Chinese paintings are closely related to calligraphy, and often contain literary interest. So what are the common calligraphy quotes? What I bring to you below is the content of common sayings in calligraphy. I hope you like it!

Common sayings in calligraphy (classic version)

1) This pen will be used both directly and sideways. , use it smoothly, use it seriously, use it lightly, use it empty-handedly, and be practical. It can be caught firmly, it can be stretched out, it can be tightened, it can be opened. It is full of tricks. It is all controlled by the sharp edge of the pen tip. It is in harmony. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

2) The technique of using the brush can be seen at both ends of the painting, while the ancients' strong and unbridled style that makes people unable to reach it can be seen in the middle of the painting. There are still signs to be found for the reason why the two ends of the cover are in and out. The reason why the cut is rich but not timid, and solid but not empty, is because the bones are insightful and cannot be frustrated. Qing Dynasty. Bao Shichen's "Yizhou Double Collection"

3) If the pen is straight, the edge is hidden, and if the pen is sharp, the edge comes out. Song Dynasty. Jiang Kui's "Xu Shu Pu"

4) The pen must be lifted up at the point where it is started, so as not to let it collapse on its own. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

5) The ancients used the same pen when compiling, dividing, true, running, and cursive scripts. They must use the main front and occasionally use the side front to capture the beauty. The following are divided into books: eight are fronts, two are flanks, and one is completely unpredictable when it comes to compilation. Ming Dynasty. Fengfang's "Shu Jue"

6) The ancients often used force when writing large characters, so there were few boring spots in their calligraphy and painting from top to bottom. Nowadays, people tend to think dry theory is strange, but they don't know that this book is not valuable to those who are good calligraphers. It only touches the light parts of the Zhi brush strokes obliquely, and then there is this, the so-called side strokes to draw beauty, which is the taboo of calligraphy. Southern Song Dynasty. Chen Yu's "Records of Negative Noisy Wilderness"

7) Dong Wenmin said: Although calligraphers value the edge, they should not hide the edge by vagueness. Gai uses strength to gain momentum, and uses emptiness and harmony to capture rhyme. Yan Lugong said that it is like sealing with clay and like a cone painting with sand. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

8) However, if the direction is determined and the front turns, it will go in and out flatly, and the eight sides of the painting can only be reached by the slightest force. The words form a chapter. Qing Dynasty. Bao Shichen's "Yizhou Double Collection"

9) The pen is often flexible between the fingers, so the pen can be changed. If you encounter a turning point, you cannot change your pen, otherwise you will inevitably pass by with a twist. The painting must be a side edge and a flat shape. Just look at Huai Su's cursive writing. It's like a snake entering the grass, bending and extending freely, like a ball of iron wire, without any sideways movement. I also watched Lu Gong fight for seats. The whole paper was in a circle, with no side edge. The ancients said that Lu Gong all used circle pens, but in fact they all used replacement pens. Qing Dynasty. Wang Moxian's "Calligraphy Guide"

10) The ancients used the tip of the pen to complete each stroke, not to the point where it was lifted, but to use the stroke; the ancients were connected one by one. Rotate, focus on the paper, and there is no place where the millet falls. Qing Dynasty. Bao Shichen's "Double Collection of Art Boats"

11) The first thing to do at the connection point of word strokes is to be light and agile, with no trace of pen and ink, like an antelope hanging its horns. Scholars are skilled at work and have a sharp mind and hands. However, you need to be proficient in the convenience and you have to experience the twists before you can know the beauty of breaking hairpins. Wherever the darkness passes, you have to stay somewhere to walk. If you stay wherever you go, you will get really fast. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

12) The transfer of several paintings is about to be folded, and the self-rotation of one painting is more round; the same rotation, if used incorrectly, will cause illness, so do it separately , then it is legal. Qing Dynasty. Da Chongguang's "Shu Raft"

13) As soon as the front is on the paper, it is appropriate to switch: when drawing a person going down, turn the tube upward; when drawing a person going up, turn the tube downward; when drawing a person walking left, turn the tube right . Qing Dynasty. Bao Shichen's "Yizhou Double Collection"

14) The brush strokes in calligraphy and painting should be as if they are already established in the bones. Although the richness and fertility are different, each has its own body. "Junxi Collection" by Li Misun of the Song Dynasty

15) The main points of the book can be summed up in one sentence. Said: The pen is square and round. The square one is the folding method, which is the starting and ending point of the stippling wave. The square one is the finger, which is the bone of the character; the round one is the pen hovering in the air, which is the gesture, and the round arm and wrist are the tendons of the character. Qing Dynasty. Zhu Lvzhen's "Xue Shu Jie Yao"

16) The circle is used as a gauge to resemble the sky, and the square is used as a square to point to the earth. Square and circle interact with each other, just like yin and yang hide each other. Therefore, the pen should be round and the font should be square. The circle is the divine circle and cannot be stagnated; the square is the square, which cannot be clung to. Ming. "Lanting" uses circles, "Shengjiao" uses squares, and the two stickers are models of calligraphy for generations. The so-called rules of square and round are the best.

