What are the calligraphy works of four-character inspirational quotes

God rewards hard work, diligence is better than hard work, hard work can make up for hard work, famous quotes in calligraphy after hearing the chicken dance

▲Words, Voices from the heart; books, paintings from the heart. The sounds and shapes are seen by gentlemen and villains. Sound and painting are the reasons why gentlemen and villains are emotional. ——Yang Xiong's "Dharma Statement"

▲The depth of the pen depends on the distance of the paper. The distance is superficial and weak, and the distance is the weight of the front. "Linchi Jue" by Lu Xie of Tang Dynasty

▲If you want to learn calligraphy, you must first learn to use the pen. The method of using the pen is to hook your hands back to the wrist, use the empty palm to point to the real point, and use the ring finger to follow the pen, which will be powerful. Huang Tingjian's "On the Book"

▲The so-called rules are: pressure, hook, uncover, resistance, and guidance. The Five Dynasties. Li Yu's "Shu Shu"

▲Youjun's pen is inward, mostly at the front, so the rules are strict and fascinating; Zijing uses the pen to extend outward, with half of the side front. Therefore, the spirit is relaxed and wonderful. Ming Dynasty. Fengfang's "Shu Jue"

▲Writing is about stability, while using the pen is about lightness and strength: 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

▲The characters have the difference of hiding the front and emerging from the front. Song Dynasty. Jiang Kui's "Xu Shu Pu"

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

▲Nai Wu uses the brush like a cone to draw on the sand, hiding the sharp edge, and the painting is calm. When he uses the brush, he often wants to let it penetrate the back of the paper. This is the success Extremely good. "Mo Sou" by Wei Xu of the Tang Dynasty

▲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"

▲There are rules in learning and style in writing; otherwise, the writing style will not be refined and the writing will lose its style. The beauty of one-word technique lies in its structure; the beauty of one-stroke technique lies in its beginning and end. The secret of structure lies especially in the subtlety of brushwork. Anonymous "Eight Methods of Yongzi"

▲Jiang Neng can use this pen in the right way, use it sideways, use it smoothly, use it seriously, use it lightly, use it empty-handedly, practical, capture it firmly, draw it vertically, tighten it tightly, and open it up. , the whole body is full of skills, all controlled by the sharp edge of the pen tip, it is a perfect match. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

▲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"

▲If the pen is straight, the edge is hidden, and if the pen is sharp, the edge comes out. Song Dynasty. Jiang Kui's "Sushu Pu"

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

▲The ancients used the same pen for compilation, including Fen, Zhen, Xing, and cursive scripts. They must mainly use the front edge, and sometimes use the side edge 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"

▲The ancients used to turn the brush point by point to complete the painting. They did not use the stroke to reach the dragging point. Rotate, focus on the paper, and there is no place where the millet falls. Qing Dynasty. Bao Shichen's "Double Collection of Art Boats"

▲The first thing to do at the connection point of the word strokes is to be light and agile, with no trace of writing or 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 and turns before you can understand 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"

▲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. It is legal for ears. Qing Dynasty. Da Chongguang's "Shu Raft"

▲As soon as the front is on the paper, it is appropriate to switch: when drawing a person going down, the tube is turned upward; when drawing a person going up, the tube is turned downward; when drawing a left person, the tube is turned right. Qing Dynasty. Bao Shichen's "Double Collection of Art Boats"

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

▲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 dotted wave. The square shape is the finger, which is the bone of the word; the round shape is the pen hovering in the air, which is the gesture, and the round arm and wrist are the tendons of the word. Zhu Lvzhen, Qing Dynasty, "The Essentials of Learning Calligraphy"

▲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, which cannot be stagnant; 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 circle are the best.

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

▲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 "Double Collection of Art Boats"

▲The round pen is used to lift, and then it is drawn out with a pause. 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 "Guangyi...>> What are the famous quotes about calligraphy

▲Words are the voice of the heart; calligraphy is the painting of the heart. The sounds and shapes are seen by gentlemen and villains. Sound and painting are the reasons why gentlemen and villains are emotional. ——Yang Xiong's "Dharma Statement"

▲In calligraphy and painting, the first priority is character, and his moral integrity is excellent. Not only does everyone value his writing, but he also admires his person. ——"Yiyuan Painting Theory" by Songnian of the Qing Dynasty

▲A person who stands upright has an upright and bright outlook outside of his pen and ink. ——Wang Yu of the Qing Dynasty

▲The vastness and falling mood are all reflected in the brush and ink. The so-called high quality means that the rhyme is self-contained. ——Zhang Yuan's "Quotations from Shi Tao's Paintings"

▲The ancients said about calligraphy: One must be of high character, and the other must be to learn from ancient methods. This is the method of calligraphy. Scholars have learned it, so they should be familiar with it. You must first cultivate all the virtues so that they become familiar to you. The virtue is familiar to the body, and the writing is in the hands. In this way, it becomes a book. ——"Three Flavors of Calligraphy"

