. It is the method of the book. Scholars should learn from it. Therefore, you must first cultivate all virtues in order to be familiar with the body, and virtue to be familiar with the body , The book is in the hand, so it is the book Yan. "Three Flavors of Calligraphy"

●Students have two views: they are observing things and me. Observe things by analogy, and observe self by virtue. Qing. Liu Xizai "Art Overview"

●Mortals have different qi and blood, different muscles and bones. The heart is dense, the hand is clumsy, and the ugliness of the book lies in the heart and hand. Tang. Zhang Yanyuan "Fashu Yaolu"

●Husband's book is endowed with human nature, and those who are ill cannot make Xu Xu: Those who are Xu cannot make it ill. Eastern Han Dynasty. Cai Yong, "Shishi God-given Gestures"

●Positive calligraphy, so righteous people's minds, so also leisure holy way Ming. Xiang Mu "Calligraphy Elegant Words"

●Thus, those who have written books also have a heart to learn; those who write, have written aspirations. Qing. Liu Xizai "Art Overview"

●Academic classics all start from the heart, whose heart is not righteous, and they learn about evil. Liu Gongquan said: The heart is correct, the pen is correct. Ming. Xiang Mu "Calligraphy Elegant Words"

●Book, such as also, such as its learning, such as its talent, such as its aspiration, in short, it is just like its person. The book is still green and thick, and it must be based on the heart. Otherwise, although the book is spared from turbidity, it is only a portrayal of others. Qing. Liu Xizai "Art Overview"

●It is better to have time than to get good, and to get good is not as good as good. Tang. Sun Guoting "Book Book"

● Those with high quality, one point and one painting, have their own righteousness and uprightness; those with low quality, though agitated and frustrated, seem to be impressive, but they are violent in vertical and horizontal directions, which is unavoidable. Qing. Zhu Hegeng "Lin Chi Heart Jie"

● Those who are good at calligraphy and painting are not good at both academic and academic performance. Resident officials pay more attention to political achievements and reputation, so future generations are valuable. Qing. Songnian "The Summer Palace"

● The pen and ink are based on the human temperament. Those who are rational and sentimental are also the first task of the book. Qing. Liu Xizai "Art Overview"

● Hand and God's luck, art from experience. His ambition is in the book, Xuan Mian can't move, and the poor can't bend, the experience of awe-inspiring will last forever. Song. Zhu Wenchang "Continued Book Break"

● When you want to read books, when the audience is not listening, you are absolutely worried, and your heart is righteous, then you are in harmony, the mind is not right, the book is slanting; the aspiration is not, the words are stubborn. Tang. Yu Shinan's "British Marrow Theory"

● Those who have written old books have the heart to learn; those who write, have written aspirations. Qing. Liu Xizai "Art Overview"

● The academic classics all start from the heart, and the heart is not right, and the evil is moved. Liu Gongquan said: The heart is correct, the pen is correct. Ming. Xiang Mu "Calligraphy Elegant Words";

● The book is like also, like its study, like its talent, like its aspiration, in short, it is just like its person. The book is still green and thick, and it must be based on the heart. Otherwise, although the book has survived the turbidity, it is only a portrayal of others. Qing. Liu Xizai "Art Overview"

● Time is not as good as good, and good is not as good as good. Tang. Sun Guoting "Book Book"

● Those with high quality will draw one point at a time, and they will have a clear, upright and upright spirit; those with low quality will be agitated and frustrated, seemingly impressive, but they will be violent in vertical and horizontal directions. Qing. Zhu Hegeng "Lin Chi Heart Jie"

● Those who are good at calligraphy and painting are not good at both academic and academic performance. Resident officials pay more attention to political achievements and reputation, so future generations are valuable. Qing. Songnian "The Summer Palace"

● The pen and ink are based on the human temperament. Those who are rational and sentimental are also the first task of the book. Qing. Liu Xizai "Art Overview"

● Hand and God's luck, art from experience. His ambition is in the book, Xuan Mian can't move, and the poor can't bend, the experience of awe-inspiring will last forever. Song. Zhu Wenchang "Continued Book Break"

● When you want to read books, when the audience is not listening, you are absolutely worried, and your heart is righteous, then you are in harmony, the mind is not right, the book is slanting; the aspiration is not, the words are stubborn. Tang. Yu Shinan's "British Marrow Theory"

● Seeing the heart of the world and pushing the affection of saints, while in doubt, the criticism of Confucianism and Confucianism is the Eastern Han Dynasty. Zhao Yi "Non-cursive script"

● Happiness means harmony in qi and comfort in words, anger means thick anger and danger in words, sorrow means depression in anger but constrained words, and happiness means flat but beautiful words. Emotions are heavy or light, and the words are constricted, comfortable, dangerous, and beautiful, and there are endless changes. Yuan. Chen Yizeng "Hanlin Essentials"

● The appearance is ugly, and the gentleman's manner of being a villain cannot be concealed, and the words are arguable, and the gentleman's manner of being a villain must not be deceived. The book is clumsy, and the military gentleman's heart is not to be chaotic. Su Shi's "Book Theory"