18) In terms of turning beams, the inside is square and the outside is round; in terms of pen quality, the bones are square and the flesh is round. This is a certain principle. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

19) If it is soft and moist, both fat and thin will be round, while if it is hard and dry, both long and short will be flat. Therefore, the curve and straightness are based on the temperament and reach the shape and quality; the roundness and flatness are based on the shape and quality and originate from the temperament. Qing Dynasty. Bao Shichen's "Yizhou Double Collection"

20) The round pen is used to lift, and then used to break out. Fangbi used the word "du" instead, and used the deed to express it. Use Jiao for round pens, and Fan for square pens. If a round pen is not Jiao, it will be weak, and if a square pen is not Fan, it will be sluggish. Modern times. Kang Youwei's "Guang Yizhou Double Collection"

Common sayings about calligraphy (latest edition)

1) Holding the pen low will be calm, and holding the pen high will be elegant. Qing Dynasty. Liang Xian's "On Writing"

2) Anyone who learns calligraphy must first learn to hold the pen. If it is a real calligraphy, remove two inches from the top of the pen. If it is cursive, remove three inches 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

3) The depth of the pen depends on the distance between the paper and the paper. The distance is superficial and weak, and the distance is the weight.

Tang Lu Xie's "Linchi Jue"

4) Anyone who wants to learn calligraphy must first learn to use a pen. The method of using a 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 follow the pen, which will be powerful. . Huang Tingjian's "Lun Shu"

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

6) If you want to hold the pen tightly and move the pen vigorously, you can't just move the pen. You should move it with your wrist. The pen is in the hand, and the hand does not control the movement; the movement is in the wrist, and the wrist is the main control. I don’t know how to persist. Sun Guoting has the method of "zhu".

7) Every book should be written step by step, and the key point should be at the beginning of writing, and the key point should be at the end of writing. The calligrapher's two words "tijian" 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"

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

9) The skillful and clumsy brushes should be used interchangeably. Skillful writing will make it flexible, while clumsy writing will make it muddy. If you combine them with each other, there will be no frivolous and turbid writing. "Painting Things Jinliang" by Qin Zuyong of the Qing Dynasty

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

11) Youjun's pen is weak inside, with most of the fronts, so the rules are strict and the spirit is immersive; Zijing's brushes are extended outwards, with half of the side fronts, so the spirit is relaxed and relaxed. wonderful. "Shu Jue" by Fengfang of the Ming Dynasty

12) If the wrist is upright, the front is straight, and if the front is straight, the power will be full on all sides. The second actual point is to control the actual strength of the muscles. If the palm is empty, it will be easier to use. Tang Dynasty. Li Shimin's "Brush Techniques"

13) Si Weng said: "Red Cliff Fu" written by Po Gong is all written with a straight front, trying to penetrate the back of the paper. At the end of each wave of painting, there is a faint trace of accumulated ink, such as Millet and rice cannot be conveyed by stone carvings. All of these uses ink to a very subtle level, which is also a secret that calligraphers should not pass on. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

14) The purpose of holding the pen is to be stable, and to use the pen is to be light and strong: if it is light, it will be heavy, if it is heavy, it will be astringent, which is called hiding the edge. "The True Story of Calligraphy" by Feng Wu of the Qing Dynasty

15) The calligraphy has the difference of hiding the front and emerging from the front. It is bright and full of Chu. It is better if the hands and tail should match each other, and the top and bottom should be connected. Song Dynasty. Jiang Kui's "Xu Shu Pu"

16) When using a pen, you must hide the sharp edge. If the sharp edge is not hidden, the writing will be diseased. If the disease is not gone, how can it be done? Tang Dynasty. Xu Hao's "On Calligraphy"

17) Naiwu uses the brush like a cone to draw in the sand, hiding the sharp edge, and the painting is calm. When he uses the brush, he often wants to let it penetrate through the back of the paper. This is a success. Extremely so. "Mo Sou" by Wei Xu of the Tang Dynasty

18) The so-called "unchangeable through the ages" refers to the texture of the brush, not the appearance of the brush. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

19) There are rules in learning and style in writing; otherwise, the meaning of writing will not be refined and the writing will lose its style.