▲Students of calligraphy have two views: observing things and observing myself. Observe things to resemble emotions, observe me to understand virtue. ——Liu Xizai's "Art Summary" of the Qing Dynasty

▲Mortals have different qi, blood, muscles and bones. The heart is dense and dense, and the hand is clumsy. The beauty and ugliness of writing lie in the heart and hand. ——Tang Zhang Yanyuan's "Book of Dharma"

▲Hushu is endowed with human nature, and those who are sick cannot be made to suffer from illness: those who are sick cannot be made to suffer from illness. ——Cai Yong of the Eastern Han Dynasty, "The Calligraphy Instructed by the God of the Stone Chamber"

▲Rectifying calligraphy rectifies people's hearts, and it also rectifies the holy way. ——Ming. ——Liu Xizai's "Art Summary" of the Qing Dynasty

▲Academic classics and discussions all originate from the heart. If the heart is not right, everything will be wrong. Liu Gongquan said: If the heart is right, the pen will be right. ——Ming. ——Liu Gongquan

▲The book is like Ye, like his learning, like his talent, like his ambition, in short, just like his person.

The book must 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 Overview" of the Qing Dynasty

▲It is better to have the tool at the right time, and to have the right tool than to have the right intention. (It is better to achieve the will than to achieve the Tao.) - Sun Guoting's "Calligraphy" of the Tang Dynasty

▲Calligraphy is just a skill, but the first step is to establish a good work. Those with high quality will have a clear, elegant and upright spirit in each stroke; those with low quality will be impressive even though they are passionate and frustrated, but their vertical and horizontal rigidity will inevitably show up. ——Zhu Hegen's "Linchi Xinjie" of the Qing Dynasty

▲Everyone who is good at calligraphy and painting has good character and learning. When he is an official, he pays more attention to his political achievements and reputation, so he will be valued in future generations. ——Song Nian of the Qing Dynasty, "On Painting in the Summer Palace"

▲The nature of the brush and the emotion of the ink are all based on the human temperament. This is the first task of writing with rationality and emotion. ——Liu Xizai's "Art Overview" of the Qing Dynasty

▲Hands and divine luck, art comes from experience. His ambition is set in the book, his crown cannot be moved, his poverty and humbleness cannot be surrendered, he is proud and contented, and he will live his whole life. ——Song Dynasty. Zhu Wenchang's "Sustained Book"

▲When you want to write, you should listen to it instead of watching it, concentrate your mind without any worries, and have a righteous and peaceful mind, then it will be in harmony with the wonderful. If the mind is not right, the writing will be slanted; if the ambition is not harmonious, the writing will fall down. ——Tang Dynasty. Yu Shinan's "Bi Mui Lun"

▲The heart of looking at the world, the emotion of advocating the saints, resolving doubts, and reasoning about the differences between the secular and the Confucian. ——Eastern Han Dynasty. Zhao Yi's "Fei Cursive Script"

▲Happiness means that the Qi is gentle and the characters are relaxed, anger means that the Qi is thick and the characters are dangerous, sadness means that the Qi is depressed and the characters are condensed, and joy means that the characters are flat and the characters are beautiful. The emotions are heavy and light, so the words are calm, gentle, beautiful, deep and shallow, and the changes are endless. ——Yuan Chen Yizeng's "Essentials of the Hanlin Academy"

▲There are good and ugly people in appearance, but the attitude of a gentleman and a villain cannot be concealed. Books are clumsy in workmanship, but the heart of a gentleman and a villain should not be messed up. ——Su Shi's "On Calligraphy"

▲High rhyme and deep emotion, strong quality and majestic spirit, neither of which can be missing can make a book. ——Liu Xizai's "Art Summary" of the Qing Dynasty

▲The writer is the rest of the heroes, and the urgent task of the article. Although it is a Tao, both the virtuous and the unworthy can learn it. However, there are always many virtuous people, and there are often few unworthy ones. How can it be that the unworthy people can do it and the wise people are abandoned suddenly? ——Song Dynasty. Zhu Wenchang's "Sustained Book"

▲There is no shortage of people who write about morality, merit, articles, and integrity. Those who comment on the world admire their people and pay more attention to their books, so the writers will remain immortal through the ages. -- Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲The lady's spirit is in all things, and her heart is in all the bones. Therefore, what arises from the heart is accumulated as morality, manifested as economics, established as virtue, established as moral integrity, proclaimed as articles, and carried out as handwriting. ——Ming. ——Ming. The words are clear, the movements are convenient, and there are countless handsome and fashionable heroes. The old man is the strength of the book, the young man is the beauty of the book. The strength of the muscles is still strong, the appearance is noble and beautiful, if you know it well, you will be good, if you break it, you will be good. It is harmonious and clear, and a few of them are written down.

