Su Shi's calligraphy focuses on writing "meaning" and following his own path. Huang Tingjian, one of the "Four Scholars of the Soviet Union", said, "His writing is beautiful... When he is drunk and dissolute, he forgets about his craftsmanship, and his handwriting is particularly thin and strong... As for his writing style, which is round and rhyming, he can use his articles to enlighten the world, and his loyalty runs through the sun and the moon. "The Qi of this dynasty's best books should be ranked first." The charm can be said to be the greatest feature of his calligraphy. Dong Qichang of the Ming Dynasty even praised him for "using the full front, which is the Orchid Pavilion of Po Gong". It is said that the beauty of Su's calligraphy is "the beauty lies in the hidden front", "the strength of the pure ancient way", "the body is solemn and peaceful, the atmosphere is graceful", "the skill is hidden in the clumsy", and it is the style of a master who is "powerful and full of spirit". And his theory of calligraphy and allegorical meanings are even more incisive, which is not only seen directly by the current generation, but also serves as a model for future generations.
Su Shi was implicated in the Yuanhu Party member case. Not only was there no record of him in the Xuanhe Calligraphy Book, but a large number of his calligraphy works were also destroyed. There are nearly 30 authentic works of Su Shi's calligraphy handed down from generation to generation, among which "Zhi Ping Tie" is the best among his early and middle works. There is a clear postscript of Zheng Ming at the end of the post, which is believed to have been written when he was in his 30s. In the middle period, there were many famous works, such as "Qian Chibi Fu" and "Ji Dao Wen" in regular script; "Du Fu's Alder Wood Poems", "Huangzhou Cold Food Poems" and "New Year's Celebration, People Come to Get Two Letters" in running script They are all masterpieces of the mid-term. Su Shi wrote very few regular scripts. It can be seen from the two works of "Qian Chibi Fu" and "Ji Huang Jidao Wen" that the calligraphy is very different from the rigorous Tang regular script. Not only are the fonts often sideways and tilted to the left, but the writing style is also natural and informal. Bring more calligraphy meaning. Some people say that in his calligraphy, the wrist is held and the pen is lying down, so the left side is beautiful and the right side is dry. Huang Tingjian defended it, saying that it viewed Su Shu based on "the standard of rope ink used by Hanlin officials". In other words, Su Shi did not emphasize the rigor of calligraphy, even in regular script. Judging from the ink marks, Su's calligraphy is not a "lying pen", but he holds the pen slightly downward and still uses the center of the pen, so it has a round and graceful appearance. His running script is of the size of a traveler, with strong flesh and strong bones, clumsiness hidden in skill, and has the characteristics of Yan Zhenqing and Yang Ningshi. In the history of calligraphy, when it comes to calligraphy in the Song Dynasty, there are four great calligraphers: Su, Huang, Mi and Cai. The four of them are considered to be typical representatives of the calligraphy style of the Song Dynasty. Among the "Four Song Schools", the first three refer to Su Shi (Dongpo), Huang Tingjian (Fu Weng) and Mi Fu (Xiangyang Manshi). Judging from the calligraphy style, Su Wu is plump and innocent; Huang Tingjian is vertical and horizontal, high-spirited and hidden; Mi Fu is handsome, bold, calm and joyful. They were all good at learning from the ancients and full of innovative spirit. Their calligraphy style was unique and highly praised by people at that time. They were listed among the four schools without any objection. Only "Cai", who is listed at the bottom of the four families, refers to whom, but there has always been controversy.
It is generally believed that the so-called Cai refers to Cai Xiang (Jun Mo). His calligraphy is based on the Jin and Tang Dynasties, and pays attention to ancient meanings and laws. Its regular script is dignified and calm, its running script is pure and graceful, and its cursive script uses the Feibai method, which is called "scattered grass". It is self-contained and very exquisite. Hong Renzong especially loved his calligraphy. He once "made the inscription on the stele of his uncle Yuan Dynasty, the King of Longxi, and ordered it to be written on it", and "had the calligraphy warmed up to become the stele of his father-in-law" ("History of Song Dynasty: Biography of Cai Xiang"). Cai Xiang's calligraphy art was also valued by the literati at that time. Huang Tingjian once said: "Su Zimei and Cai Junmo are both heroes of calligraphy." ("Valley Collection") Ouyang Xiu said: "Junmo is alone in the world, but he is humble and refuses to lead an alliance." ( "Ouyang Wenzhong Gongji") Su Wu pointed out in "Dongpo Inscriptions and Postscripts": "Ducai Junmo is highly talented, has profound knowledge, has a good mind and hand, and has endless perversions, so he is the first in this dynasty." Since he is "the first in this dynasty." "One", since his calligraphy can "lead the alliance", then it is well deserved to be listed among the four. However, since the Ming and Qing Dynasties, there has been another theory: judging from the order of the four families and the characteristics of the calligraphy style of the times, "Cai" originally referred to Cai Jing, but later generations disliked him as a person, so they replaced him with Cai Xiang. he. Zhang Chou, a connoisseur