1. What are the famous sayings about calligraphy and painting?
For forty years, I have been painting bamboo branches, writing my thoughts during the day and thinking at night. The redundant and complicated pieces have been trimmed away, leaving only thin ones. When I paint them, they are still ripe. ---- (Qing Dynasty) Poet Zheng Banqiao painted and wrote about bamboo throughout his life. Looking back on his experience, he felt deeply. The first two sentences are about painting and writing, which requires diligence and concentration to succeed. "The redundant and complex are trimmed away, leaving the thin", which means writing. Poetry and painting are actually the same as being a human being. Only when you can cut out the complex and simplify it can you be considered to have reached a certain height. "Painting is the time when it is alive" contains a deeper truth, which is actually the three principles of artistic pursuit. Stages: raw, cooked, and raw. He once said that there are three realms of bamboo painting: "There is bamboo in the eyes, there is bamboo in the heart, and there is no bamboo in the heart." Of course, he borrowed the Zen saying "Looking at a mountain is a mountain, seeing a mountain is not." "Mountains, looking at mountains are still mountains." The three realms of painting are like this. Isn't it the same as being a human being? Therefore, some people say that writing is like people, and paintings are like people. -----Excerpt from the book "Zen's Poetry, Calligraphy and Painting". 2. Famous quotes about calligraphy
Books are also paintings from the heart.
[Center] Yang Xiong: "Dharma Words?" The book "Asking God" is like this. Just like his learning, his talent, his ambition, in short, just like his person.
〔Chinese〕Liu Xizai: "Art Concept?" "Book Summary" Book is also a form of learning. There is power in form.
[Center] Kang Youwei: "Guangyi Zhou Shuangyi?" As far as its phenomenon is concerned, "Zhufa" calligraphy is an abstract art that relies on Chinese characters to pursue movement, rhythm, and tension, with infinitely changing dotted line forms and progressive combinations. [Middle] Cong Wenjun: "Explanation of Criticism of Calligraphy Imagery" Joy means the air is gentle and relaxed, anger means the air is thick and dangerous, sadness means the air is depressed and the words are condensed, and happiness means the air is flat and the words are beautiful.
As emotions are heavy and light, the characters are also shallow and deep, with infinite changes. [Chinese] Chen Yizeng: "The Essentials of Hanlin?" The book "Reform" originated from nature. When nature is established, yin and yang are born; when yin and yang are born, the situation emerges.
〔Chinese〕Cai Yong: "Nine Powers" The power is irresistible when it comes, and it is irresistible when it goes away. However, if the pen is soft, it will be strange. [Middle] Cai Yong: "Nine Movements" Although the disciples of the same family have become many bodies, they all follow their sexual desires and regard them as postures.
[Middle] Sun Guoting: "Shupu" a book must have spirit, energy, bones, flesh, and blood. If the five are missing, it cannot be a book. [Middle] Su Shi: The calligraphy and painting in "On Calligraphy" come from the same work. The calligraphy is expensive, and the painting is also expensive.
If calligraphy is incorporated into paintings, the paintings will be wonderful; if painting is incorporated into books, the books will be wonderful. [Middle] Zhou Xinglian: "Linchi Guanjian" can only be written with pen and knot characters.
The pen must be used to make full use of the strokes, but it must be restrained and controlled; the knot must be in its true form, but the reflection must be even and beautiful. [Middle] Feng Ban: "Buyin Shu Yao" The beauty of calligraphy lies in temperament, and its ability lies in form and quality.
[Center] Bao Shichen: "Yizhou Shuangyi?" The book "Answers to the Questions of Three Masters" uses pen as the substance and ink as the text. 〔Chinese〕Liu Xizai: "Art Concept?" The key points of the book are summarized in the word "Integrity".
〔Chinese〕Liu Xizai: "Art Concept?" "Book Summary" A book must have both yin and yang. Generally speaking, being calm and depressed is Yin; being extraordinary and bold is Yang.
〔Chinese〕Liu Xizai: "Art Concept?" The person who writes in "Shu Gui" also writes the aspirations. 〔Chinese〕Liu Xizai: "Art Concept?" The writing, ink and emotion in "Shu Gui" are all based on human temperament.