If it is grand in scale, graceful in meaning, restrained... >> What type of calligraphy is suitable for hanging in the boss's office (famous quotes, four-character quotes, poems are all acceptable, it should be grand and stylish)

Company The boss is the core and soul of the company, and needs to drive the development direction and core motivation of the entire company. It is the engine of the company's overall deployment and strategy, so the layout of calligraphy and painting in the boss's office is quite particular.

1. Recommended four-character idioms for office calligraphy: "Heaven rewards those who work hard", "Dragon-horse spirit", "Across the world", "Aim high", "The sea embraces all rivers", "Be kind and generous" , "Quiet and far-reaching", "The best is like water", "Stop at the best", "Reach for the best", "Exhibit great ambitions", "Gold comes from treasure land", "Purple energy comes from the east", "Look far ahead", "Success is imminent" , "Smooth sailing", "Hongye takes off", "Hongye prospers", "Business rewards trust", "Sincerity prospers", "Integrity wins", etc.

2. Recommended classic poems for office calligraphy content: "Spring Snow in Qinyuan", "Spring in Qinyuan Changsha", "Nian Nujiao Nostalgia on Chibi", "Ode on Red Cliff", "Man Jiang Hong", "Bu Suanzi Yong Mei" , "Viewing the Sea", "Inscription on a Humble Room", etc.

3. Recommended famous quotes for office calligraphy content: "If you are careful at the end, you will never fail", "God rewards hard work, humanity rewards kindness, and business ethics rewards trust", "The sea is open to all rivers, and it is great to be tolerant. Standing on a wall for thousands of years means you have no desires." "Make high aspirations and make middle-level connections to enjoy low-level blessings. Choose a high place, seek a flat place to live, and walk toward a wide place." "Small victory depends on wisdom, and great victory depends on virtue." "Tranquility "Zhiyuan, indifference and clear ambition", "Quietness cultivates one's morality, frugality cultivates virtue", "Integrity wins the world", "Where there is a will, things come true", etc.

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Four-character inspirational idiom calligraphy banner slogan

< p> Many, too many to mention! Famous calligraphy aphorisms

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 lines. Beginners to learn distribution, all must stop evenly; once you know the stop is even, look for changes, oblique The sparse places are full, and the dense places are lifted; the flat places are full, and the dangerous places are lifted; the full places are fat, and the high places are thin. Wang Xizhi: Evenly distribute the stippling, and the distance and near are related, sowing The cloth is ground and finely blended, and the pen and ink are blended; the sharp edges come and go, and the denseness and density are connected. Xiang Mu: People are good at writing. Thousands of shapes and shapes can only be called neutral. It is called fat. It is called thin. If the book is long and short, the weight should be balanced. , yin and yang are appropriate, hardness and softness complement each other, and according to the world's theory, a person is neither fat nor thin. Neither long nor short is the beauty. Zhang Huaijin: Yan Yang to the back; that is, the two characters are combined into one character, and it is necessary to draw up and down with Yang Yang. The power of clutching and joining. Wang Xizhi: 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. Mrs. Wei: Stipple painting is like a stone falling from a peak, and the bump is like a collapse. ; The horizontal painting is like a thousand-mile formation of clouds, but it is faintly tangible; the vertical painting is like a long-lived withered vine; the horizontal painting is like a rhinoceros with a broken land; the horizontal painting is like the crashing waves and thunder running; the slanted hook is like the hair of a hundred Jun crossbows; the horizontal painting is like a powerful crossbow tendon. Each word is a character, each of which resembles its own shape. This is a wonderful creation, and the art of calligraphy is complete.

●The calligraphy originated from nature (Cai Yong, Han Dynasty)

●Silent Sound, invisible form (Tang Dynasty, Zhang Huaijin)

●If you study books, knowledge can go far (Tang Dynasty, Zhang Yanyuan)

●Mysterious meaning comes from the surface of things; deep and profound The truth lies in the dark; how can ordinary emotions be expressed, and worldly wisdom can be measured (Zhang Huaijin of the Tang Dynasty)

●It may be used to express the ambition of flying vertically and horizontally, or it may be used to relieve the depressed mood. .Although it is noble, it cannot restrain its height; even though it is clever, it cannot match its power (Zhang Huaijin of the Tang Dynasty)

●Don’t write too hard, and don’t pass words randomly

●Writing is like a picture of a dog , the more you describe it, the uglier it gets

●Words are afraid of practicing, horses are afraid of riding

●Words cannot be written for a hundred days

●Fists need to be punched, and words need to be practiced

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●The character must be bone-like, the flesh must be wrapped around the tendons, and the tendons must hide the flesh, so that the tie is beautiful and moist (Mi Fu, Song Dynasty)