of calligraphy and painting in the Ming Dynasty, said in "Qinghe Painting and Calligraphy Boat": "Those who were called Su, Huang, Mi, and Cai in Song Dynasty books were also in Weijing. Later generations hated his behavior, so they went to the palace and went to Jun Mo Shu'er. Jun Mo was in front of Su and Huang, and should not be listed after Yuan Zhang. He is undoubtedly a Jing. Jun Mo, then the predecessors are inverted..." ("Postscript of Calligraphy and Painting") An Shifeng's "Mo Lin Kuai Shi" further defended Cai Jing's injustice, saying; Cai Bian is better than Cai Jing, and Cai Jing is better than Cai Xiang, "Today's Knowing that there is a ban but not knowing that there is another Cai, it is called luck and misfortune." "Su Huangmi, Cai Fei, and Cai Xiang" was also cited as an example of "human corruption" in "The Sequel to the Corruption Series" written by Hang Shijun of the Qing Dynasty. It can be seen that "Cai Jing's Theory" had great influence during the Ming and Qing Dynasties. To be fair, the proposal of "Cai Jing's theory" does have some truth. Cai Jing's calligraphy art is characterized by grace, boldness, joy and calmness. Compared with Cai Xiang, who preserved more "ancient methods", Cai Jing's calligraphy seems to be more innovative and better reflects the "Shangyi" calligraphy of the Song Dynasty. Aesthetic appeal. Therefore, he already enjoyed a high reputation at that time, and many people in the government and the public studied his calligraphy. The "Shu Shi Hui Yao" of Yuan Tao Jiayi once quoted a commentator at the time as saying: "His writing is strict but not formal, and it is relaxed but not formal. His formal writing is like a gentleman with a crown and sword, discussing in the temple; his running writing is like that of a noble prince, with high spirits and high spirits. The brilliance is striking; the large-character crown is the most popular today, and there are few couples." It reflects Cai Jing's status in the art of calligraphy at that time. Secondly, Cai Xiang's calligraphy was regarded as "the best in this dynasty" in the early Northern Song Dynasty. However, since the new style of Song Dynasty calligraphy was formed in the middle of the Northern Song Dynasty, people gradually criticized Cai Xiang's calligraphy. In "Dongpo's Inscriptions and Postscripts", Su Dongpo mentioned many times that "those who have discussed Jun Mo's calligraphy in recent years have quite different opinions" and "I regard Jun Mo as the best in the world, but some commentators may not be the same." Although Su Shi always insisted that Cai Xiang was the first, at least in the middle and late Northern Song Dynasty, people's evaluation of Cai Xiang was no longer so consistent.
Thirdly, judging from the order of arrangement, there is an obvious age order among the three families of Su, Huang and Mi. Cai Xiang was from Renzong's time and was the oldest. He was listed after Mi Fu who was under Zhezong and Huizong. There are indeed some doubts. In this regard, those who adhere to the "Cai Xiang theory" refute, arguing that although the theory of the "Four Schools of Song Dynasty" has not been found in Song literature so far, Wang Cun, a survivor of the Southern Song Dynasty and a native of the Yuan Dynasty, has clearly put forward the theory of the "Four Schools". In his ink ink "Postscript Cai Xiang Tao River Stone Inscription", he said that Cai Xiang's calligraphy "is sparse in writing and self-contained. It was one of the four calligraphers at that time." After tasting and commenting, Dongpo Hunhao has the strongest look, while Fu Weng is thin and hard. Through the mind, Xiangyang changes vertically and horizontally, but it is better to put the pen down. If you are indifferent and use the rope and ruler to see, you will be free to look at the three schools, and you will not rely on the middle." It can be seen that Wang Cun not only pointed out that there were four schools at that time, but also that the four schools were unmistakably Su, Huang, Mi, and Cai. In addition, in the history of calligraphy, Cai Xiang is famous for his comprehensive achievements in calligraphy. He is unique in regular script, running script and cursive script. He also abandoned calligraphy and contributed to the revitalization of calligraphy style. Therefore, overall, his achievements obviously surpass Cai Jing's. . As for the order of arrangement, Zhang Boju, a recent scholar, once pointed out in the article "Song Family Letters" that "the order should be Cai, Su, Mi, Huang, and the general reading is Su, Huang, Mi, Cai, with Yin and Yang going up to the sun, It becomes a habit." This shows that this arrangement is only formed by the smooth pronunciation and has nothing to do with the seniority of the four families. It seems that "Cai Jing's theory" is not nonsense, and "Cai Xiang's theory" is also reasonable and well-founded. Since Cai Jing is one of the "six thieves", it is difficult for people to accept him emotionally, so people tend to lean towards Cai Xiang's theory. However, the final conclusion on this issue seems to await confirmation from Song Dynasty documents. Isn't Cai Jing's handwriting very good? Cai Xiang, born in 1012 and died in 1067, was a calligrapher in the Northern Song Dynasty. His ancestor, named Junmo, was originally from Guangzhou. He later lived in Xianyou, Xinghua (now part of Fujian), and then moved to Putian. He became a bachelor at Duanming Palace and learned about Hangzhou. Posthumous title Zhonghui. Good calligraphy, correct work, line and cursive writing, and good at Zhang cursive