▲Words are the voice of the heart; writing is the painting of the heart. The sounds and shapes are what a gentleman and a villain can see. 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. ——Songnian's "Yiyuan Painting Theory" 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 fall of the mind 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 learned from ancient times. 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 Handwriting Instructed by the God of the Stone Chamber"

▲Correct calligraphy, so it rectifies people's hearts, and so it rectifies the holy way. ——Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

▲The person who writes old books is also a student of mind; the person who writes is also a writer of aspirations. ——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.

Books 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 Overview" of the Qing Dynasty

▲It is better to have the right tool at the right time, and it is better 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 Manual" 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, 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, his awe-inspiring contentment lasts his whole life. ——Song Dynasty. Zhu Wenchang's "Sustained Book"

▲When you want to write a book, 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, breaking down the 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 comfortable, 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. There are heavy and light feelings, and the words are calm, gentle, beautiful, deep and shallow, with endless changes. ——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, solid quality and majesty, neither one of them 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 "Continuation of the Book"

▲Therefore, 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 charge of 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 Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

▲ Try to describe it in terms of character. He is skilled in planning and practice, and has profound knowledge. He must be called Huangfa's eminent person. 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 its scale is grand and far-reaching, its meaning is graceful, its twists and turns, its tranquility and gracefulness, its elders are numerous, it is difficult to describe it, it is like a fairy and a beautiful girl, whose age cannot be distinguished, this is the best. Although he is young at first sight, he is strong and mature, rich and beautiful, with towering talisman bundles, light breezes, and resolute demeanor. In the world, what is said in the world is that youth and maturity are the second best thing. --Ming. The cautious one is restrained and miscellaneous; the indulgent one is the one who goes beyond the rules; the fast one is frightened and has no worries; the slow and serious one is timid and depressed; the simple one is bold and clear; the rigorous one is compact and few. Ease; those who are gentle, are graceful and graceful; those who are dangerous, the carvings and paintings are too harsh; those who are majestic, are ashamed of being humble; those who are graceful and smooth, are becoming more dignified; those who are dignified, the appearance is too simple; those who are smooth and elegant, are too complex. Those who are flashy; those who are slender and luxuriant are still scattered and slow; those who are refreshing and healthy are brave and brave; those who are stable and mature lack the novelty. --Ming. ...Zhu Dengshan, Yan Changshan, Liu Jianyi's articles are wonderful today and ancient, his loyalty runs through the sun and the moon, and his books are full of seriousness and regular ink... Taibai's books are fresh and lively, his breathing is pure, he is free from the mundane world, and he is like an immortal. gas. ... All of these are words that come out naturally just like the person he wrote them. ——Zhou Xinglian, Qing Dynasty, "Linchi Guanjian"

▲Although the disciples of one family have become multiple bodies, they all think of themselves as beautiful according to their sexual desires. Those who are upright will not suffer hardship; those who are ruthless will be stubborn and unruly; those who are reserved will suffer from restraint; those who are free will lose their rules; those who are gentle will suffer from softness and slowness; those who are impatient and brave will be too forced; those who are suspicious will indulge in stagnation. , Those who are slow and heavy will eventually become dull, and those who are light and trivial will be stained by the common officials. ——Sun Guoting's "Book Book" of the Tang Dynasty

▲The inner voice of the heart is always distorted, but the article is better to see the person again. Gao Qing's "Xianju Fu", striving to recognize Anren and worship Lu Chen. --Yuan Yishan

2. Introduction to copying step by step

▲Beginners can only copy. You can get the meaning of the writing by copying the calligraphy, and you can get the frame by copying the calligraphy. After copying for a long time, there is nothing better than reading more, understanding more, discussing more, and adapting more. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

▲ Only beginners have to copy it, and they have to use their hands to make it easy to achieve. They must be famous pens of the ancients. Place a few cases, hang them on the right side, and read them day and night. Observe, think about the reason for using the brush, and then copy it. Southern Song Dynasty. Jiang Kui's "Xu Shu Pu"

▲Lu Taiyun: Painting without following the ancients is like walking at night without a candle, and there is no way out. Therefore, beginners must first learn from ancient times. "Painting Things Jinliang" by Qin Zuyong of the Qing Dynasty