● Gao Yun, affectionate, strong and mighty, can not be a book. Qing. Liu Xizai "Art Overview";

● For the husband and the writer, the rest of the work of the hero is also the urgent task of the article. Although it is the Tao, both the good and the bad can be learned, but there are many good people, and the bad people can often have little. How can it be that the bad people can do what the sages can, and the wise people can abandon it? Song. Zhu Wenchang "Continued Book Break"

● The lady's spirit is in all things, and her heart is in charge of Bailiu. The origin of the old heart, the accumulation of morality, the manifestation of economy, the tree of Xunyou, the establishment of morality, the declaration of articles, and the movement of handwriting. Ming. Xiang Mu "Calligraphy Elegant Words"

● Distinguished personality, different temperament, gestures, evil and righteousness. Ming. Xiang Mu "Calligraphy Elegant Words"

● Therefore, in terms of morality, work, articles, and style writers, there is no shortage of people from generation to generation, people who talk about the world, admire their people, and value their books, the writers will be immortal through the ages. Qing. Zhu Hegeng "Lin Chi Heart Jie"

2. Introduction to Copying/Step by Step

● Beginners are nothing more than copying. A copy of the book has its meaning, and a copy of it. After copying for a long time, it is better to look more, understand more, discuss more, and be more flexible. Qing. Zhou Xinglian "Lin Chi Guan Jian"

● Only beginners have to imitate, and they are easy to accomplish. They must be famous pens of ancient people, set a few cases, hang on the right, observe day and night, think about the principles of using pen, and then imitate. Southern Song Dynasty. Jiang Kui's Book Continued

● Lutaiyun: Painting does not learn from the past, like walking at night without candles, there is no way to go. Therefore, beginners must take Lingu as the first. Qing. Qin Zuyong's "Painting Things Jinliang"

● The method of learning a book is not taught through oral and heart-to-heart teaching, and must not be refined. It is necessary to face the ancient ink marks, arrange the shelves, break the pipes, and break the books and papers. Ming. Jie Jin "Learning Calligraphy"

●First learn to frame, the ancients also called knotting; the shoulder frame is clear, then learn to use pen. You can see the stone tablet on the shelf, and the pen must be authentic. Qing. Feng Ban "Dun Yin Shu Yao"

● The method of approaching the pool: use a pen without getting out of the body. The power of body formation lies in academic ability, and the use of pen is the key to spirituality. Gou Fei read more ancient books, often used ancient stickers, and blended into his chest, and it was not easy to command his wish. It can be like an autumn eagle and a rabbit, blue sky and sky, gaze everywhere, using the pen to get it! Qing. Zhu Hegeng "Lin Chi Heart Jie"

● Therefore, studying books has no intentions at all, just like children from the old family, but just follow the rules and stay warm for life. Qing. Qian Yong, "Book Study"

● Learners, knowing the tactics of using pens, especially observing ancient stickers, arranging the structure, sparsely and densely between the lines, responding to the ups and downs, becoming clumsy and clumsy. Painting, do not come from the French stickers, and then can be counted. Qing. Feng Wu "Calligraphy Forward Turn"

● Xian Zizheng Gong said: Those who do not have a family of books, Yiri and ancient stickers are the fate, no matter what the stickers are, it will be enough for my writing. Qing. Liang Zhangju, "Learning Characters"

● Studying books must follow the ancients, don't follow the times. To learn from the ancients, you must get the bones of their gods, and don't let them look like. Qing. Liang Rong "Ping Shu Post"

● When you come to the book of ancient people, you must do it with peace of mind and patience. It will have its own effect for a long time. Don't just taste it and change it. Qing. Liang Zhangju, "Learning Characters"

● The method is more than the upper one, and only the middle is what everyone says. However, everyone wants to reach the highest state in the world, but not everyone can reach it. Qing. Zhou Xinglian "Lin Chi Guan Jian"

● Shi Huyun: To learn the book, you must be someone who has learned the past, and you can look at the sequence of strokes and strokes. If you only look at the tablet, you can only get the calligraphy and painting. Southern Song Dynasty. Chen Yan "Negative Xuan Ye Lu"

● You can’t learn stone carvings, but it is no longer yours to engrave them from one's own book. Therefore, you must observe it in its original form, which is interesting. Northern Song Dynasty. Mi Fu's "Haiyue Famous Sayings";

● Therefore, those who are famous and know their family at a glance, and those who have the spirit of their own family throughout the story are also authentic. When I look at the books of the family, I will look for those who have not seen the law of the previous people in my family, and imitate the books. Qing. Bao Shichen, "An Wu Lun"

● Copying from time to time when studying books, you can get similar shapes. It is a wonderful thing to take a lot of ancient books and read them carefully to make them fascinated. Only the intention is not mixed, but the way to get into God. Northern Song Dynasty. Huang Tingjian's "On Books"

● Everyone who comes to the ancients must always seek for the same, long-term stripping, and the appearance of the gods. Qing. Wang Shu "On the Book of Teng Yu"