writing. He learned calligraphy from Yu Shinan and Yan Zhenqing, and also from Jin Dynasty. The regular script is solemn and steady, the running script is gentle and charming, and the cursive script uses the flying white method. Together with Su Shi, Huang Tingjian and Mi Fu, they are known as the "Four Song Dynasty Schools". "Dongpo's Inscriptions and Postscripts" states that "'Cai Junmo is the only one in the world'. This is the ultimate theory. Junmo is first in running script, second in small regular script, and third in cursive script. Focus on his strengths and weaknesses. The big characters are small and sparse, and his talent is both High, supplemented by diligent study, he is unique in the world." Mi Fu's "Hai Yue's Quotes" commented that his book is "like a young woman, with a delicate body, slow walking, and many decorations." The handed down ink is "Xie Ci Yu Shu". Poems" and letters, poetry manuscripts, etc. The inscriptions include "The Story of Wan'an Bridge", "The Story of Zhoujintang", etc. He is the author of "Tea Records", "Litchi Pu", and "Cai Zhonghui Gongji" compiled by later generations. "Poem of Thanking the Imperial Letter", also known as "Zi Shu Xie Biao and Poems" and "Introduction to Poems", is a regular script ink written by Cai Xiang. The content recorded in the post is roughly that the emperor bestowed the word "Jun Mo" on Cai Xiang. Cai Xiang was so grateful that he wrote a poem to the emperor to express his gratitude. Paper, regular script, a scroll of inscriptions, and an ancient poem. There are 38 lines, each line has a different number of words, with a maximum of 320 words. The length is 24.8 cm and the width is 107.9 cm. Collection of the National Palace Museum, Taipei. Recorded in "Shigutang Calligraphy and Painting Collection" and "Moyuan Huiguan". The regular script of this post is the careful work of Cai Xiang. Because he is extremely talented, knowledgeable, upright, and meticulous, his regular writing is rigorous, his writing is meticulous, and everything is exquisite, striving to catch up with the flat and implicit style. Gu Fu's "The Spectacular Life" of the Ming Dynasty: "The official calligraphy is written on white paper, without any formal hatred, and is graceful and graceful. This man is also the first in regular script." Cai Xiang's calligraphy is listed together with Su Shi, Huang Tingjian and Mi Fu One of the "Four Families". Wang Mang, a native of the Yuan Dynasty, compared the strengths of the four calligraphy schools in his "Postscript on Cai Xiang's Zhaohe Stone Inscriptions" and spoke highly of Cai Xiang's calligraphy. "The writing power is sparse and vertical, and it is integrated into one. At that time, it was one of the four majors. From a personal review, Dongyue Hunhao has the strongest look, Fu Weng is thin and hard, and has a spiritual mind. Xiangyang changes vertically and horizontally, but all must be based on the best pen.
If you are doing something that is tied to the ruler by sight, even if you are self-sufficient, but by looking at the home, then you will not rely on Zhongzheng." Cai Xiang (1012-1007), courtesy name Junmo, was a traveler from Xinghua, Fujian Province. He once served as a stay-at-home official in Xijing. Lei Guan knew the Admonition Court, Zhishi Museum, and Jianxiu and lived there. Zeng moved to Hangzhou with the bachelor of Duanming Palace. Among the four great masters of the Song Dynasty, Cai Xiang was the oldest and most senior, so he was highly praised and respected by his contemporaries. "History of the Song Dynasty: Biography of Cai Xiang" says: "Xiang was the first in calligraphy at that time. Renzong especially loved him and made the inscription on the Monument of the Longxi King of Yuanjiu. He was ordered to write it." Su Shi, among the four great masters, believed that "Cai Junmo was the first in modern times" and "Cai Junmo alone was the first in this dynasty because of his high talent, profound knowledge, corresponding mind, and endless perversions." (Volume 9 of "Collected Works of Mr. Huang in Yuzhang") Huang Tingjian also believes that "Su Zimei and Cai Junmo are both heroes of calligraphy and calligraphy." Cai Xiangzhen, Xing, Cao and Li can all be considered excellent products. However, among the various calligraphy styles, there are still levels of quality. Later generations commented that his calligraphy is "the best in running script, followed by small regular script, secondly in cursive script, third in large characters, thirdly in official script, small in inferiority, and sometimes in out-of-focus script." Since the cloud has the power of a flying dragon and a dancing phoenix, those who know it will not think it too much." (Volume 4 of "Dongpo Tipo".) His calligraphy adheres to the laws of the Jin and Tang Dynasties, has ancient meanings, and emphasizes skills. Weizong of the Song Dynasty said that he "contains the laws and stops hoarding sharp edges, just like Lu Gong of the Song Dynasty." ("Yan Xing".) Yu Xiu of the Yuan Dynasty even believed that he was the last person in the Song Dynasty who could abide by the ancient law: "Most of the books written by people in the Song Dynasty, starting from Cai Junmo and above, still have the meaning of the previous generation. After that, the slopes and valleys came out, and they became popular. The laws of the Wei and Jin Dynasties have been exhausted." ("Taoyuan Collection of Ancient Records".) Cai Xiang's running script is varied, and his running script works include eleven "Self-written Poems". The font is small in diameter and graceful in posture.