〔Chinese〕Liu Xizai: "Art Concept?" "Book Summary" Writing books can nourish Qi, and it can also help Qi. [Middle] Zhou Xinglian: "Linchi Guanjian" calligraphy is also enough to expand talents and cultivate knowledge.
[Middle] Zhou Xinglian: "Linchi Guanjian" is a good book. Calligraphy and painting arrive at the same destination through different paths.
[Middle] Zhu Hegen: "Linchi Xinjie" Chinese calligraphy is recognized by the world as the highest art, because it can show amazing miracles, colorless but with the brilliance of painting, silent but with the harmony of music , attract people to appreciate, feel relaxed and happy. [Middle] Shen Yinmo: "An Interpretation of the Experiences of Famous Masters in Learning Calligraphy" Chinese calligraphy has become one of the most popular arts and the most fascinating art from a very early age; and among the world's arts, it has also become one of the most popular arts. A unique and advanced art.
[Chinese] Chen Tingyou: "The Aesthetics of Chinese Calligraphy?" "On the Essence of China", every stroke, stroke, wave, and twist must be delivered with all one's strength. [Center] Mrs. Wei: "Brush Formation Diagram" When using the brush, the wrist must be light and weak.
〔Chinese〕Yu Shinan: "Theory of Essence of Writing?" "Meaning" Generally speaking, if the wrist is upright, the front is straight, and if the front is straight, the four sides will be full. The second actual pointer, the actual pointer means the force is even.
If the palm is empty, it will be easier to use. [Middle] Li Shimin: "The secret of penmanship" is to write the pen in a round and smooth manner without making it tense.
[Middle] Yan Zhenqing: "Reporting the Twelve Meanings of Zhang Changshi's Writing Techniques" The flat wrist has double bracts, and the virtual palm actually points, which is wonderful. [Chinese] Han Fangming: "Teaching the Pen" The power of the pen does not lie in the strength; if it is used for strength, the pen will die.
〔Chinese〕Lin Yun: "Preface to Pulling the Stirrup" The empty palm is the real finger, the finger is not in the palm, the thing is up and down, how can it be separated! [Middle] Lin Yun: There is no fixed method for handling the brush in "Preface to the Stirrup", it should be empty and wide. [Middle] Su Shi: "On the Book": Knowing the book does not lie in the pen. Haoran listens to the pen and does not lose the law, which is the way to gain it.
〔中〕Su Shi: "On the Book": The desire to grasp is tight, and the desire to move is alive. You can't move the pen with your hands, but with your wrist. If it is held in the hand, the hand does not control the movement; if the movement is in the wrist, the wrist does not control the holding.
〔Chinese〕Jiang Kui: "Sequel Book Spectrum?" Use the pen. Hang the wrist with double hooks, let the left side and the right side point, the virtual palm points to the real point, meaning the front and the back of the pen. [Middle] Fengfang: "Shu Jue" The big characters are carried on the upper wrist, and the small characters are carried on the lower wrist. If the flesh is not lined with the paper, the pen will be written like flying.
〔Middle〕Fengfang: "Shu Jue" hangs at the wrist, and the strokes are infinite, otherwise the composition will be difficult to move. [Middle] Xu Wei: "The Essentials of Bi Xuan" The writing is about dying, the writing is about living.
It means wanting to die and the wrist wanting to live. 〔中〕Wang Shu: "On the Remaining Words of the Book?" "Writing a Pen" Only when the arms, wrists and fingers work together can a book be written.
〔Chinese〕Zhu Lvzhen: "The Essentials of Calligraphy" If the elbows are hanging, the whole body's strength will come naturally. [Middle] Zhu Lvzhen: "Shu Xue Jie Yao" The center's wrist strength is still good, but the operation of wrist strength is all controlled by the elbow strength, which is not called strong by the angry pen.
[Middle] Zhu Hegen: "Linchi Xinjie" hides the head and protects the tail, the power is in the words, the pen is pressed hard, the skin is beautiful. [Center] Cai Yong: When writing "Nine Potentials", it is appropriate to review it from left to right, so as not to leave the program alone.
[Middle] Cai Yong: "Nine Trends" hides the front and points out the traces of entry and exit. If you want to go to the left, you will have it first, and when you return to the left, you will be able to do so. [Middle] Cai Yong: "Nine Movements" has a hidden head, and the round pen belongs to the paper, so that the center of the pen is always moving in the pointillism.