● Every time you learn a post, you must make the strokes of the brushwork penetrate the liver and diaphragm, and every time you change the post, you must make your heart feel as if there is no previous post. Accumulation is a long time, I have learned the behavior of various schools, and my temperament is always under the wrist. Although he said that he was an apprentice with the ancients, he actually has a shaft. Qing. Bao Shichen "Yizhou Double Series"

● Linshu tends to lose the position of the ancients, but more of the ancients' brushwork; Moshu tends to get the position of the ancients, but often loses the ancients' brushwork. Southern Song Dynasty. Jiang Kui's Book Continued

● Beginners learn more about books, settle their behavior slowly, and lose their rules if they are busy. Jin. Wang Xizhi's "Twelve Chapters on Bishu"

● When studying, I don’t read the scripts, draw and imitate one by one, but it is expensive to travel, live, sit, and lie down. Over time, there will naturally be a place for enlightenment. I don’t think it is subtle, but I am good at learning. Southern Song Dynasty. Chen Yan "Negative Xuan Ye Lu"

● The beauty of eating, but the day is full, if one observes and realizes it, it will be moisturized for life. Tang. Zhang Huaiguan "Six Types of Calligraphy"

● To learn ancient books, you need to have the bones, courage and vitality. Don't look for it but don't look for it. Qing. Liang Rong's "Study on Books"

● Copying and using labor is an important part of learning books, so you must first seek the meaning of the ancients, then use the pen, and then look like a walking style. Qing. Zhu Lvzhen "The Essentials of Learning Books"

● Don't muddle the old ways, don't stick to your own opinions, but just live. Qing. Zheng Banqiao

● Copying the ancients is not in the opposite presence, but in the meeting of the gods, the eyes will be knotted, spotless, seeming and not seeming, inconceivable. Ming. Shen Hao, Painting Dust

● Self-carrying and serving the ancients, the ancients must have me. When the two are combined, they are both beautiful, and when they are separated, they hurt the mind. Qing. Wang Shu "On the Book of Teng Yu"

● Although my book is not very good, it is a new idea, not to practice the ancients, it is a quick time. Northern Song Dynasty. Su Shi's "On Books"

● Every word of the study book must come from the ancient stickers, otherwise there will be no copy. Early degeneration must be ruled, and the first family will have profound skills. Following the collection of the beauty, the change is free. Si is not concealing his temperament, and he opens up his own scriptures. Qing. Liang Rong's "Study on Books"

● Every copying must focus on one family, and then use the overview of each family to try to figure it out. Naturally, it will be delicious in the chest and masterful in the wrist. Jiuzhi's vision is broad, his ambitions are profound, and he gathers the strong points of others to think that he has his own, and then he can come to the realm of a group. Qing. Zhu Hegeng (Lin Chi Xin Jie)

● To study ancient books, you must first discuss one family. As for the hand-made stylus, everything is alike, and then it can be eclectic and submerged by everyone, and it must never be a family of its own. It is just like to build this family, and it will be a waste of energy. Qing. Wang Shu "On the Book of Teng Yu"

● If you just keep a family and copy it, you will have a habit for a long time, or even become unremarkable. Gou can understand that the evils cannot be long, so he wrote his own spirit, opened his own life according to the rules of the ancients, did not follow the rules, but made a natural voice, and he could confuse the ancients with the same charm, that is, they can be passed down to later generations. Huai: Then he became a man who stood up for me. Qing. Shen Zongqian, "Jezhou Learning Painting Compilation"

● I only learn from one family, but I can't be a slave and maid. If you gather the best of all to me, you will become a great success. "Hanlin Quintessence"

● To learn the book, you must face the Tang stele. When you reach the key of extreme strength, and then return to the Jin people, you will have a strong character in Shen Yun. Otherwise, you will be written as a weak character. Qing. Liang Rong's "Study on Books"

● Today’s scholars should take the Tang stele as their sect. There are many types of people in the Tang Dynasty, short and long, fat and thin, each reaching the second level; there are few people in the Song Dynasty, such as Cai, Su, Huang, and Mi, all of which are flawed. Scholars have to know it. Qing. Qian Yong, "Lü Yuan Conghua"

● The old rubbings and rubbings of the old people are fat and thin, and full of energy, but the most important thing is to write well, but not to use it. Even if the ancients are inscribed, they are useless. Qing. Liang Rong's "Study on Books"

● The ancients can't copy the books all the time. Zhang Gu's books are in the wall, and he is immersed in the book, and then he writes according to his wishes. The book is ready to learn, and there is no tackiness in the heart, and then you can do it, showing people as a whistle. "On Books" by Huang Tingjian in the Northern Song Dynasty

● Therefore, there must be a method for learning, and there is no body for success. If you want to explore the secrets, you must first know the door. There is no one who knows the door and does not know the secret, and there is no one who can get the power without the law. Tang. Zhang Huai-wan's "Six Types of Calligraphy"

● Nearly people don’t know what they are exerting themselves, and they specialize in the close body. It can be said that they have forgotten their ancestors. How can they stand on their own! Qing. Fan Gongmian "The Essentials of Calligraphy"