At the beginning, the lines are in regular script, then they become cursive, and finally they are free and flowing, turning into grass. Although there are changes in the whole volume, the style is natural, free and handsome, with a charming wind, and is quite similar to the style of "Orchid Pavilion". Cai Xiang's cursive calligraphy was deeply influenced by Yu Shinan of the Tang Dynasty, and its structure is clear, powerful and long. In the work "Spring Calligraphy", the writing style is ups and downs, smooth and round, with the potential of flying dragons and dancing phoenixes. In terms of regular script, Cai Xiang prepared all large, medium and small regular scripts. His regular script was deeply influenced by Yan Zhenqing, Liu Gongquan and others, and his fonts are dignified, powerful and majestic. "Zijintang Ji" was written by Ouyang Xiu and inscribed in regular script by Cai Xiang. The font of this stele is square and elegant, and the writing style is vigorous. The method is between Yan and Liu. Dong from the Song Dynasty said, "Cai Junmo mastered the calligraphy of the ancients. In his book "Zijintang Ji", each character was written on a piece of paper. He chose the ones that did not violate the law, cut them and laid them out in the shape of a stele. At that time, it was called the "Baini stele version", so It is better to win over others." Calligraphers in the Song Dynasty were generally not good at large regular script tablets, but Cai Xiang was uniquely good at this, so he is commendable. "Zijintangji" also became the leader of Song Dynasty tablets. Another work, "The Story of Wan'an Bridge", is also an inscription with large characters, each character is five inches in diameter, and the font is magnificent and magnificent. Cai Xiang's Chinese regular script work "Poem of Thanks for the Imperial Letter" is strict in rules, neither irritating nor harsh, and has a dignified expression. His writing style is steady and solemn, and indeed has the charm of the Jin and Tang Dynasties. Dong Qichang, a famous calligrapher in the Ming Dynasty, commented: "Cai Junmo's poetry is based on Han Changli's "Song of Stone Drums", his calligraphy is on Ouyang Ledeng's "Huadu Temple Stele" and Xu Jihai's "Monk Stele". A single stroke comes from nowhere, not just Jun Mo." Xiaokai is the calligraphy style that Cai Xiang worked the most and was most proud of. His representative work "Cha Lu" is the calligraphy work he is most proud of in his life. According to "Fu Tian Ji·Long Cha Lu Kao", the article was first written in the year of the emperor, and was published in Zhengzhong in the first year of Zhiping. Therefore, there were several copies circulated in the Ming Dynasty. Ouyang Xiu commented on this book: "Those who are good at calligraphy have difficulty with regular script, and fine script has difficulty with small characters... Jun Mo's small characters are newly published and passed down. "The strength is real and strict. Although the body is different, each one is extremely wonderful. For those who have mastered it, wherever their intention reaches, they will definitely create their essence." Later generations also spoke highly of this work, believing it to be in the style of the Jin and Tang Dynasties: the artistic conception is similar to Wang Xizhi's "Le Yi Lun", "Huang Ting Jing", Yu Shinan's "Destroying Evil", and the structure is similar to Yan Zhenqing's, which can be compared with the small characters "Magu". "The Story of the Mountain Immortal Altar" has been passed down through the ages. It can be seen from this that Cai Xiang's calligraphy strictly abides by the laws of the Jin and Tang Dynasties. His ancient style remains unique and he is outstanding for everyone. But the shortcomings are also obvious, which is that it is too rigid in the rules, rarely innovates, and lacks individuality. Among the four great masters of the Song Dynasty, although he is the oldest and highly respected by Su, Huang and Mi, he generally lacks the dignified, elegant, fresh and original artistic charm of the other three. However, as a representative calligrapher in the early Song Dynasty, Cai Xiang inherited the style of Jin and was close to Tang Xu. He revived the declining style of calligraphy in the early Song Dynasty and initiated the heroic and solemn trend of calligraphy in the two Song Dynasties. His status in the history of calligraphy of the Song Dynasty is unquestionable. .