●One point is the rule of one character, and one character is the final chapter. Accurate (Sun Guoting, Tang Dynasty)

●The pen is bald with thousands of pipes, and the ink is grinding thousands of ingots (Su Shi, Song Dynasty)

●The pen is drawn hard, like a swan flying high, and the ink is thin. Pianpian (Jin Dynasty Wei Heng)

●As graceful as a silver hook, the source is like a startling Luan (Jin Dynasty Suo Jing)

●Floating like floating clouds, as powerful as a frightening dragon (Book of Jin Dynasty)

●The dragon leaps over the Tianmen, the tiger lies in the Phoenix Pavilion (Southern and Northern Dynasties·Xiao Yan)

●Clouds and cranes wander in the sky, and the flocks of hongs play in the sea (Southern and Northern Dynasties·Xiao Yan)

< p> ●The dragon is mighty and the tiger is vibrating, the sword is at war (Yuan Ang in the Southern and Northern Dynasties)

●The body is extraordinary, different from the past. The pearls and jade are falling, and the fluttering tassels are set (Zhang Huaisheng of the Tang Dynasty)

●Like the breeze coming out of the sleeves, the bright moon entering the arms (Li Sizhen, Tang Dynasty)

●The dragon and snake in the pen seem to have gods (Zhang Huaijin, Tang Dynasty)

●The brush strokes are like clouds of smoke (Du Fu, Tang Dynasty) )

●Always see dragons and snakes running away (Li Bai, Tang Dynasty)

●If you teach by the waterside, every word may become a dragon (Han Wo, Tang Dynasty) Famous aphorisms about calligraphers

There are pens in calligraphy characters just like there are eyes in Zen sentences - Huang Tingjian

Copy some more

●Books originate from nature (Cai Yong of the Han Dynasty)

●Silent voice, invisible appearance (Tang Dynasty, Zhang Huaijin)

●Studying books will lead to knowledge and learning can go a long way (Tang Dynasty, Zhang Yanyuan)

●The mystery of The meaning comes from the surface of things; the deep principles lie in the darkness; how can it be ordinary feelings

What can be said can be measured by worldly wisdom (Tang·Zhang Huaijin)

●It may be used to convey the ambition to achieve great things, or it may be used to relieve depression. Although it is noble, it cannot suppress its height.

Even though it is wonderful, it cannot be compared to its power (Zhang Huaijin of the Tang Dynasty)

The person who writes is also the person who writes the mind. ——Liu Xizai's "Art Summary" ●One point becomes one word, and one word is the final word (Sun Guoting, Tang Dynasty)

Right calligraphy is the right way to people's hearts, so it is also the holy way. ——Xiang Mu's "The Elegant Words of Calligraphy"

The heart of looking at the world, the emotion of recommending saints, resolving doubts and reasoning, and reasoning about the differences between vulgar and Confucianism. ——Zhao Yi's "Non-Cursive Script"

Those who learn calligraphy have two views: one is to look at things and the other is to look at myself. Observe things to resemble emotions, observe me to understand virtue. ——Liu Xizai's "Art Summary"

Academic classics and theories all originate from the heart. If the heart is not right, what it does will be wrong. Liu Gongquan said: If the heart is right, the pen will be right. ——Xiang Mu's "The Elegant Words of Calligraphy"

Mortals have different qi, blood, muscles and bones. The heart is dense and dense, and the hand is clumsy. The beauty and ugliness of writing lie in the heart and hand. ——Zhang Yanyuan's "Book of Dharma"

When you want to write a book, listen to it instead of watching it, concentrate without any worries, and keep your heart upright and peaceful, then it will be in harmony with the wonderful. If the mind is not right, the writing will be slanted; if the ambition is not harmonious, the writing will fall down.

——Yu Shinan's "Bi Mui Lun"

There are good and ugly people in appearance, but the attitude of a gentleman and a villain cannot be concealed. There are arrogance in words, but the spirit of a gentleman and a villain cannot be deceived. Books are clumsy in workmanship, but the heart of a gentleman and a villain should not be messed up. ——Su Shi's "Book Theory"

Happiness means that the Qi is gentle and the words are relaxed; anger means that the Qi is thick and the words are dangerous; sadness means that the Qi is depressed and the words are condensed; joy means that the words are flat and the words are beautiful. There are heavy and light feelings, and the words are calm, gentle, beautiful, deep and shallow, with endless changes. ——Chen Yizeng's "Essentials of the Imperial Academy" What famous quotes and sentences about character and morality are the four words about calligraphy

The words are like the people. In fact, it originated from a famous saying by the Western Han Dynasty writer Yang Xiong: " The meaning of this sentence is that calligraphy is a depiction of human psychology, using lines to express and express the author's emotional changes. "A word is like its person" means that people and words, words and people, two become one, one becomes two, like fish and water blending together, seeing words is like seeing people.

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