〔Chinese〕Cai Yong: "Nine Movements" Protect the tail, use the stippling power to collect it with all your strength. [Chinese] Cai Yong: There are two methods in the book "Nine Potentials": one is disease, and the other is astringency.
After mastering the two methods of "disease" and "astringency", the writing will be wonderful. [Middle] Cai Yong: "Yanji" Those who are good at penmanship have many bones, and those who are not good at penmanship have more flesh. Those who have more bones and less flesh are called sinewers, and those who have more flesh and less bones are called ink pigs. Those who have more strength and tendons are holy, while those who are weak have no tendons. The patient is sick.
[Middle] Mrs. Wei: The first thing in "Bi Zhen Diagram" is to keep the tendons and hide the front, to destroy the traces and hide the ends. [Middle] Wang Xizhi: "On Calligraphy", each book can be called a book only if it has ten delays and five urgents, ten starts and five straights, ten hides and five emerges, and ten rises and five falls.
If the writing is straight and hurriedly wrapped, it will look like a book for a while, but will feel weak for a long time. [Middle] Wang Xizhi: "Shu Lun" The rough is not important, and the fine is not light.
Slender to the back, not a hair of death or life. [Middle] Wang Sengqian: "Praise for the Writing Meaning" The most important thing is not to be busy, because being busy will lead to loss of power; the second time is not to be slow, and being slow will lead to bone insanity.
[Chinese] Ouyang Xun: "Teaching Secrets" is too slow and boneless, too fast and boneless. 〔Chinese〕Yu Shinan: "On the Essence of Writing?" "Meaning" Within one painting, the peaks and peaks rise and fall; within a point, the peaks and peaks rise and fall.
〔Chinese〕Sun Guoting: The turning point in "Book Book" is the method of square and circle, which is really used for folding, and the grass is used for turning. If you want to stop less, you will be more powerful; if you don't want to stagnate, if you stagnate, you will not be able to escape.
However, it is important to know that the true power can only be turned around, but the grass can only be broken and have lasting strength. 〔中〕Jiang Kui: "Sequel Book of Music?" "Zhenshu" uses the pen like folding the strands of a hairpin, like the traces of leaks in a house, like a cone drawing sand, or like the cracks on a wall. 3. A collection of famous quotes about calligraphy
▲Words are the voice of the heart; writing is the painting of the heart.
The sounds and shapes can be seen by gentlemen and villains. Sound and painting are the reasons why gentlemen and villains are emotional.
——Yang Xiong's "Fayan" ▲The depth of the pen lies in the distance of the paper. The distance is superficial and weak, and the distance is the weight of the front. Tang Dynasty Lu Xie's "Linchi Jue" ▲ Anyone who wants to learn calligraphy must first learn to use the pen. The method of using the pen is to hook both hands back to the wrist, use the empty palm to point to the solid point, and use the ring finger to press the pen, which will be powerful.
Huang Tingjian's "Lun Shu" ▲The so-called rules are: suppress, hook, uncover, resist, and guide. The Five Dynasties. Li Yu's "Shu Shu" ▲Youjun's pen is inward and forward, mostly in the front, so the law is strict and immersive; Zijing uses the pen to extend outward, with half of the side front, so the spirit is loose and wonderful.
Ming Dynasty. The character "▲" in Feng Wu's "The True Story of Calligraphy" of the Qing Dynasty has the difference of hiding the front and coming out. It is bright and full of Chu. It is better if the hands and tail should match each other, and the top and bottom should be connected.
Song Dynasty. Jiang Kui's "Xu Shu Pu" ▲The power of the pen 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? "On Calligraphy" by Xu Hao of the Tang Dynasty ▲Naiwu uses the brush like a cone to draw in the sand, hiding the edge of the painting, and the painting is calm. When he uses the brush, he always wants to let it penetrate the back of the paper. This is the ultimate success.
Tang Dynasty. 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 most important thing about the method of one word lies in the structure: the beauty of the method of one stroke lies in the beginning and end. The secret of structure lies especially in the subtlety of brushwork.
