1. Use white cloth at intervals, both near and far. ——Wang Xizhi

2. Beginners should first establish the general structure, place it horizontally and vertically, and treat the cloth and white to make sure they are even. ——Ouyang Xun

3. If you want to write a book, anticipate the shape of the characters and arrange them to make them stable, or unexpectedly create them and make them have different trends. This is called cleverness. ——Yan Zhenqing

4. If the sparse places are full, the dense places will be lifted; if the flat places are full, the dangerous places will be lifted; if the places are full, the fat will be fat, and if the places are full, the lift will be thin. ——?Chen Yi

5. Evenly distribute the stippling, match the distance and nearness, spread and refine, blend the brush and ink; the sharp edges come and go, and the density and density are connected. ——Wang Xizhi

6. Yan Yang and back; that is, the two characters are combined into one character, and it is necessary to draw the upward and downward Yan Yang with the force of separation and combination. ——Zhang Huaijin

7. When the two characters are combined 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, and short is better than long. ——Wang Xizhi

8. There are three kinds of cloth white; the cloth white in the word, the cloth white in each word, and the cloth white in the lines. When you are new to learning distribution, you must stop evenly; once you know it is still even, you need to seek changes, such as diagonal, straight, dense and scattered. ——Jiang He

9. People are at ease with books. There are thousands of shapes and forms, but nothing can be said about neutrality. Said fat. It's just that I'm thin. If the length of the book should be in harmony, the weight should be balanced, the yin and yang should be appropriate, the hardness and softness complement each other, and the person who talks about the appearance of the world will be neither fat nor thin. Neither long nor short is beautiful. ——Xiang Mu

10. The stippling is like a rock falling from a peak, and the bump is like a collapse; the horizontal painting is like a cloud formation thousands of miles away, but it is faint and tangible; the vertical painting is like a long-lived withered vine; the floating painting is like a land. The broken rhinoceros is like a broken rhinoceros; the strokes are like crashing waves and thunder rushes; the oblique hooks are like the hair of a hundred Jun crossbows; the horizontal folds are like the tendon joints of a powerful crossbow; each word is a character, each of which resembles its shape. This is a wonderful creation, and the calligraphy is complete.

——?Mrs. Wei