Answer's Supplement 2009-11-27 23:55
Calligraphy, also known as "Chinese calligraphy", is also divided into "soft-pen calligraphy" and "hard-pen calligraphy". A traditional art unique to China. Throughout the ages, Chinese characters were created by the working people. They began to use pictures to record events. After thousands of years of development, they evolved into today's characters. And because our ancestors invented writing with brushes, calligraphy came into being. Throughout the ages, Chinese characters have been written with brushes. Mainly, as for other writing forms, such as hard pen, finger writing, etc., the writing rules are not completely different from the brush writing rules, but are basically the same. Based on the original source (after fingernail and bone inscriptions), here we focus on the rules of writing Chinese characters with a brush. As long as we have a "narrow sense" understanding of calligraphy, it will be of great benefit to understand "broad calligraphy".
In a narrow sense, calligraphy refers to the method and rules of writing Chinese characters with a brush. Including writing, writing, stippling, structure, layout (distribution, line order, composition) and other contents. For example, when holding the pen, the finger is solid and the palm is empty, and the five fingers work together; the center of the brush is spread out; the strokes follow the strokes, and the strokes are smooth and steep; the structure is based on the characters and shapes, and they echo each other; the distribution is intricate, the density is appropriate, the virtual and the real complement each other, and the whole chapter is full of spirit. ; Literacy in ancient times and today, big words and small words, it is better to be high than low.
In a broad sense, calligraphy refers to the writing rules of language symbols. In other words, calligraphy refers to writing according to the characteristics and meaning of words, using calligraphy, structure and organization to make them into beautiful works of art. With the development of cultural undertakings, calligraphy is not limited to using brushes and writing Chinese characters. Its connotation has been greatly increased. For example, in terms of tools, there are many types of pens, including brushes, hard pens, computer instruments, airbrushes, and daily tools. The pigments are not just black ink blocks, but also include inks, adhesives, chemicals, spray paints, glazes, etc. In the past, the four treasures of the study - pen, ink, paper, and inkstone, their meanings have also been greatly expanded, and there are so many varieties that they are too numerous to mention; from the perspective of the way of holding the pen, some use the hand to hold the pen, some use the foot to hold the pen, that is, use other organs There are also many people who write, and some people even write without using a pen at all, such as "Zhi Shu", "Squeeze Shu", etc.; in terms of writing type, it is not just Chinese characters, some ethnic minority scripts have also been on the list. In the world of calligraphy, Mongolian is an example; in terms of calligraphy style and composition, in addition to the authentic traditional calligraphy school, there is also the "intentional" school with the same curves and straight lines and a combination of movement and stillness, which is the so-called modern calligraphy. It is based on traditional calligraphy with innovations, highlighting the word "change", integrating poetry, calligraphy and painting, and striving to unify form and content, making the work a masterpiece of three beauties: "beauty of meaning, beauty of sound, and beauty of form".
In Japan, many calligraphers abandoned the linguistic nature of writing and established the "imagery" nature of writing. The "Moxiang" school emerged, using the weight and speed of the pen, the opening and closing of the pen edge, and changes in the writing position to write. Various images of text. Although this school of calligraphy highlights "imagery" and its characters are novel, not all Chinese characters are "image" characters, so its progress is difficult and its development is limited. From all of these (of course not only these), we can see that calligraphy, like other things, is constantly developing and changing. This point must arouse the great attention of people in the calligraphy field.
Ouyang Xun~
Ouyang Xun (557-641), courtesy name Xinben, was born in Linxiang, Tanzhou (now Changsha, Hunan), and one of the four masters of regular script (Ouyang Xun, Yan Zhenqing, One of Liu Gongquan and Zhao Mengfu). Dr. Taichang, an official in the Sui Dynasty, was granted the title of Prince Shugengling in the Tang Dynasty, also known as "Ouyang Shugeng". Together with three others of the same generation (Yu Shinan, Chu Suiliang, and Xue Ji), they are also known as the Four Great Masters of the Early Tang Dynasty. Because his son Ouyang Tong was also good at calligraphy, he was also called "Da Ou". Ouyang Xun's regular script is unparalleled in the world for its rigorous standard and powerful writing skills. He is said to be the best regular script among the Tang Dynasty people. Both he and Yu Shinan were famous for their calligraphy in the early Tang Dynasty, and they were both called "European Yu". Later generations saw that their calligraphy was extremely dangerous in the ordinary, and was the easiest for beginners to learn, so they called it "European style". [Edit this paragraph] European style brushwork formula "Ninety-two Methods of Interval Structure"
1. All the paintings of the sky-covered person are exposed under it. Above is the word "Baogai", and the other strokes should be capped under it. . For example: Yu, Zhou, Ding