Anonymous "Eight Methods of Yongzi" ▲You will be able to use this pen properly, use it sideways, use it smoothly, use it heavily, use it lightly, use it empty-handedly, be practical, capture it firmly, get it vertically, get it tight, 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' powerful and wanton 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 control of the entry and exit of both ends of the cover; among them, the reason why the cut is abundant but not timid, and solid but not empty, is that it is not the bone potential that is insightful, and it cannot be caused by anger. Qing Dynasty. Bao Shichen's "Yizhou Double Collection" ▲If the pen is straight, the front is hidden, and if the pen is Yan, the front comes out.
Song Dynasty Jiang Kui's "Xu Shu Pu" ▲The pen must be lifted up at the point where it is started, so as not to let it die on its own. "Essays on Painting Zen Rooms" by Dong Qichang of the Ming Dynasty ▲The ancients used the same pen when compiling, including Fen, Zhen, Xing, and cursive scripts. They must mainly use the front edge, and occasionally use the side edge to capture the beauty.
Among the following sub-books, eight are the forwards and two are the flankers. The compilation is completely unpredictable. Ming Dynasty. Fengfang's "Shu Jue" ▲The ancients used to turn the brush point by point to complete the drawings. They did not reach the point where they were pulled, but used the turning function. The ancients drew one by one, all rotating, and put the paper with a straight heart. There is no place where millet has collapsed.
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 turning point before you can know the beauty of breaking hairpins. Wherever the darkness passes, you have to stay somewhere to walk. If you stay wherever you go, you will get really fast.
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 walking down, the tube turns upward; when drawing a person walking up, the tube turns downward; when drawing a left person, the tube turns right.
Qing Dynasty. Bao Shichen's "Yizhou Double Collection" ▲The strokes of 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. Li Misun's "Junxi Collection" of the Song Dynasty ▲The main points of the book can be summed up in one sentence.
Said: The pen is square and the potential is round. The square one is the folding method, which is the starting and ending point of the stippling wave. The square shape is the finger, which is the bone of the character; the round one is the pen hovering in the air, which is the gesture, and the round arm and wrist are the tendons of the character.
Square and circle interact with each other, just like yin and yang hide each other.
Therefore, the pen should be round and the font should be square. The circle is the divine circle and cannot be stagnated; the square is the square, which cannot be clung to.
Ming Dynasty. Xiang Mu's "Elegance on Calligraphy" ▲ When the ancients wrote, they would make a circle when they started writing, and they would make a square when they started writing, each forming a kind of composition. "Lanting" uses circles, "Shengjiao" uses squares, and the two stickers are models of calligraphy for generations. The so-called rules of square and round are the best.
▲In terms of turning and bunching, the inside is square and the outside is round; in terms of writing, 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 "Yizhou Double Collection" ▲The round pen is used to lift, and the strokes are drawn out with pauses. Fangbi used the word "du" instead, and used the deed to express it.
Use Jiao for round pens, and Fan for square pens. If the round pen is not Jiao, it will be weak, and if the square pen is not Fan, it will be stagnant. Modern times. Kang Youwei's "Guang Yizhou Double Collection" ▲The tip of the pen is like a falling edge, and there is no sharp edge. The mood is vivid, refreshing and refreshing. It is a single character and must be included in both numbers and body.
Wang Xizhi of Jin Dynasty's "On Calligraphy" ▲To write a book, you must be able to pick up the pen, but you cannot trust the pen. If the letter pen is used, the waves and drawings will be weak.
When you pick up the pen, there will be a master in every turn and bundle. The two characters "Zhuan" and "Xu" are the calligrapher's secret.
"Essays on Painting a Zen Room" by Dong Qichang of the Ming Dynasty ▲The beginning has the priority of separation and combination, the closing has the emptiness and reality, the order and reversal, the opposite has the right and wrong, and the connection has the right and wrong. Qing Dynasty. Liu Xizai's "Art Summary" ▲The pen must be calm, and the pen must be calm, and the pen will not be floating;
The use of pen to understand this has the effect of gradual change. The skillful and clumsy pens must be used in conjunction with each other. Skillful writing will lead to flexibility, while clumsy writing will make fun of the past. If you combine them with each other, there will be no risk of turbidity when writing.
Qin Zuyong's "Tongyin Painting Jue" ▲The book has two methods: one is disease, and the other is astringency. The two methods of quickness and astringency make the book wonderful.