● In modern times, people who have not learned from the past, but because of love and abandon the Tao, can only remember their names, or they should not be supported by learning, and they are too few to hear, so that they are not successful and waste their energy. Since it is not an inspiration of Taoism, if you do not learn to learn from the present, you can learn from the ancient and simple. Qing. Fan Gongmian "The Essentials of Calligraphy"

●Most modern scholars learn modern books instead of ancient ones. They are good at flattering, and their temperament is all weak. However, if they are combined with the ancients, they will not feel it; how can the ancient people's minds and methods be similar in scale, not enough to be wonderful. Song. Zhou Xingji "Floating Zhi Ji"

● If you learn half and sprinkle half, you may not learn the whole thing; if you don't want to be complete, you can't complete it, and you don't have to complete it. Qing. Zheng Banqiao;

● Scholars are more expensive to take carefully and cannot be deceived by the ancients. Qing. Wu Dexuan, "Essays on Chuyuelou"

● Bad scholars, that is, learned from the passing of saints, so they are all in one song. There are more people who study "Lanting" in this life. Northern Song Dynasty. Huang Tingjian's "On Books"

● The origin of the ancient brushwork, the most different and the most similar. Li Beihaiyun: People who are like me are sick. We are seeking common ground from differences, not looking for similarities, and those who are similar are sick. Qing. Yun Shouping "Ouxiang Museum Painting Postscript"

● At the time of writing, if you try to be an archaic person, you will be less airy; if you don't be stubborn, you won't get rid of vulgarity. You are familiar and proficient, and your heart and hands are corresponding, and you are beautiful. Southern Song Dynasty. Jiang Kui's Book Continued

● Only when you force yourself to the point of calmness and pleasure can you take the gods of the ancients. If you blindly imitate the ancient methods and feel that the engraving is too much, you must get rid of the imitating paths. Fayou travels through the pen, and then expressively. Qing. Song Cao's "Calligraphy Treaty"

● I copy the ancients, must eat the ancients and transform, and start a family alone. Ming. Li Liufang

● If you are stuck with prejudices and stuck in your chest, you will not be able to participate in the application of the living method. Although participating in the living method, it will certainly not be easy. Unrestrained and unrestrained, do not go beyond the scope, the so-called learning from the past but not muddled by the past, you will get it. Qing. Zhu Hegeng "Lin Chi Heart Jie"

●The book must be written by oneself, but it is not that you do not learn from the ancients; you must see the original, but it is not that you do not learn the inscriptions. Qing. Feng Ban "Dun Yin Shu Yao"

● You can talk to talk about it! Eastern Jin Dynasty. Wei Shuo's "Brush Diagram"

● The ancients have something to say; follow others to learn from others, and become a family to become lifelike. Northern Song Dynasty. Huang Tingjian's "On Books"

● Six essentials for learning; one temperament, two talents, three attainment, four copying, five hard work, six senses and appraisals. Six must be ready before you can start a family. Qing. Zhu Lvzhen "The Essentials of Learning Books"

● When writing a book, you should give full play to your own spirit. Don’t send it to others in the beginning, and copy every family, but steal the pen. It’s like an irregular rectangle. In modern times, every time I visit a family, I just copy the strokes; as for the intentions, I don't understand it at all. It is necessary to know that there are endless things like shapes and endless tastes. Qing. Zhu Hegeng "Lin Chi Heart Jie"

● Therefore, Siweng has the saying that "the fallacy is spread, and you can sweep it away." He is the most conscientious beginner. If you have already entered the court, then you should say: instead of passing it and abandoning it, it is better to pass it and save it. Qing. Zhu Hegeng "Lin Chi Heart Jie"

● There is no other secret in calligraphy, only the use of pen and ears. There has been a recent biography about the use of the pen, and the ancient methods of knotting are exhausted. To change the ancient method requires victory over the ancients. I don't know the ancients, but it is really impossible to say that they don't follow the ancient methods. Qing. Feng Ban "Dun Yin Shu Yao"

● If the distribution is less clear, it means thinking is ingenious and unfamiliar in using it. It is the tendency to learn first before learning to go. Ming. Xiang Mu "Calligraphy Elegant Words"

● Observers can become self-contained only by figuring out the numbers. Without him, concentrate for a long time, comprehend the method of using pen, ink and body formation for our country to use ears. Qing. Zhu Hegeng "Lin Chi Heart Jie"

● Anyone who learns books can get one and pass the rest... Northern Song Dynasty. Ouyang Xiu's "Examination Writing"

● When I was a teenager, I started writing in regular script, and it was the first hand. Qing. Liang Rong's "Study on Books"

● When writing characters, you must be familiar with Wei and Jin people's writings, know them in your heart, and be comfortable with the ancient brushwork. If you want to learn cursive script, you need to be precise and true. If you know how to write the pen, you can learn cursive calligraphy. Cursive script is not difficult to work with. Northern Song Dynasty. Huang Tingjian's "On Books"