▲The method of learning calligraphy cannot be mastered unless it is taught by mouth or heart. Basically, it is necessary to follow the ink of the ancients, arrange the shelves, break the tubes, and break the paper, and then you will have the skills. Ming. You can see the stone tablet on the shelf, and the pen must be authentic. Qing Dynasty. Feng Ban's "Yin Shu Yao"

▲The method of Linchi: nothing more than forming a body and using a pen. The power of composition lies in academic ability, while the skill of using pen is related to one's spirituality. Gou Fei read a lot of ancient books and copied many ancient posts, and he understood them well, so it was not easy for him to command as he wished. To be able to be like an autumn eagle and a rabbit, with clear blue skies and radiant eyes, you can achieve it with the help of a pen! Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲ Therefore, there is no thoughtfulness in studying books, just like the children of the old family, they just follow the rules and live their whole life. Qian Yong's "Chu Xue" in the Qing Dynasty

▲ Those who study calligraphy, not only know the secrets of using pens, but also must have a thorough understanding of ancient calligraphy. Know it tacitly in your heart, and make sure that when you write, there is not a single stroke that is not stuck in the law, and then you can start a family. Qing Dynasty. Feng Wu's "Calligraphy Zhengzhuan"

▲Xian Zizhenggong said: Anyone who has not yet established a calligraphy family should be related to ancient stickers. No matter what stickers, they are enough to model my writing skills. "Learning Chinese Calligraphy" by Liang Zhangju, Qing Dynasty

▲When learning calligraphy, one must follow the steps of the ancients and not rely on those of the past. To learn from the ancients, you must get their sacred bones, and don't just look at their appearance. Qing Dynasty. Liang Jie's "Ping Shu Tie"

▲Whenever you read the ancient books, you must be calm and patient. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

▲The method is the best, but the only method is the middle, everyone says it. However, everyone wants to reach the highest realm in the world, but not everyone can reach it.

Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

▲Shi Huyun: To learn calligraphy, you must be a person who has collected the original works of the past. When it comes to calligraphy and painting, I can't see the spirit of his brushwork. Zhongnan is so diligent. Southern Song Dynasty. Chen Xi's "Fu Xuan Ye Lu"

▲Stone carving cannot be learned, but it is no longer your own handwriting to have others carve it, so you must view the original work to gain interest. Northern Song Dynasty. Mi Fu's "Haiyue Famous Sayings"

▲ Therefore, if you are famous and you can tell who your family is at a glance, and if the spirit of the whole article is attributed to your family, it is an authentic work. Once you have a look at the books of your family, you can look carefully for those books that are based on the methods learned by the predecessors in this family but cannot be seen. This is an imitation of the calligraphy. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"

▲Study the calligraphy and copy it from time to time, and you can get similar shapes. You should probably take more ancient books and read them carefully, you will be mesmerized and you will get to the wonderful places. As long as the intention is not mixed, this is the key to entering God. Northern Song Dynasty. Huang Tingjian's "Lun Shu"

▲Everyone who comes to the ancients must seek for their resemblance. Qing Dynasty. Wang Shu's "Lun Shu Teng Yu"

▲Every time you practice one post, the writing skills will penetrate into the liver and diaphragm. Every time you change the back post, it will make your heart feel like there is no previous post. After accumulating strength for a long time, I have learned the behavior of various schools, and my temperament is all at my fingertips. Although I say I am a disciple of the ancients, in fact I am obsessed with it. Qing Dynasty. Bao Shichen's "Double Collection of Yizhou"

▲It is easy to lose the position of the ancients when writing a book, but gain more of the ancients' writing style; it is easy to gain the status of the ancients when writing a book, but lose more of the ancients' writing style. Southern Song Dynasty. Jiang Kui's "Sushu Pu"

▲Beginner's calligraphy is basically a book. Slow down the strokes to determine the movement. If you are busy, you will lose the rules. Jin. Wang Xizhi's "Twelve Chapters on Pen Calligraphy"

▲When I was studying, I no longer read the calligraphy books and imitated the paintings one by one. Instead, I walked, lived, sat, and lay down and played carefully, focusing my eyes on the mind. Over time, you will naturally gain enlightenment. He writes with sincerity and does not think of its subtleties. This is because he is good at learning. Southern Song Dynasty. Chen Xi's "Fu Xuan Ye Lu"