"Preface to Pulling the Stirrup" by Lin Yun of the Tang Dynasty ▲ If you write too quickly, there will be no pauses, and if you write too late, you will lose power.
Liang Xian's "Xue Shu Lun" of the Qing Dynasty ▲The author is familiar with the theory of astringent writing, but I don't know how to get astringent. But when the pen is ready to move, if there is something to reject, and it tries its best to fight against it, it will become astringent unexpectedly and it will become astringent on its own.
Liu Xizai's "On Using the Brush" of the Qing Dynasty ▲The pen is firm and never sluggish, and the calligraphy is thick and deep. Tang Dynasty. Zhang Yanyuan's "Book of Dharma" ▲Shan Zhou said: The pen should be soft, so that it is soft; the tip of the pen should be long, so that it is agile; the ink should be full, so that it is plump; the writing should be fast, so that the idea will come out quickly.
To use the pen sharply, you need to go against the trend and not follow the trend, which will cause it to be lifeless and childish.
"Tongyin Painting Jue" by Qin Zuyong of the Qing Dynasty ▲People only know that the pen and ink have charm, but they don't know that the charm is all in the hands. Qing Dynasty. Da Chongguang's "Hua Qian" ▲There are people who have mastered the technique of brushwork but cannot use ink, and there is no one who has mastered the technique of ink without using the brush.
Qing Dynasty. Bao Shi. 4. Famous quotes related to calligraphy and painting
Calligraphy and painting: The art of calligraphy and painting all requires the will and spirit. It is not something that a cowardly enlightened man can do. Painting can be done by oneself. Painting can be established by itself. There is no choice but to do it. Finally, there is Neither is the law.
Old day: Painting is done without the law. ——Pan Tianshou The writing style and ink writing style are all based on human temperament.
This is the first task of writing with rationality and emotion. ——(Qing Dynasty) Liu Xizai It is better to have time than to have a tool, and to have a tool is not as good as success.
——(Tang Dynasty) Sun Guoting The person who writes old books is also a student of mind; the person who writes is also a writer of aspirations. ——(Qing Dynasty) Liu Xizai In calligraphy and painting, the first priority is character, and integrity is excellence. Not only does everyone value his brushwork, but he also admires his person.
——(Qing Dynasty) Songnian. The external teacher created the heart and got the source of the heart. ——(Tang Dynasty) Zhang Cao is broad-minded and makes appointments;
——Su Shi Those who learn from me will live, and those who resemble me will perish. ——Qi Baishi The beauty of painting lies in the balance between similarity and dissimilarity. Too much similarity will be kitsch, and dissimilarity will deceive the world.
——Qi Baishi The most important thing in painting is to describe one's life, and it is good to be able to achieve a similar appearance and spirit. ——Qi Baishi The beauty of ink painting is color but not merit.
——Li Keran The most valuable person is courage, the one who wants it. ——Li Keran’s writing should keep pace with the times.
——Shi Tao There is an ancient saying: "If you don't read much, your painting will not be refined; if you don't understand clearly, your painting will not be correct." In the true mountains and rivers, we can look at the potential from a distance, and look at the quality from a close look. We can look at the general trend at the macro level, and the essence at the micro level.
——(Song Dynasty) Guo Xi Shi Tao said that heaven and earth are made of life, and paintings are made of pen and ink. ——(Qing Dynasty) Shi Tao and Zhang Yanyuan’s “The bones and shapes all seem to be based on the intention and return to the pen.
——Zhang Yanyuan’s spirit and heart meet, and the heart and Qi combine. If you can’t do it, you can’t stop it. , there is absolutely no intention of asking for work, and the wonders of the work are beyond the pen and ink. ——Wang Yuanqi’s writing should not be blindly familiar, and satisfaction is often a matter of life.
——Guan Shanyue Ren. You must not be arrogant, but you must not be arrogant. ——Xu Beihong means writing first, then writing. ——(ancient Chinese calligrapher) Wang Xizhi is the most difficult to paint, followed by mountains and rivers, followed by dogs and horses. ; Taixie is a piece of art that is difficult to achieve but easy to achieve. It is wonderful without thinking. ——(ancient Chinese painter) Ink painting is the most advanced, which brings out the nature of nature and achieves good fortune. < /p>
—— (Ancient Chinese poet) Wang Wei’s pictures of close proximity describe the scenery of hundreds of thousands of miles away. The spring, summer, autumn and winter are all reflected in his writing.