● Those who are good in ancient books must write the method first, and gradually they will not depart from the formal method. Song. Ouyang Xiu "Ouyang Wenzhong Collection"

● To learn the script, you must first use the regular script, and you must first write the big characters. If the regular script is completed, it is the running script; the running script is the cursive script when the running script is completed. Those who learn cursive, first learn Zhang Cao, learn the origins of the radicals, and then become Cao Sheng. Those who learn seal must also use regular script, and if they are familiar with the positive front, they are easy to gain strength. Those who learn eight points should learn seal first. Once they are familiar with seals, they will learn eight points, which is of ancient meaning. Ming. Fengfang "Learning Calligraphy"

● Whoever learns the calligraphy, first learn to write... If you are a beginner, you must first read the book, not from an early age. Jin. Wei Shuo, "Brush Diagram"

● The font size of ancient stickers is quite different. For example, the old man walks with his young grandchildren, the length varies, but the affection is true and it is related. Qing Dynasty Bao Shichen's "On the Book of Anwu"

● When writing a book, you must try your best to stupefy the frustration. With the brushwork, you need to stick to the Tang Dynasty to tighten its structure. Qing. Liang Rong's "Study on Books"

● If the temperament is weak, the physique is not large and academic ability is limited; if the talent is poor, the academic limit is not easy, and it is not easy to get started; if the method is not available, the years will be vain and hard work will be in vain; if the skill is shallow, the strokes will be sparse, and it will be difficult to achieve in the end; The characters have no inheritance, and the body is rough and evil; the knowledge and lessons are short, and they linger between the past and the past, and they have no prejudices. Qing. Zhu Lvzhen "The Essentials of Learning Books"

● You don’t need to spend much time on writing words for the first time. Take the ancient rubbing book and play it carefully and know it well, and then you can find it by pasting it on the back. Learning and thinking, thinking and learning, if there is a success in the heart, then close it and pursue it... Qing. Song Cao "Calligraphy About Words"

● The calligraphy is prepared in the original script, overflowing and cursing. If you can't write the book, but can do cursively, you still don't know the Zhuang language, and you don't speak righteously. Northern Song Dynasty. Su Shi's "On Books"

● Xu Changyun: Or ask about the beauty of calligraphy, why is it the ancients? Said Miao is writing to make it round and smooth, and don't make it constrained; secondly, to learn the Dhamma, it must be taught by mouth and not to be overwhelming. The so-called brushwork is also, secondly, in the layout, not slow or slow, and coincidentally suitable; secondly, change the knowledge and understanding, and conform to the rules; secondly, the paper and pen are excellent. The five are ready, and then they can match the ancients. Tang. Cai Xizong's "Fashu Theory"

● When you first learn Chinese characters, you can’t do everything you want. Correct his hands and feet once, learn the situation twice, behave like the original three times, add smoothness four times, and extract every five times to keep quiet. Jin. Wang Xizhi's "Handwriting Theory"

● If you are a generalist, the characters are clumsy and there are many mistakes in the pen. The person who is connected will break, the person who breaks will continue, not knowing the back, knowing the end, not knowing the conversion, using the pen at will, freely forming the shape, Mistakes are novelty. Southern Song Dynasty. Jiang Kui's Book Continued

● Beginners learn to be organized, must do something, ask for ideas because of the signs. In the end, I will do nothing, be proud and forget the image. Therefore, the image knows the mind, the image cannot be felt, and the mind cannot be separated. Ming. Xiang Mu "Calligraphy Elegant Words"

● Husband's manual book, must be taught by the teacher. You must first recognize the power of the trial, but you can add your work; the power is clear, then the work is late; the late is divided, and there is no restraint; the restraint is dead, and all perversions are sought; the purpose of perversion is to fight hard; fight hard The reasoning is based on the abnormal state; the change of the abnormal state, there is no drowning or loneliness; the absurdity is removed, and it is for the spirit; the eloquence is more than the mysterious, and there is no way to escape. Tang. Zhang Huai-Luan, "Jade Hall Forbidden Scripture"

3. Dependence of form and spirit/artistic conception is the most important

●Those who are in shape, their bodies are also; those who are gods, their looks are also. Song Yuan Wen

●The shape is the texture of the god; the god is the use of the shape. The form is called its quality, and the sound of the gods is used; the form and the god must not be different. Southern and Northern Dynasties. Fan Zhen's "Theory of God's Destruction"

● God is the form, and the deed is the god. So the form exists, the spirit exists, and the form shoots, the spirit is destroyed. Southern and Northern Dynasties. Fan Zhen's "Theory of God's Destruction"

● The husband is outside of the similarity, but the form is in the air. If the shape is not vivid, it will be flat if it is lost; if the shape is similar, it will be sparse. Therefore, ask God to be like outside of the shape, and take business in the shape. Ming. Gao Lian

● Choose what you want, but don't ask for what you want. Therefore, to gain its form, the meaning overflows from the form; if it loses its form, what is the meaning? Ming. Wang Lv