20) The most important thing about the method of one word lies in the structure: the beauty of the method of one stroke lies in the beginning and end. The secret of structure lies especially in the subtlety of brushwork. Anonymous "Eight Methods of Yongzi"

Common Quotes on Calligraphy (Popular Edition)

1) A scholar who pays attention to his intentions can see his success in two months; a person with a spiritual nature can know his roots in a hundred days. Eastern Jin Dynasty. Wang Xizhi's "On Brushstrokes"

2) The method of life and death with the brush lies in seclusion. The late technique of writing lies in speed, and the fast technique of writing lies in delay. It is to go in and out, to use the momentum to increase the strength, to mediate the diagnosis and treatment, and to prefer silence. In order to obtain the wonderful things, one must have deep skills. Seeking for mysteries in a hasty manner will eventually be hard to come by. Zhang Huaiguan of the Tang Dynasty, "Ten Methods of Using the Pen"

3) Once you have mastered the art, you should strive for more refinement. Once you suddenly understand it, you will forget about the feelings between pen and ink, and the use of harmonizing the mind, and you will not know the things and the self. In the meantime, it combines with nature and comes into being, and then you can learn to write. "Detailed Theory of Calligraphy"

4) Everything will be accomplished if there is a will... Qing Dynasty. Liang Xian's "Study of Calligraphy"

5) Those who have genius may not be able to master it, and those who have magical bones will abandon all their skills. But if you have good points, don't forget to record them! Tang Li Sizhen "Shuhoupin"

6) When Yu Zhi was a student, he paid attention to calligraphy and ink, tasted Zhong, Zhang Zhiyue, Yixi, and presented the previous rules. He was very careful and specialized. He was more than two centuries old and had the art of being obedient to the wood. , the ambition to be near the pond forever. Tang Dynasty. Sun Guoting's "Shu Pu"

7) High rhyme and deep emotion, solid quality and majesty, one cannot be a book without the other. ?Liu Xizai's "Art Introduction"

8) The voice of the heart is also the heart of the calligraphy. ?Western Han Dynasty scholar Yang Xiong

9) The book should be clear and thick, and clear and thick books must be based on the heart. Otherwise, although the book is spared from being thin and muddy, it is just a reflection of others. ?Liu Xizai's "Art Introduction"

10) Where there is a screen, there is a clear trace of the original intention. Although it is dusty and stained, there are still thick ink marks. Strange rocks rush into the autumn stream, and ancient pines hang on cold vines. If you teach near the water, every word may become a dragon. ?"Cursive Screen" by Han Xi, a poet of the Tang Dynasty

11) It is better to have the tool at the right time, and it is better to have the right tool than to have the right intention. ?Sun Guoting's "Shu Pu"

12) Use the pen with the heart in mind, and the heart will be straight and the pen will be straight, and the pen will be right. ?Liu Gongquan

13) The dragon is powerful and the tiger is vibrating, and the sword is at war. ?Yuan Ang

14) The origin of the word is that the water of the Three Gorges flows backwards, and the pen array sweeps away an army of thousands of people alone. ?"Drunken Song" by Du Fu, a poet of the Tang Dynasty

15) I can't write this book. ?Northern Song Dynasty poet, lyricist and calligrapher Huang Tingjian's "Collected Works of the Valley"

16) Learning calligraphy can lead to long-term knowledge.

?Zhang Yanyuan

17) A straight heart means a straight pen. ?Northern Song Dynasty writer Su Shi's "Book of Six Families of the Tang Family"

18) Scholars in modern times mostly study modern books and do not study ancient books. Then I felt that it was not as good as it was. How could it be that the ancient people's human mind was not transmitted but the scale and shape were similar, so it was not enough to understand its wonderfulness. "Fu Zhi Collection" by Zhou Xingji of the Song Dynasty

19) If you learn half of what you learn and spread half of it, you don't have to learn it all. Qing Dynasty. Zheng Banqiao

20) Scholars should be cautious and should not be deceived by the ancients.

Qing Dynasty. Wu Dexuan's "Essays on Calligraphy at Chuyuelou"

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