(Ancient Chinese poet) Wang Weiqi has a long and short pen. Although his stippling is insufficient, he often has more than enough spirit. ——(Ancient Chinese calligrapher) Yan Zhenqing. If a good painter does not deliberately copy a landscape, then he will leave us more than just a painting. It is a superficial image, but a substantive essence.
——(French writer) Balzac A painter who is only satisfied with the appearance and is stuck in trivial details will never become a master. ——(French sculpture artist) The white in Rodin's paintings is the painting within the painting, and also the painting outside the painting. ——(Ancient Chinese painter) Hua Lin is "unbelievable". The law of the Yuan Dynasty is the law of war. ——(ancient Chinese painter) Shi Tao studied painting to cultivate his laziness, and it can clear away boredom, relieve boredom, and welcome calmness.
——(ancient Chinese painter) Wang Dou is a master of nature and a master outside painting. ——(Chinese painter) Pan Yaoshou Artists must have skilled craftsmen, but they must also have progressive ideas and noble personality. .
——(Chinese writer) Lu Xun The artist we require is a visionary who can lead the way. ——(Chinese writer) Lu Xun Art is the product of emotion and the comfort of life.
It can subtly influence our emotions in a comforting way. ——(Chinese painter) Feng Ziani The painter competes with nature and surpasses it
——(Italian painter) Da· The heart of a painter should be like a mirror. ——(Italian painter) Leonardo da Vinci is the mediator between nature and the world, and the reproducer of natural creations. His spirit must encompass all things in nature.
< p> Only by learning from nature can we do this. ——(Italian painter) Leonardo da Vinci is a painter because he can see things that others can only vaguely feel or glimpse but cannot see.——(Italian historian) Croce came up with new ideas in the law, and put wonderful principles in boldness. ——(ancient Chinese poet) Su Shi If you want to be better than the pen, you should be better than the heart.
——(Ancient Chinese poet) Huang Tingjian When painting and calligraphy, one should observe the rhyme. ——(ancient Chinese poet) Huang Tingjian Learning calligraphy lies in the method, but the beauty lies in the people.
The Dharma can be passed down from person to person, but the beauty must be in his mind. ——(Ancient Chinese calligrapher) Yuan Buzhi Painters first took the ancients as their teachers, and later took creation as their teachers.
——(Chinese painter) Dong Qichang searched all the strange peaks to make a draft. (Ancient Chinese Painter) Shi Tao The masters of painting create their own scenes based on their own ideas, so there is no fixed method.
——(Ancient Chinese Painter) Fang Xun Paintings that are dull at first glance and look at gods for a long time are considered superior; those with human eyes seem to be good, but those with unintentional eyesight turn around. ——(Ancient Chinese painter) Fang Xun Some people think that sketches are beautiful in themselves, but they do not know that the beauty of sketches is entirely due to the truth and emotion expressed.
——(French female sculpture artist) Rodin Rather than being a barefoot painter who lived to be a hundred years old, it would be better to be a painter Raphael who only lived to be 37 years old, which is more in line with God's will. ——(Japanese novelist) Musha Koji Shiatsu If the shape is similar, the charm and color will be intact, but the brushwork will be lost. How can it be called painting! ——(ancient Chinese painter) Zhang Yanyuan There are six essentials for painting: one day is daily writing, the second day is rhyme, the third day is reflection, the fourth day is scenery, the fifth day is brushwork, and the sixth day is ink.
——(ancient Chinese painter) Jing Hao When painting landscapes, the intention comes first.
——(Ancient Chinese poet) Wang Wei Perhaps one painting in ten thousand should live in people's admiration, passed down from generation to generation, until it fades, dims beyond recognition, or the canvas completely decays.
——(American writer) Hawthorne Art is emotion. Without the knowledge of volume, proportion, color, and sensitive hands, the strongest emotion will be paralyzed. ——(French sculpture artist) Rodin The elements of literati painting are, first, character; second, knowledge; third, talent; fourth, thought.