● The key to learning books is to take the spirit and the spirit is better. If you look like a body, although the shape is similar but there is no spirit, it will be the ears of those who don't know the book. Song. Cai Xiang, Collected Works of Cai Zhonggong, Scholar of Song Duanming Palace

● The heart of the book advocates layout and calculation, imaginary cut, intended to be at the end of the pen, and the unformed appearance; the aspect of the book, the turning and retreating, the majestic spirit, the pen is issued at will, and the shape of the heart is also. Ming. Xiang Mu "Calligraphy Elegant Words"

● The character of the husband takes the look as the spirit, if the god is not as good, then there is no attitude; the heart is the bones, if the heart is not strong, the character is weak and healthy; the accessory hair is the cortex, if the vice is not round, the character is not warm and also. God, the heart is also useful. Tang. Li Shimin, "The Meaning"

● The wonderful way of the book, the spirit is the first, the form and quality are the second, and the two can be compared to the ancients. Southern Dynasties. Wang Sengqian "Pan Yi Zan"

● Therefore, the mysticism of calligraphy must be based on spiritual encounters, and you cannot strive for it; ingenuity must be realized in the heart, and cannot be obtained by eyes. Qing. Feng Wu's "Brushes"

● It has one point and one painting, the mentality is vertical and horizontal, in the middle of Yanya, there is plenty of surplus, the characters are beautiful, kind of vivid, quiet and far-reaching, radiant like a god, those who take the unexpected as the measure, the book is also wonderful. Tang. Zhang Huai-wan, "Pingshu Yao Shi Lun"

● It is the body of the book, it must be in its shape, if it is sitting, if it is flying, if it is moving, if it is coming, if it is lying up, if it is sad, if nymph eats Konoha, if the sword is long, if the bow is strong Hard arrow, if water and fire, if cloud and mist, if the sun and the moon, there are images in the vertical and horizontal directions, it is called a book. Eastern Han Dynasty. Cai Yong "Nine Positions"

● The book originates from nature, and nature is established, yin and yang are born. Both yin and yang are born, and the shape is strong. Eastern Han Dynasty. Cai Yong, "Shishi God-given Gestures"

● The ancients wrote books, see the chapters and laws in the liaison office; see the artistic conception in the scattered places. Qing. Zhou Xinglian "Lin Chi Guan Jian"

● Even if the fringe is short and long, it looks like a husband's loyal minister resists the straight to make up for the festival of Kuangzhu; the moment is the orbit, but the denseness is sparse, and there is a heart like the husband's filial son who inherits the smooth and cautious and finally thinks far; Quality contains chapters, soft or rigid, like a husband and a philosopher who walks in Tibet, knows how to advance and knows to retreat. Tang. Zhang Huai-wan's "Book Broken"

● The heart of the husband is in the qi, and the qi is in the heart; God, the heart is used, the heart must be quiet. Tang. Li Shimin, "The Meaning"

● To form a knot, it is not as good as the brushwork to get the shape, and the weather is not as good as the brushwork. "Hanlin Quintessence"

● To make the pen fall on the paper, the spirit can rush into it, and the spirit and charm will be dizzy. If it is fresh and mature, round and smooth, then the pen and the pen have a pen, and the pen and pen have no traces. Qing Hualin "The Secret of the Southern Sect"

● So there are brushwork but vivid emotion, ink and liveliness. Qing. Ding Gao "The Secret of Photograph"

● Gai Dharma is higher than the usage of the mind, and the mind is higher than the purpose of the law, and the purpose of the mind is the god of the law. Qing. Liu Xizai "Art Overview"

● Fengshen, one must have a high character, two must learn from the ancients, three must be good with paper and pen, four must be dangerous, five must be brilliant, six must be moisturized, seven must be well-backed, and eight must be new in time. Naturally, the elders are like those who are beautiful, the short ones are like the drunk men, the thin ones are like the scorpion of the mountain, the fat ones are like the sons of the noble travelers, the strong like the martial artist, the charming like the beauties, the slanting like a drunk fairy, Magi. Southern Song Dynasty. Jiang Kui's Book Continued

● The character of the husband takes God as its essence, if God does not know it, then the character has no attitude; the heart is the bones and bones, if the heart is not strong, the character is weak and healthy; the accessory hair is the skin, if the vice is not round, the character has no attitude Wenrun also. Tang Li Shimin's "Handwriting Skill"

● If you have power without sex, you can't look at you; if you don't have sex, you don't have a real look. . "Hanlin Quintessence"

● Calligraphy is only ingenious, while clumsy is straightforward and infinite. Ming. Dong Qichang, "Painting Zen Room Essays"

● Opportunity, legendary spirit; fun and strange, legendary style. Without these two things, it is like a clay man and a horse, which is physical but not aspirational. Li Yu's "A Puppet of Leisure Love"

● The so-called genius is written by my god. Ming. Understanding Qichang "Painting Zen Essays"

● Academic skills: Yu Xuexian, the god of the clock is the highest, this is the case of the bell, and the shape of the bell is the same.