2. The paintings on the ground are all supported on it. There are bottom-shaped characters below, and the other strokes should be supported on it. For example: Zhi, Meng, Sheng
3. Let the left person stand high on the left and low on the right. For words with the left half as the main part, the left side should be high and the right side should be low. For example: Bu, You, Ji
4, let the person on the right stretch right and contract left. For words with the right half as the main part, the right side should be longer and the left side should be shorter. Such as: achievement, discussion, reading
5. For those with cross arms, the middle picture should have the word "cross arm", and the middle horizontal line should be longer; such as: Xi, Wu, An
6. If the character is straight and outstanding, the middle vertical stroke should be straight and vertical, and the middle vertical stroke should be upright and not crooked. For example: Jia, Ping, Qian, Wu
7. The body of the hook should not be short or curved. For words with a horizontal fold hook as the main stroke and a lot of strokes in the surrounded part, the horizontal fold hook should be long and straight. Very tall, with square corners. For example: Pu, Tao, Shu, Ge
8. The hook method should not be straight and long. The horizontal fold hook is the main stroke, and the surrounded part has fewer strokes. The horizontal fold hook should be slightly shorter. And lean to the right, folding the corners inward. For example: Ju, Yun, Wu
9, draw short and long, horizontal and short, and long; such as: Zuo, Zai, You, Long
10, draw long and short, horizontal and long. Short; such as: right, you, gray
11. Draw short, straight, long, horizontal, short, vertical, and long characters. The strokes should be extended. For example: wood, Ben, Zhu
12, the characters should be shortened if the strokes are long and straight, and the strokes should be shortened. If the horizontal strokes are long and the vertical strokes are short, the strokes should be shortened to opposite points, and the two should echo each other. Such as: Le, Ji
13. Long horizontally and short vertically. In a word, if the horizontal length is long, the vertical length should be short. The horizontal length should be long but thin and straight, and the vertical length should be short but thick and strong. For example: Ten, Shang, Xia, Shi
14, short horizontally and long vertically. In a word, if it is short horizontally, it should be long vertically. Laterally short and slightly thick, vertically straight. For example: Cai, Dou, Feng, Jing
15. The characters with upper and lower drawings should be short at the top and long at the bottom. Characters with horizontal drawings at the top and bottom should be short at the top and long at the bottom. For example: Pi, Zheng, Ya
16, there are straight lines on the left and right sides, the left side should be retracted and the right side should be extended. For words with vertical drawings on the left and right sides, the left side should be retracted and the right side should be extended. For example: MU, Zi, Yin, Gu
17, left-handed and right-handed, the left should be shortened and the right should be vertical. The left-handed characters should be shorter and the right longer. For example: Sichuan, Sheng, Bang
18, left straight and right-handed, left-handed and right-handed, the left is drawn vertically and the right is drawn vertically. The left-hand vertical should be contracted and leaned upward, while the right-hand should be extended. For example: Yi, Xi, Xiu
19. For words with multiple dots, it is better to lean forward and turn your back to achieve change. For words with several dots, the directions of each dot should be different to make it change. For example: Yi, Chi, Ran
20. If the painting is heavy, the scales and feathers should be staggered to make them more extreme. If there are several horizontal or vertical characters, the length of each horizontal line should be different so that it does not look dull. For example: San, Ran
21. If the two parts are equal, the left and right sides should be even. A character composed of two equal parts should be even on the left and right. Such as: Yan, Gu, Qo
22. If the three are combined, the middle part is Wu Zheng. The character composed of three parts, the middle part is Wu Zheng. For example: Yu, Xie, Shu
23. For two paragraphs, the upper and lower parts are equally divided with slight additions and subtractions in the middle. For characters composed of upper and lower parts, the upper and lower parts each occupy half, with slight changes in the middle. Need, stay
24. For triplets, the expansion and contraction of the head and tail should still be even. For characters composed of upper, middle and lower parts, the head and tail should expand and contract properly to highlight the main stroke and be coordinated and unified. For example: Zhang, Yi, Su, Lei
25, the smaller characters on the left side should be flush with each other. For characters with small left radicals, the strokes on the left side should be flush with the upper side of the strokes on the right side. For example: Sui, Hui, Feng, Jun
26, the smaller one on the right side should be flush with the bottom. For small characters on the right radical, the strokes on the right side should be lower or flush with the lower left side. For example, He, Zhi, Xi
27, if there are four stacks on the outside, the body must be square. The same strokes appearing around the characters should be arranged neatly and of equal size to form an encirclement. For example: Xiao, Qi
28, if there are four stacks inside, the layout should be even and dense. If there are four stacks on the inside, the layout should be even and dense.