▲The beauty of one meal can only satisfy one's daily needs. If one sees it and realizes it, it will nourish it for life. Tang Dynasty. Zhang Huaiguan's "Six Type Calligraphy Theory"

▲To learn the ancient calligraphy, one must obtain its divine bones, courage, character, and lifeblood. Don't just look at the appearance without seeking deeply. Qing Dynasty. Liang Jie's "Lun on Learning Calligraphy"

▲Copying and copying are the key to learning calligraphy. However, we must first seek the meaning of the ancients, then study the writing style, and then follow the writing style. Qing Dynasty. Zhu Lvzhen's "The Essentials of Learning Calligraphy"

▲Don't adhere to ancient methods, don't hold on to your own opinions, just live. Qing Dynasty. Zheng Banqiao

▲The imitation of the ancients is not in front of you, but in the meeting of gods. Ming Dynasty. Shen Hao "Painting Dust"

▲My destiny lies in serving the past, and I must be present in the past. When the two are combined, they are both beautiful, but when separated, they are soul-destroying. Qing Dynasty. Wang Shu's "On Calligraphy and Teng Yu"

▲Although my calligraphy is not very good, it comes up with new ideas and does not follow the ancients, which is a great success. Northern Song Dynasty. Su Shi's "On Calligraphy"

▲Learning each word of a calligraphy must come from ancient posters, otherwise there will be no copy. If you are detached early, you must behave yourself. If you are a family in the first sect, you will gain profound knowledge. Continue to pick up all the beauties and change without restraint. This is because he does not hide his temperament and establishes his own rules. Qing Dynasty. Liang Jie's "Lun Xue Shu Lun"

▲Every copy must be dedicated to one family, and then use the overview of each family to figure it out. Naturally, you will be satisfied with your heart and be familiar with it. Over time, if you have a broad vision, profound ambitions and interests, and gather the strengths of others as your own, then you can reach the state of being a group. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲To study the ancients' writings, one must first specialize in discussing one's family. As for the free hand and the pen, everything is the same, and then it can be eclectic and integrated, and it can never be a family of its own. When you get it, it is just for this family, and it is a waste of energy. Qing Dynasty. Wang Shu's "On Shu Tengyu"

▲If you just stick to one family and copy it, you will develop a habit over time, and even it will not be heard far. Gou Neng knew that his shortcomings would not last long, so he wrote down his own essence, cultivated his own spirit, and opened his own life according to the rules of the ancients. He did not follow or follow the rules of the ancients and naturally gained a voice. Huai: Then he established a portal for me. Qing Dynasty. Shen Zongqian's "Mud Xue Hua Bian"

▲If you only study in one family, you will only be able to become a slave; if you gather the talents of all the people and return them to me, you will be a great success. "Hanlin Cuiyan"

▲Study books must be based on the Tang Dynasty stele, and when it reaches the peak of strength, then it can be attributed to the people of Jin Dynasty. Then the charm will naturally have backbone, otherwise it will be written with the word "weak". Qing Dynasty. Liang Jie's "Lun on Learning Calligraphy"

▲ Today's calligraphy students should naturally take the Tang Dynasty stele as their ancestral school. People in the Tang Dynasty had many categories, short, long, fat, and thin, and each was in a perfect state; people in the Song Dynasty had few categories, including Cai, Su, Huang, and Mi, all with flaws. Scholars must not know this. Qian Yong's "Luyuan Conghua" in the Qing Dynasty

▲In the old days, his rubbings and hand-rubbing skills kept him fat and thin, and he was full of energy. The important thing was to write correctly, and not to write correctly. Nothing good.

Qing Dynasty. Liang Chen's "Lun on Learning Calligraphy"

▲The ancients did not copy all the books they studied. Once you have learned the calligraphy, and the oxygen in your heart is free of vulgarity, you can then perform the wiping gesture to show others. "Lun Shu" by Huang Tingjian of the Northern Song Dynasty

▲ Therefore, there must be a method to learn, but there is no body when it is completed. If you want to explore its secrets, you must first know its door. There are those who know the door but don’t know its secrets, and there is no one who can’t get the method without knowing the method. Tang Dynasty. Zhang Huaiguan's "Six-Ti Calligraphy Theory"