● Books are valuable to gods, and gods are different from our gods and others. Those who enter the body of others, I become the ancients, and those who enter the gods, the ancients become me. Qing. Liu Xizai "Art Overview"

● The beauty of painting and calligraphy should be understood by gods. Song Shen Kuo, "Mengxi Bi Tan"

● Those who are true inside, the gods are moved outside, that's why the true is also precious. "Zhuangzi"

● However, the wise are boundless, the law is not fixed, and those with the spirit of wind and spirit are at the top, and those who use the art work are at the bottom. Tang. Zhang Huai-Luan "Calligraphy"

● The overall picture of the book is based on qi; the words are filled with flesh and blood, and the spirit is the spirit. The Qi Yun in Yao Pei has originated from the ink, some originated from the author, some originated from the intentional person, and some originated from the unintentional person. The unintentional comes first, the law comes second to the intention, the pen comes second, and the ink comes next. Qing. Zhang Geng

● The main point of the summary is the god of self and the god of man. Qing. Ding Gao's Secrets of Portraiture

● Meaning, congenital, the book is also; image, acquired, the book is also used. Qing. Liu Xizai "Art Overview"

● If you need to be familiar with the writing, you will be full of energy and have a lingering rhyme. It is a pleasure to be in the quiet. Song Su Shi "Dongpo Inscription Postscript"

● Do not seek similarity, it is the hidden good fortune that makes you Yu Tianyou; close people only seek similarity, and desire for similarity becomes more and more away. Qing. Yun Shouping "Ouxiang Museum Painting Postscript"

● The book should be solid and empty, but it should be hollow in reality. There is no one who can leave the paper without penetrating the paper.

● The book should be small-minded and bold. In the small order and the words, the big ones are majestic and extra-character. Qing. Liu Xizai "Art Overview"

● The meaning of mystery comes from the surface of things; the truth of the abyss lies between the chasing and the dark; what can be said by uncommon emotions, can be measured by the wisdom of the world. There is no one hears alone, one sees alone, incomprehensible silent sound, invisible appearance. Tang. Zhang Huai-Luan "Calligraphy"

● The yang qi is bright and the wall is standing, and the yin qi is strong and the wind is born. Jin. Wang Xizhi, "Shu Tiantai Zizhen teaches the brushwork"

● There are paintings with pens and inks, pens and inks with interesting rhymes, and the rhyme of unrestrained and romantic legacy. Qing. Yun Shouping "Ouxiang Pavilion Painting Zen"

● The pen is deep and beautiful, with natural charm and bookishness. Qing. Jiang Ji, "Biography of Mystery"

● The qi is clear and turbid and thick, and the style is high and low. Qing. Liu Xizai "Art Overview"

● The book is clear and thick, and it must be based on the heart and deeds. Otherwise, although the book is spared from turbidity, it is only a portrayal of others. Qing. Liu Xizai "Art Overview"

● The ancients talked about the beauty of poetry, they must say calm and happy. But the same is true for books. If you are calm and not happy, you will be fat and lack of charm; if you are happy and not calm, you will be scribbled and uncontrollable. Ming. Fengfang "Book Jue"

● The pen and ink are hearty, and the interest is super ancient. Qing. Wu Li

● The servant said: The word is the meaning of the word, and the word of the book has been seen in the heart, which can be described as a simple way. If you want to know the wonders, unpredictable at first, and long-term cherishment, although the book has been hidden, but the heart is chasing the eyes, the love is still loved, it is wonderful. Tang. Zhang Huailan, "Literature Theory"

● The charm of calligraphy is hard to come by.... Qing. Zuo Yinsheng "Book Style"

● The masters of the works and the most brilliant articles have profound meanings so that you can see their aspirations. "Book Discussion" by Tang. Zhang Huai-wan

● Those who are sinking will not float in the pen and will be carved into paper; those who are fireflies are like a lonely moon and the sky, without clouds; those who are clear are not thin and cold; those who are fat are also refreshing, and they are posted in the ancient past. And got it. "Three Flavors of Calligraphy"

● Unpredictable water makes people feel refreshed; climbing the mountains of ten thousand renowns is natural and far-reaching. Tang. Zhang Huai-wan's "Book Broken"

● Every book is precious and interesting...Ming. Sun Wenrong "Postscript of Calligraphy and Painting"

● I am good to nurture my awe-inspiring spirit. Warring States "Mencius. Gongsun Chou Shang"

● When it comes to book spirit, morale is the top priority. If women, soldiers, village, city, craftsmanship, rotten, qi, herring, quack, polite, wine and meat, sparse bamboo shoots, all morale is abandoned. Qing. Liu Xizai "Art Overview"

● The pen and ink can be known, but the secret is not known; the rules can be obtained, but the spirit and rhyme cannot be obtained. Qing. Yun Shouping "Ouxiang Museum Painting Postscript"

● The heart of the book advocates planning and calculation, imagining and cutting, and it is intended to be at the end of the pen, but not in form. The appearance of the book, the twisting and retreating, the majestic look, the pen is randomly issued, and the shape of the heart is also. Ming. Xiang Mu "Calligraphy Elegant Words"