For example: Shuang, Teeth
29. For diagonal strokes, it should not be flat as it will lose momentum. Don’t write flat strokes for diagonal strokes. If they are flat, they will lose momentum. For example: 7, Ye, 乜, This
30, if it is flat, it is not suitable to lean on it because it will be unruly. If the flat painting is written slanted, it will not be straight. For example: Yun, Qu, Qie, Dan
31. For characters with vertical strokes, the beginning and end must be gathered together. For characters with diagonal strokes, the writing should be done with the front edge hidden and the pen drawn back to the front edge. Such as: Zhang, Chi, Shi, You
32. In the method of vertical attack, the most taboo is to be weak and bent. For example: Wu, Cheng, or
33. There are characters with lying hooks. The lying hooks should be curved and rounded, and avoid being slender and straight. Such as: En, Xi, Bi, Zhi
34, the stretched hook holds a vertical hook and is in the shape of the word on the lower bag. The vertical hook should be stretched to the right as much as possible to wrap the surrounded part. For example: Mian, Xu, Pao
35, the person who inherits the name should be in the middle. The word "人" in the inheritance should be exactly in the middle. Tian, ??Fu, Wai, Wen
36, in the form of a hook, it is appropriate to retreat. In characters with a left-right structure, when the vertical hook is on the left, it should be narrowed and give way to the right. For example: Jiu, Hui
37, the horse tooth method uses the edge of the hook to inject half of the four points. The hook of the horse tooth is facing the four points. For characters with four horizontal dots, the hook tip of the horizontal dot should point between two and three dots. For example: Bird, Horse
38. For characters with a flat top, the tops should be flush with each other. For characters with a flat top, the tops should be flush with each other. For example: Shi, Ming, Ji, Ye,
39, characters with lower strokes should be aligned with the bottom. Characters with lower strokes should be aligned with the bottom. For example: Chao, Gu, Chen
40. Those who emphasize "na" must be contracted and stretched. There are several characters drawn with "na", which should be contracted and stretched. For example: talk, tea, millet
41. For those who overlap the legs, there are several hook-raised characters, some of which need to lift the hook, and some of which need to hide the stroke. For example: Jin, Lin, Sen
42. If the upper and lower hooks are hooked, the lower hook will be bright and the upper hook will be dark. If there are words like "Jin", "Lin" and "Sen", the lower hook will be obvious but the upper hook should be hidden. For example: Ge, Rou
43, when lifting with a pitching hook, the pitching hook shrinks and the pitching hook extends. There are words for pitching hook and pitching hook. The pitching hook should be closed and the pitching hook should be released. For example; Guan, Kou, Zhai
44, if the upper part occupies the upper part, let the upper part be wider. For words with the upper part as the main part, the upper part should be wider. For example: Pu, Jie, Qi
45, if the lower part occupies the ground, let it be wider. For words with the lower part as the main part, the lower part should be wider. For example: Biao, Yu
46, if the character is on the right side, the right side may be richer. For characters with the right part as the main part, the right part may be fuller. Shi, Teng, Jing
47, if the character is on the left side, the left side should be larger. For example: Jing, Lian, Liu
48. For characters with left and right occupancy, the middle should be smaller. For characters with left and right occupancy, the middle should be smaller. For example; Bi, Bian, Yan, Yang
49, the one occupying the middle is the only one in the middle. For words with the middle as the main character, the middle part should be large. For example: throw, fan;
50, the upper and lower characters are medium and small. For words with upper and lower characters, the middle should be small. For example: Orioles, widows
51, the vertical wrist should be Dianjin. The writing of throwing the hook from the back should be curved, round and powerful. Such as: Wind, Flying, Qi
52, the horizontal wrist is round and round. The writing of vertical hooks requires vertical and round hooks, which should be round and handsome. For example: Xian, Jian, Yuan, Mao
53, vertically tilting the tail of an evil rat. The tail that resembles a rat is most taboo when tilted vertically, and the end should be avoided to be thin and weak. For example; Ting, Ju, Di
54, the couplet is abbreviated and row of teeth is bad. If there are several abbreviated words side by side, do not write them like a row of teeth. There should be changes in size. For example: You, Ji, Fan, Pi
55, three-stroke method, the lower stroke is the first, and the upper stroke is the middle. For words with three consecutive characters, the lower stroke should be in turn touching the middle of the upper stroke. For example; Xiu, Shen, Xu, Shape
56, three-point method, the first point of the first point should be the same as the upper point of the pen, and the third point should be consistent with the end of the first point. correspond. For example: Zhi, Hong, Liu, Hai
57. The word "Bu" should be written straight and not slanted, and opposite to the middle of the upper section. For example: Yes, Foot, Walk
58, the word "Tu" should be straight and not slanted, and should be directly opposite to the bottom left corner. The center of the word "老" is the center of the word. The word "Tu" should be written straight and not slanted, and it should be aligned with the vertical painting on the left side of the lower section. For example: Zhe, Lao, Kao
59, complex, the noble welcomes the waves interspersed and the evil is diverse. The characters with intricate structure should be interspersed with corresponding concessions, but not chaotic. Such as: Fan, Xin
60, careful characters should be arranged well but not too crowded. Characters with tight structure should be arranged properly and not appear crowded and messy. For example: Ji, Guan
61, when the needle is hanging and the dew is hanging, it will be rhymeless. If the strokes of the hanging needle are like the dew (ending like dewdrops and round), it will not be beautiful. Such as: Che, Shen, Zhong, Jin
62. When the needle is hanging, it will appear weak. When the needle is hanging, it will appear weak. For example: Zhuo, Dan
63, although the body should be slanted, the center of the character must be positive. For slanted characters, the center of the folding and drawing must be found accurately. Although the body is slanted, the center of the character must be straight. Be upright. Such as: Yi, Nai, Mu, Li;
64, the shape is self-correcting, but the bones must be strong. The font is correct, and it must be written with strong bones; such as: Zheng, Zhu, Ben, Wang
65. If the characters are originally thin, the shape should not be too short. The characters are inherently thin, so the shape of the characters should not be too short. For example: body, eyes, ears, shell;
66, those with short characters should use a fat pen; those with short characters should be written with a thicker pen.