▲ Modern people don't know the source of his strength, and he specializes in modern-style writing. It can be said that he has forgotten his ancestors after countless classics. How can he stand on his own with greatness! Qing Dynasty. Fan Gongmian's "Summary of Calligraphy"

▲Since modern times, people have not learned from the ancients, but have abandoned the path because of love, so they only remember their names. They may not be able to support their studies, and have few knowledge and knowledge, resulting in no success. Just a waste of energy. Since I am not inspired by Taoism, if I don’t learn the teachings, I will use the modern methods, and if I study the books, I will use the ancient methods to be simple. Qing Dynasty. Fan Gongmian's "Summary of Calligraphy"

▲In modern times, scholars mostly studied modern books and did not study ancient books. How could it be that in ancient times, the human mind was not passed on but the scale and shape were similar, which was not enough to capture its beauty? "Fu Zhi Ji" by Zhou Xingji of the Song Dynasty

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

▲Scholars should be cautious and not be deceived by the ancients. Qing Dynasty. Wu Dexuan's "Essays on Calligraphy at Chuyuelou"

▲Unskilled scholars learn from the mistakes of saints, so they hide it in a song. There are many people who study "Lanting" in this world. Northern Song Dynasty. Huang Tingjian's "On Calligraphy"

▲The origins of ancient writing methods are most different but most similar. Li Beihai said: Those who resemble me are sick. Just seek similarities where there are differences, seek similarities where there are differences, and those who are the same but similar will be ill. Qing Dynasty. Yun Shouping's "Ouxiang Pavilion Painting Postscript"

▲When writing, if you try to imitate the ancients, you will lose the air; if you don't use energy, the common diseases will not be cured. It is beautiful to be familiar with what is important and to have the heart and hand in harmony. Southern Song Dynasty. Jiang Kui's "Sushu Pu"

▲Only by exerting force to the point of calmness and pleasure can you capture the gods of the ancients. If you blindly imitate the ancient methods and feel that the imitation is too much, you must take off the imitation and follow the original path. When the machine is out of the machine, it gets older and more mature, which makes it dull, so the ancient method can be used in the brush tip, and then it can express the spirit. "Calligraphy Prologue" by Cao Cao of the Qing Dynasty

▲Copying the ancients requires adapting to the ancients and starting a family alone. Ming. Li Liufang

▲If you persist in prejudice and stagnate in your chest, you will eventually be unable to participate in the living method. Even if you participate in the living method, it will have a certain tendency to be difficult. Go boldly and boldly without overstepping the bounds. This is what is called learning from the past but not clinging to the past. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲When writing a book, you must have your own opinions, but it does not mean that you should not learn from the ancients; you must look at the authentic works, but that does not mean that you should not learn from the inscriptions. Qing Dynasty. Feng Ban's "Yin Shu Yao"

▲It can be compared with Tan Si Dao! "Bi Zhen Diagram" by Wei Shuo of the Eastern Jin Dynasty

The ancients have a saying: follow others and learn from others to become old people, and become true to yourself when you become a family. Northern Song Dynasty. Huang Tingjian's "On Calligraphy"

▲ Six essentials for learning calligraphy: one is temperament, two is talent, three is acquisition of method, four is copying, five is practice, and six is ??awareness. Only when the six essentials are in place can you start a family. Qing Dynasty. Zhu Lvzhen's "Simple Essentials for Learning Calligraphy"

▲When writing a book, you must give full play to your own spirit. Don't rely on others at the beginning. If you copy each other, you just steal their pen, which looks like an irregular rectangle. In modern times, every time I visit a house, I just imitate his strokes; as for the intention, I don't understand it at all. You must know that there are endless people who can resemble it, but there are endless people who can appreciate its spiritual flavor. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲Therefore, Si Weng said that "false seeds are spread, and general practices are to eliminate them", which is the most meritorious for beginners. If you have entered the entrance hall, you should say: rather than pass it and abandon it, it is better to pass it and keep it. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲There is no other secret to calligraphy, only the use of the pen and the ear. The use of pen has been passed down recently, and the ancient method of tying characters has been exhausted. To change the ancient method, you must have something superior to the ancients. If you don't know the ancients, it is really unreasonable to say that you don't adopt the ancient method. Qing Dynasty. Feng Ban's "Bi Yin Shu Yao"