With these four things, it can be perfected. ——(Chinese painter) Chen Hengge There is nothing more difficult for art than painting a rose.
Because he must forget all the roses he has painted before in order to create. ——(French painter) Matisse After understanding the main essence of nature, you can express it, but you should not be too biased towards nature when expressing it.
(Japanese painter) Nishikawa Yunobu If a painter were to paint a bleeding wound well, the look of the wound would make me eat. 5. Famous Quotes
. As heaven moves forward, a gentleman strives to constantly strive for self-improvement.
——"The Book of Changes" (Translation: As a gentleman, you should have a strong will, an endless spirit of struggle, strive to strengthen self-cultivation, complete and develop your own studies or career, and be able to do so to reflect Follow the will of Heaven and live up to the responsibilities and talents given to a gentleman by the universe) 2. Do not do evil because it is small, and do not do good because it is small.
——"Three Kingdoms" (Translation: Don't do anything just because it is a small, inconspicuous bad thing; on the contrary, do something small but beneficial to others. , don’t stop doing it just because it doesn’t mean much.)
3. Seeing good is like missing out, and seeing bad is like exploring the soup. ——"The Analects of Confucius" (Translation: When you see a good person, you are afraid that you will not have time to learn from him; when you see a good thing, you are afraid that you will not be able to do it too late.
Seeing evil people and bad things is like contact Like scalding water, leave immediately and stay far away.) 4. If you treat yourself with kindness and blame others, you will be far away from resentment.
——"The Analects of Confucius" (Translation: Those who work hard and take the main responsibility for mistakes are "self-benefit"; being more understanding and tolerant to others is "taking responsibility lightly". In this way If you do, there will be no resentment against each other) 5. The beauty of a gentleman is the evil of being a man.
The villain is on the contrary. ——"The Analects of Confucius" (Translation: A gentleman always starts from the desire to be kind or beneficial to others, wholeheartedly promotes others to realize their good intentions and legitimate requirements, and does not look at the world with cold eyes.
Or they are afraid that the world will not be in chaos, and they will not add fuel to the fire when others have failures, mistakes or pain. On the contrary, villains are always "the evil of adults, but not the beauty of adults")
6. Think of the wise. Yan, when you see someone who is not virtuous, you have to introspect yourself. ——"The Analects of Confucius" (Translation: When you see someone who has strengths and advantages that exceed your own in a certain aspect, humbly ask for advice, study hard, and find ways to catch up with him and reach the same level as him; when you see someone with certain shortcomings or deficiencies , you should calmly reflect and see if you have the same shortcomings or shortcomings as him)
7. Don’t do to others what you don’t want others to do to you. ——"The Analects" (Translation: If you don't want it (pain, disaster, misfortune...), don't impose it on others.)
8. Do your duty and don't give in to the teacher. ——"The Analects of Confucius" (Translation: When you encounter something good that you should do, you should not hesitate. Even if the teacher is nearby, you should rush to do it.
Later developed into the idiom "do your duty without hesitation.") 9. A gentleman wants to be slow in words but quick in deeds.
——"The Analects of Confucius" (Translation: A gentleman does not talk too much, but is quick and dexterous in his actions.) 10. When two people are of the same mind, their sharpness is as strong as gold; when two people are of the same mind, their words are as stinky as orchids.
—— "Book of Changes" (Translation: People who work together to organize, their strength is enough to break hard metal; people who work together and share the same goal express unanimous opinions, which are so persuasive that people just smell it. The fragrant orchid fragrance is easy to accept.) 11. A gentleman keeps his weapon in his body and waits for the time to come.
——"Book of Changes" (Translation: Even if a gentleman has outstanding talents and skills, he will not show off or show off everywhere. Instead, he will display his talents or skills when necessary.)
12. If you are full, you will suffer losses, but if you are modest, you will benefit. ——"Shang Shu" (Translation: Being complacent with the achievements you have achieved will lead to losses and disasters; being humble and always aware of your own shortcomings will benefit from it.)
13. People don’t know If you don't feel angry, isn't that a gentleman? ——"The Analects of Confucius" (Translation: If I have achieved something and others don't understand it, I will never feel angry or aggrieved. Isn't this also a manifestation of a gentleman's demeanor?) 14. Be true to your word and do your best. Sure thing.