For example: Bai, Gong, Ri, Si
67, the way to write Gaixia (referring to people) is to make the strokes and strokes even. Such as: Hui, He, Jin, Ming;
68, taking advantage of the situation, left and right are symmetrical. If the word "Na" is in the middle and leaning down, its feet are flush with each other, and the left and right are symmetrical. Such as: Qin, Jing, Ge, Gu
69, although it is suitable to be fat, but not bloated. Although it is suitable to be fat, it should not be bloated; such as: Tu, Shan, Gong, Zhi
< p>70, although it is better to be thin but not too thin, for characters with fewer strokes and longer shapes, the strokes should be appropriately bold and avoid being slender and weak. Such as: Liao, Cun, Cai, Bu71. Characters with sparse and rich strokes should be written fuller; such as: Shang, Xia, Qian, Xiao
72 , characters with many strokes that are dense and even, the strokes should give way to each other, and the whiteness should be even. For example: Ying, Ding
73, stacked, absorbed. Characters with the same triangle shape should have changes in the use of strokes. Neither crowded nor loose; such as: Jing, Lei, Sen
74, accumulator, clear words piled up from bottom to top, the strokes should be reasonably arranged, flexible and not complicated. chaos. For example: Mi, Ling, Mi
75, the lower drawing should be slightly longer to support the end of the right vertical line. The lower horizontal drawing should be slightly longer to connect with the end of the right vertical line. For example: Kou, Ri, Tian, ??
76, the last hook should be dragged slightly as if it has the tendency to be brought down. The last stroke is a vertical hook. The hook edge of the vertical hook is slightly like a left flat one, as if there is lingering. Bring down the power of words. For example: Ding, Yu, Ting 77, the overlapping Chinese characters should be slightly larger at the top and smaller at the bottom. The characters that go above should be slightly larger at the top and slightly smaller at the bottom, and should be close to the lower left. For example: Yuan, Huan, Zhu
78. If the character is long and shortened, it is not appropriate to use the word "Na" on the right side and long and short on the horizontal side. It is not appropriate to use "Na" (long dot) on the right side. For example: Ya, Qi, Mo
79, the left vertical line should not be too short, and the right vertical line should not be too long. If the left vertical line is short, the right vertical line should not be long; such as: Zuo, Yang, Chong, Line
80, the left vertical line is not too long, the right vertical line is not too short, the left vertical line is not too long, and the right vertical line is not too short. Such as: Chen, Ju, Jia
81, the hook of the treasure cover is like a bird looking at its chest. It is the hook of the wonderful treasure cover. It should be written like a bird looking down at its own chest; such as: official , empty, slaughter,
82, the paintings of copying, such as the carved objects of workmanship, are the best in compilation. The strokes arranged in a compilation must be like fine carvings to be called exquisite. For example: He, partridge, vend (yu)
83, from the character "卩", the character with one ear should be used. The horizontal fold hook should be short, and the long vertical hook should be hanging down, straight down. ; For example: Yin, knock, but
84, from the word "yi", this is the word next to the right ear. The hook is slightly larger, and the long vertical needle should be a hanging needle, straight and drooping. For example: Jiao, Zheng, Lin
85, the word Congbu is correct. The word with the left ear, the hook is slightly smaller, the long vertical should be hanging down, straight down. For example: Han, Wei
86, this is derived from the character Kui. Characters with the prefix "Deng" are stretched and stretched, with the feet level and stretched under the cover. Such as: Deng, stool
87, from the word "ji", this word with the prefix "ji" is straight and stretched, lower on the left and slightly higher on the right, wide and open under the cover; such as: Ji, Cai, Cha
88. The word "conformity" is the word with 乑 at the bottom. The top is short and the middle is vertical. For example: Ju
89, from the character for 豕, this is the word for 豕, use this as the standard; such as: Jia, Xiang, Hao
90, from the character for a single person, this is the standard From the character next to a single person, use this as the standard; such as: ren, yi, fu, xiu
91, from the word "彳" next to the double person, use this as the standard; such as: Xu, Xun, Xing, Very
92, characters with vertical hooks are accurate to characters with vertical hooks, use this as the standard. Such as: milk, chaos, color, bag [Edit this paragraph] European style representative work: "Jiucheng Palace Liquan Inscription" Tang Dynasty stele. It was established in Linyou (now Shaanxi) in 632 AD. Wei Zheng wrote the article and Ouyang Xunzheng wrote it.
Describes the discovery of Liquan by Emperor Taizong of the Tang Dynasty when he was vacationing in Jiucheng Palace. The brushwork is strong and smooth, with a formal meaning. It is Ouyang Xun's work in his later years and has always been highly praised by calligraphers.