▲If the distribution is less clear, it means that the mind is ingenious and the application is not familiar, and it wants to be strange, which is to learn to move before learning. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

▲Those who are good at calligraphy can only figure out the numbers and form their own style. There is no one else. After concentrating for a long time, he understood the method of using brush, ink and body composition, so that our country can use it. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

▲Anyone who learns calligraphy can understand the rest if he gets one... "Testing Writing" by Ouyang Xiu in the Northern Song Dynasty

▲When I was a teenager, I learned to write regular script in regular script, which was my first level of skill. Qing Dynasty. Liang Jie's "Lun on Learning Calligraphy"

▲Anyone who writes calligraphy must be familiar with the calligraphy of Wei and Jin people, understand it by heart, and be proud of the ancient penmanship.

If you want to learn cursive calligraphy, you must be good at writing. If you know how to write with your back, you will know cursive calligraphy. Cursive calligraphy is not difficult to do. Northern Song Dynasty. Huang Tingjian's "On Calligraphy"

▲Those who were good at calligraphy in ancient times must first write in regular script, and gradually move to cursive script, without departing from regular script. Song Dynasty. Ouyang Xiu's "Collected Works of Ouyang Wenzhong Gong"

▲ To learn calligraphy, you must first write regular script, and to write calligraphy, you must first use large characters. Once the regular script is completed, it is converted into running script; after the running script is completed, it is converted into cursive script. Those who learn cursive calligraphy must first learn the cursive calligraphy, understand the origin of the radicals, and then transform into a cursive calligraphy sage. Those who learn seal script must also learn regular script. Once they are familiar with Zhengfeng, it will be easy to do it. Those who want to learn eight points should first learn seal script. Once they are familiar with seal script, they can learn eight points. This has an ancient meaning. "Learning Calligraphy" by Fengfang of the Ming Dynasty

▲Anyone who learns calligraphy must first learn to write... If you are a beginner, you should write in a big way first, not in a small way. "Bi Zhen Diagram" by Wei Shuo of Jin Dynasty

▲The font sizes of ancient stickers are quite different. Just like an old man traveling with his young grandson, the length and length of the journey vary, but the true love is true and the pain and itching are related. "An Wu Lun Shu" by Bao Shichen of the Qing Dynasty

▲The writing starts and shrinks, and you must try your best to pause and set back. The writing technique is already mastered, and more Tang Dynasty stickers are used to tighten its structure. Qing Dynasty. Liang Chen's "Lun on Learning Calligraphy"

▲If the temperament is weak, the body is not big and the academic ability is limited; if the natural talent is poor, the learning is limited, and it is not easy to get started; if the method is not good, then the time and effort are wasted. In vain; if the skill is shallow, the strokes will be rough and sparse, and it will be difficult to achieve success; if there is little copying, the characters will not be inherited from the master, and the posture will be rough; if the knowledge is short, the painting will wander about the present and the past, and there will be no prejudice. Qing Dynasty. Zhu Lvzhen's "Essentials for Learning Calligraphy"

▲When writing calligraphy for the first time, there is no need to spend too much time on ink. Take a rare copy of ancient rubbings and play with them carefully to become familiar with them. After you have recovered them, you will put them behind you and ask for them. Learn while thinking, think while learning, if there is a situation in your mind, then close the door and pursue it... Qing Dynasty. Song Cao's "Calligraphy Prologue"

The calligraphy method is prepared in the main book, The overflow becomes walking grass. Not being able to write straight words but being able to write in cursive style is like not having a taste of Zhuang language, but always talking freely, which is not the way. Su Shi's "On Calligraphy" of the Northern Song Dynasty

▲Xu Changyun: I may ask, how does the beauty of calligraphy come from the ancients? It is said that the best thing is to hold the pen, make it round and smooth, and not to make it tense; secondly, to know the method, it must be taught orally and by hand, not to be excessive. The so-called writing skills include, secondly, arrangement, neither slowness nor overstepping, but skillful and appropriate control; secondly, flexibility and awareness, following the rules; thirdly, excellent paper and pen. The five are ready, and then you can conquer the ancients. Tang Dynasty. Cai Xizong's "Lun of Dharma Calligraphy"