——"The Analects of Confucius" (Translation: You must keep your word when you say it; when you decide what you want to do, you must do it resolutely and courageously.) 15. No intention, no necessity, no Solid, no me.
——"The Analects" (Translation: Tell the facts, don't make assumptions out of thin air; don't be arbitrary or willful when things happen, do whatever is feasible; be flexible in your actions, not rigid; don't take "I" as the center in everything, Don’t be self-righteous, work together with the people around you to complete the task together.) 16. If we are three people, we must have a teacher. Choose the good ones and follow them, and change the bad ones.
——"The Analects of Confucius" (Translation: When three people are together, there must be someone among them who is worth learning in some way, then he can be my teacher. I choose his advantages to learn from , I will take warning from his shortcomings and deficiencies, and correct them if necessary)
17. A gentleman seeks for himself, and a villain seeks for others. ——"The Analects of Confucius" (Translation: A gentleman always blames himself, looking for shortcomings and problems within himself.
A villain often looks at others, looking for other people's shortcomings and shortcomings.) 18. A gentleman is magnanimous. Dang, the villain grows up.
——"The Analects" (Translation: A gentleman is open-minded, frank and clean in thought, and his appearance and movements appear to be very comfortable and stable. A villain has too many desires in his heart and a heavy psychological burden, so he often worries and worries, Appearance and movements also appear uneasy, often unable to sit or stand firmly)
19. Don’t complain about God or others. ——"The Analects of Confucius" (Translation: When encountering setbacks and failures, never make excuses from an objective perspective, and never push the responsibility to others. Later it developed into the idiom "blame everything but others".)
20. Do not express your anger. , no matter what. ——"The Analects of Confucius" (Translation: If you make a mistake, don't anger others, and don't make it a second time.)
21. A small intolerance will mess up a big plan. ——"The Analects of Confucius" (Translation: Even if you really want to do something that you shouldn't do, but insist on not doing it, it is called "forbearance".
Being intolerant of small things and having no tolerance will affect the overall situation. Bad things happen.) 22. Even the villain’s faults will be punished.
- "The Analects of Confucius" (Translation: A villain must cover up his own mistakes.) 23. To make mistakes without correcting them is to make mistakes.
——"The Analects" (Translation: If you make a mistake and do not correct it, it is a real mistake.) 24. A gentleman sticks to his roots, and the Tao is born from his roots.
——"The Analects" (Translation: A gentleman devotes himself to the fundamentals, establishes the fundamentals, and the "Tao" will naturally arise.) 25. A gentleman is ashamed of his words and goes beyond his actions.
——"The Analects" (Translation: A gentleman believes that it is shameful to talk too much and do too little.) 26. Think twice before you act.
- "The Analects of Confucius" (Translation: Every thing you do must be done after repeated consideration.) 27. Those who do many unjust things will surely die.
——"Zuo Zhuan" (Translation: If you do too many bad things, you will eventually destroy yourself.) 28. No one has any faults, but he can correct them, and there is no great good.
——"Zuo Zhuan" (Translation: Everyone may make mistakes, and as long as they correct themselves, they will still be the best people.) 29. Don't cover up your great virtue with a dim light.
——"Zuo Zhuan" (Translation: When evaluating a person, one cannot erase his merits just because of a single mistake.) 30. If a person can do one thing, he can do a hundred things; if a person can do ten things, he can do a thousand things. Of.
——"Moderate." 6. Famous aphorisms about calligraphers
Calligraphers have pens in their characters just like Zen writers have eyes in their sentences - Huang Tingjian
Copy some more
●Shu Zhao In nature (Cai Yong, Han Dynasty)
●Silent voice, invisible appearance (Tang Dynasty, Zhang Huaijin)
●Studying books can lead to long-term knowledge (Tang Dynasty, Zhang Yanyuan)
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●The mysterious meaning comes from the surface of things; the deep truth lies in the dark; it is not ordinary emotion
What can be said can be measured by worldly wisdom (Tang· Zhang Huaijin)
●It may be used to express the ambition to achieve great success, 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)
Correct calligraphy can correct people's hearts, so it can also be 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. The emotions are heavy and light, so the words are calm, gentle, beautiful, deep and shallow, and the changes are endless.
——Chen Yizeng's "Essentials of the Imperial Academy"