● For a mortal thing, get its shape, not its power; get its power, not its rhyme; get its rhyme, not its nature. Ming. Li Rihua

● The book is born in nature 【Han·Cai Yong】

● Silent sound, invisible form [Tang·Zhang Huai Lun]

● Learning books, knowledge can be far-reaching [Tang·Zhang Yanyuan]

● The meaning of mystery comes from the surface of the species; the deep truth lies in the midst of the darkness; what can be said by the invariable emotion, can be measured by the wisdom of the world [Tang·Zhang Huai Lun]

● Either send the ambition of vertical and horizontal, or entrust it to relieve the slumped bosom. Although it is expensive, it can’t restrain its height, although it’s wonderful, it’s not powerful [Tang·Zhang Huairun]

● Don’t repetitively write words, and don’t mess around with words

● Writing is like a picture dog, the more you describe, the more ugly

● The word is afraid of practice, the horse is afraid of riding

● Words have nothing to do in a hundred days

● Boxing must be punched, handwriting must be practiced

● The characters should have a bone structure, the flesh must be wrapped in the tendons, and the tendons must hide the flesh. The layout of the post is Xiu Runsheng [Song·Mi Fu]

● One point is the rule of one word, and one word is the standard of the final chapter [Tang·Sun Guoting]

● The pen is bald and thousands of pipes, and the ink is milled with ten thousand ingots [Song·Su Shi]

● Struggle with the pen, if Honghu flies high, Miao Miao Pianpian [Jin·Wei Heng]

● Graceful like a silver hook, floating like a startled Luan [Jin·Suojing]

● Floating like clouds, just as shocking as a dragon 【Jin·Shu Lun】

● Dragon jumps to Tianmen, Tiger Crouching Phoenix Pavilion [Southern and Northern Dynasties·Xiao Yan]

● Clouds and cranes travel to the sky, Qunhong plays in the sea [Southern and Northern Dynasties·Xiao Yan]

● The dragon and the tiger vibrate, the swords are tense [Southern and Northern Dynasties·Yuan Ang]

● The body image is outstanding, the present is different from the past. Falling Beads, Piaopiaoying Group【Tang·Zhang Huai瓘】

● If the breeze comes out of the sleeves, the bright moon enters your arms [Tang·Li Sizhen]

● The dragons and snakes in the pen seem to have gods [Tang·Zhang Huai Lun]

● Swipe and write like clouds of smoke [Don Du Fu]

● I always see dragons and snakes walking [Tang Li Bai]

● If you teach you to be near the water, every word will become a dragon 【Tang·Han Yu】

4. Calligraphy by famous calligraphy writers

● Sun Guoting: Beginner's distribution, but seeking to be fair.

● Xiang Mu: The book has three precepts; the distribution of beginners, quitting unevenness and following the rules, quitting inactivity and stagnation; eventually being proficient, quitting madness and vulgarity.

● Wang Xizhi: The situation of the word should not be wide and narrow, so the weight is not commensurate. The white space is divided into two parts, and the distance should be equal.

● Yan Zhenqing: It is a coincidence that you want to predict the shape of the font first, and arrange it to make it stable, or to make it unexpectedly. It is a coincidence.

● Ouyang Xun: For beginners, first stand up and arrange horizontally, and treat the cloth and white, so that they are evenly distributed.

● Wang Xizhi: Distribute white space in separate areas, suitable for both near and far.

● Jiang He: There are three kinds of cloth white; the cloth white in the word, the cloth white in the word, the cloth white in the line. To learn the distribution, all must stop evenly; if you know that you stop evenly, you need to change, and the sparseness and denseness are staggered and staggered in the meantime.

● Chen Yi: The sparse place is full, the dense place is lifted; the flat place is full, the dangerous place is lifted; the full place is fat, and the lift is thin.

● Wang Xizhi: Evenly point painting, distance and near must be similar, spreading and researching, blending pen and ink; front and fiber communication, dense and dense.

● Xiang Mu: Human beings are handy for books, but they can't be neutralized. Said fat. It's just thin. If the length of the book is appropriate, the weight is balanced, the yin and yang are appropriate, the rigidity and the softness complement each other, and the linguistic view of the world is neither fat nor thin. It's not long or short, it's beautiful.

● Zhang Huairun: Yan Yang to the back; saying that the two characters are combined into one word, it is necessary to ask for the upward and downward Yan Yang to have the tendency of separation and reunion.

● Wang Xizhi: The two characters are merged into one. The weight should not be long, the single should not be small, and the complex should not be large, dense is better than sparse, short is better than long.

● Mrs. Wei: Dotted paintings are like falling rocks from a high peak, stumbling like a collapse; horizontal paintings are like thousands of miles of clouds, faintly tangible; vertical paintings are like long live withered vines; paintings are like a broken rhinoceros; paintings are like falling waves Lei Ben; the oblique hook is like a crossbow hair; the horizontal fold is like a crossbow's tendons; each is a character, each is like its shape, the craftsmanship is wonderful, and the calligraphy is complete.