▲When you first learn calligraphy, you should not fully understand the situation. First, think about the calligraphy and the intention before writing. One time to straighten the hands and feet, two times to learn the posture, three times to make it look like the original, four times to make it moisturized, five times to make it smooth and smooth, and five times to make it smooth and astringent. Jin. Wang Xizhi's Theory of Writing Style

▲If you study extensively from various schools of thought, your handwriting will be clumsy and your writing will make many mistakes. Those who should be connected will be broken, and those who are broken will be continued. , don't understand the transformation, use the pen at will, and let the pen shape it. Mistakes will turn out to be novel. Southern Song Dynasty. Jiang Kui's "Sushu Pu"

▲Beginners to learn the rules must have something to do, and seek meaning based on the images. At the end of the meeting, he did nothing, was satisfied and forgot about the situation. Therefore, it is said that the heart is known by the image. The image cannot be attached and the heart cannot be separated. Ming Dynasty. Xiang Mu's "Elegance on Calligraphy"

▲Mrs. handwriting must be taught by a teacher. You must first know and test the potential, then you can increase the power; once the power is clear, it must be slow and astringent; if the delayed and astringent is divided, there is no need to stick to it; since the stick is dead, seek some abnormality; the purpose of metamorphosis is to work hard; to work hard The principle is based on the abnormal state; the change of the abnormal state does not lead to desolation; when the desolation is gone, focus on the spirit; when the spirit reaches the point of being almost mysterious, there will be no way to escape. Tang Zhang Huaiguan's "Yutang Forbidden Sutra"

3. Form and spirit are interdependent, and artistic conception is the most important

▲Form refers to the form; spirit refers to the spirit. Yuan Wen of the Song Dynasty

▲Shape is the texture of the spirit; spirit is the use of the form. Therefore, the form refers to its quality, and the divine sound refers to its function; the form and the divine cannot be different. Southern and Northern Dynasties. Fan Zhen's "On the Destruction of God"

▲The spirit is the form, and the action is the spirit. Therefore, if the form exists, the spirit will exist, and if the form is projected, the spirit will disappear. Southern and Northern Dynasties. Fan Zhen's "Theory on the Destruction of Gods"

▲The spirit of the husband is outside the form, but the form is in the spirit. If the shape is not vivid, if it is missing, it will be flat; if the shape is similar, if it is missing, it will be sparse. Therefore, seek spiritual resemblance beyond physical resemblance, and seek business in physical resemblance. Ming. Gao Lian

▲ Take the intention and give up the shape, without seeking the intention. Therefore, if the shape is obtained, the meaning overflows from the shape; if the shape is lost, what is the meaning? Ming Dynasty. Wang Lu

▲The key to learning calligraphy is to grasp the spirit, and the best is Qi. If you imitate the body posture, although the shape is similar but there is no spirit, it is the fault of those who do not know how to calligraphy. Song Dynasty. Cai Xiang's "Collected Works of Cai Zhonggong, a scholar of Duanming Palace in Song Dynasty"

▲The heart of the book advocates calculation and imagination, and the intention is at the end of the pen, which is not the form; the appearance of the book is twists and turns, advance and retreat, and majesty. The expression is full of energy and the pen is drawn at will, reflecting the heart of the form.

Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

▲The character of husband is based on the expression as the essence. If the spirit is not as good as it is, there will be no attitude; the heart is the sinew and bones. If the heart is not strong, the character will have no strength and strength. ; The epidermis is the cortex. If the epidermis is not round, the words will not be warm and moist. God is the purpose of the heart. Tang Dynasty. Li Shimin's "Referring to Meaning"

▲The wonderful way of calligraphy is that the spirit is the first, followed by the form and quality. Those who combine both can be introduced to the ancients. Southern Dynasties. Wang Sengqian's "Praise for the Intention of Writing"

▲ Therefore, the mystery of calligraphy must be met by the gods and cannot be pursued; skill must be realized in the heart and cannot be obtained by sight. Qing Dynasty. Feng Wu's "Bi Mian"

▲It has a little bit of painting, and the artistic conception is vertical and horizontal. In the middle of Yanya, there is more than enough. The characters are majestic and beautiful, which is similar to vividness, deep and profound, and brilliant. If the gods are wise, they use the unpredictable as a measure, which is the wonderful thing about writing. Tang Dynasty. Zhang Huaiguan's "Essays on Medicine and Stone"

▲It is the body of the book, and it must be in its shape. If it is sitting, it will be shaped, if it is flying, if it is moving, if it is going, if it is coming, if it is lying down, if it is getting up, if it is sad If you are happy, if there are insects eating wood leaves, like sharp swords and long spears, like strong bows and hard arrows, like water and fire, like clouds and mist, like the sun and the moon, only if there is something that can be compared vertically and horizontally, it can be called a book. Eastern Han Dynasty. Cai Yong's "Nine Potentials"

▲Books originate from nature, nature is established, and yin and yang are born. When yin and yang are born, the form and qi are established. Eastern Han Dynasty. Cai Yong's "Shishi Divine Instruction"

▲When the ancients wrote books, the rules and regulations were found in the contact points; the artistic conception was found in the scattered places. Qing Dynasty. Zhou Xinglian's "Linchi Guanjian"

▲ If the connexion bone is in full shape, it is short and long, just like a loyal minister who resists the straight and mends the knot of Kuangzhu; when it is right, the track turns, but when it is dense, it is sparse, so there is It is like a filial son who is obedient, cautious and thoughtful at the end of the day. His quality is full of signs, either soft or hard, and he is like a wise man who hides his secrets and knows how to advance and know how to retreat. "Shu Duan" by Zhang Huaiguan of the Tang Dynasty

▲The heart is in harmony with Qi, and Qi is in harmony with the heart; Shen is the function of the heart, and the heart must be calm. Tang Dynasty. Li Shimin's "Referring to Meaning"

▲To form and tie characters, it is not as good as the brushwork to get the form, and the atmosphere is not as good as the brushwork to get the form. "Hanlin Cuiyu"

▲When the pen is put on the paper, the spirit can rush into it, and the charm and charm will be dizzy outside. If it is as raw as it is cooked, and if it is round and smooth, then every stroke will have its own strokes, and every stroke will have no trace. "Secrets of the Southern Sect" by Hualin of the Qing Dynasty

▲Therefore, there is a vivid feeling due to the brushwork, and a lively effect due to the ink style. Qing Dynasty. Ding Gao's "Secrets of Portraits"

▲The law is higher than the meaning and the usage is higher than the law. The intention is higher than the law and the intention is to correct the spirit of the law. Qing Dynasty. Liu Xizai's "Art Overview"

▲The God of Wind must first be of high moral character, secondly, learn from ancient techniques, thirdly, be good at paper and pen, fourthly, be dangerous, fifthly, be wise, sixthly, be moist, and seventhly The whiskers should be turned back appropriately, and new ideas will come out when the eight whiskers are used. Naturally, the older one is like a handsome man, the shorter one is like a vigorous man, the thin one is like a tall man in the mountains, the fat one is like the son of a noble traveler, the vigorous one is like a martial artist, the charming one is like a beautiful woman, the slumped one is like a drunken immortal, the straight script is like Magi. Southern Song Dynasty. Jiang Kui's "Xu Shu Pu"

▲The word "fu" uses the spirit as the soul. If the spirit is not known, the word has no attitude; the heart is the sinew and bones. If the heart is not strong, the word has no strength. Also; the accessory hairs are the skin. If the accessory hairs are not round, the character will not be warm and moist. Li Shimin's "Brushwork Jue" of the Tang Dynasty

▲If there is merit but no nature, the spirit will not be born; if there is nature but no merit, the spirit will not be real. . "Hanlin Cuiyu"

▲The only word for calligraphy is cleverness, while clumsiness means straightforwardness and no transformation. "Essays on Painting a Zen Room" by Dong Qichang of the Ming Dynasty

▲Chance represents the spirit of legend; interest and wonder represent the style of legend. Without these two things, it would be like a clay figure and an earthen horse, with a living form but no rising energy. Li Yu's "Xian Qing Ou Ji"

▲The so-called divine product is because it was written by my god. Ming Dynasty. Dong Qichang's "Essays on Painting Zen"

▲Academic knowledge: In learning immortals, the bell god is the best, the bell spirit is the same, and the bell shape is the same.

▲Books are valuable to the gods, and gods are different from others. What enters his body, I transform into the past; what enters my spirit, the past transforms into me. Qing Dynasty. Liu Xizai's "Art Summary"

▲The beauty of calligraphy and painting should be understood by spirit, and it is difficult to find it through form and implement. Song Dynasty. Shen Kuo's "Mengxi Bi Tan"

▲The truth is within, and the spirit moves outside, so truth is valued. "Zhuangzi"

▲However, there is no limit to wisdom, and the law is not fixed, and those with the strength of the wind, god, and strength are at the top, and those with beauty and craftsmanship are at the bottom. Tang Dynasty. Zhang Huaiguan's "Calligraphy Art"

▲The overall situation of calligraphy is mainly based on Qi; every word has bones, flesh, tendons and blood, and when Qi fills it, the spirit comes out. Yao Peizhong

Some of the charm comes from the ink, some comes from the author, some comes from the intention, and some comes from the unintentional one. It originates from the unconsciousness first, then from the intention, then from the pen, and then from the bottom of the ink. Qing Dynasty. Zhang Geng

▲The summary is to take the spirit of oneself and take the spirit of others.

Qing Dynasty. Ding Gao's "Secret Secrets of Portraits"

▲ meaning, innate, is the basis of writing; image, acquired, is the use of writing. Qing Dynasty. Liu Xizai's "Art Introduction"

▲When writing calligraphy, the hand must be familiar, the spirit will be complete and the aftertaste will remain, which is a pleasure in silence. "Dongpo Inscriptions and Postscripts" by Su Shi of the Song Dynasty

▲Not seeking resemblance in appearance is just a subtle shift in nature and wandering in the sky; people in recent times only seek resemblance in appearance, and if they want to be similar, they become more distant. Qing Dynasty. Yun Shouping's "Ouxiangguan Painting Postscript"

▲The book should be solid but empty, but it should be hollow in reality. There is no one that cannot penetrate the paper and can be separated from the paper.

▲The book should be thoughtful and bold. The subtle ones are organized and within the words, while the big ones are majestic beyond the words. Qing Dynasty. Liu Xizai's "Art Summary"

▲The pen and ink are all in one line, with the highest intention. Qing Dynasty. Wang Yuanjin

▲The mysterious meaning comes from the surface of things; the profound truth lies in the dark world; it cannot be expressed by ordinary emotions, nor can it be measured by worldly wisdom. There is no such thing as hearing alone, only seeing clearly, and there is no soundless sound or formless appearance. Tang Zhang Huaiguan's "Calligraphy Art"

▲The Yang Qi is bright and the flowers stand on the wall, and the Yin Qi is strong and the wind is born. Wang Xizhi of Jin Dynasty, "Review of the Brushing Techniques Taught by Tiantai Zizhen"

▲ There is brush and ink, which is called painting, and there is rhyme and interest, which is called pen and ink. Qing Dynasty. Yun Shouping's "Xiangguan Painting Zen"

▲The bottom of the brush is deep and graceful, with natural charm and bookishness. Qing Dynasty. Jiang Ji's "The Mysterious Essentials"

▲The Qi can be clear or turbid, and the style can be high or low. Liu Xizai's "Art Summary" of the Qing Dynasty

▲The book should be clear and thick, and clearness and thickness must be based on the heart. Otherwise, although the book is spared from being thin and muddy, it is just a reflection of others. Qing Dynasty. Liu Xizai's "Art Summary"

▲When the ancients discussed the beauty of poetry, they must say it is calm and happy. But the same is true for books. If they are calm but not lively, they will be fat and turbid and lack charm; if they are lively but not calm, they will be scrawled and the rules will be lost. Ming Dynasty. Fengfang's "Shu Jue"

▲The writing is smooth and the meaning is super ancient. Qing Dynasty. Wu Li

▲The servant said: In writing, a few words can realize the meaning; in writing, one word can reveal the heart. It can be said to be a simple way. If you want to know how wonderful it is, it is unpredictable at first sight, but becomes more precious after a long time of viewing. Even though the book has been sealed and hidden, your heart and eyes are chasing it, and your feelings are still attached to it. This is wonderful. Tang Zhang Huaiguan's "On Characters"

▲The charm of calligraphy is difficult to match... Qing Dynasty. Zuo Yinsheng's "Shu Shi"

▲Fu's calligraphy and writing are exquisite, and they all have profound meanings that can be understood immediately after seeing them. Tang. Zhang Huaiguan's "Book of Discussions"