1. The ink must be thick or light, dry or wet, and the ink will naturally flow out in one breath. "Tongyin Painting Jue" by Qin Zuyong of the Qing Dynasty

2. Softness makes the posture graceful, while rigidity makes the performance beautiful... Zhang Huaiguan of Tang Dynasty's "Essay on Medicine and Stone"

3. If the ink is restrained, it will be weak, and if it is released too little, it will be pure bone without charm, pure flesh will be weak, less ink will be floating and astringent, and too much ink will be dull. Emperor Wu of Liang Dynasty's "Yu Da Lun"

4. If there are bones, there must be flesh, and if there is strength, there must be weakness. Otherwise, it will be majestic and almost sinister, without any ethereal and ethereal potential. Qing Dynasty. "Xishan Wofu Lu" by Sheng Sheng

5. Calligraphy tends to be strong and strong, and wildness is the most taboo. Qing Dynasty. Liang Xian's "Study of Calligraphy"

6. People are good at calligraphy and have thousands of shapes, but they can only be called neutral, fat or thin. If the calligraphy is written, it should be shortened and measured, light and heavy should be balanced, yin and yang should be appropriate, and hardness and softness complement each other. Ming. Northern Song Dynasty. Huang Tingjian

8. Wandering and pitching, calm and romantic. When it is strong, it is like an iron painting, when it is charming, it is like a silver hook, when it is beautiful, it leans against the grain and is clear. Tang Ouyang Xun's "On Using the Brush"

9. The difficulty in using the brush lies in the strength. Qiu Jin is not just the strong force of an angry pen, but a powerful person who has strength all over his body and can easily rise up. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

10. Zuo's narrative, the complex ones are organized, the lonely ones are supplemented, the rigid ones are lively, the straight ones are graceful, the vulgar ones are elegant, and the dry ones are plump. ; Tailoring the method of transportation and transformation is a great preparation. Qing Dynasty. Liu Xizai's "Art Summary"

11. The bones and tendons are planted, and the tendons are attached to the bones and linger. The bones are shortened, and the tendons are fat and thin. The two are not separated from each other, so their functions are divided. .

Muscles and bones are not born from the pen, but the pen can gain and lose them; flesh and blood are not born from the ink, but the ink can increase and decrease it.

The flesh is tender and plump, and the tendons are dark and moist. If you are plump, you will be more charming, and if you are moist, you will be more attractive. Qing Dynasty. Da Chongguang's "Book Raft"

12. A horse with more tendons and less meat is considered to be the top, and a horse with more meat and less tendons is considered to be the bottom. The same is true for books. Zhang Huaiguan of the Tang Dynasty wrote "Essay on Medicine and Stone"

13. The sparseness of the book represents the spirit of wind, and the denseness of the book represents the old spirit. When it is sparse but not sparse, it will become cold begging; when it is dense but not dense, it will inevitably become sparse. Song Dynasty Jiang Kui's "Sushu Pu"

14. One point, one stroke, one word, one line, arranged one after another. The font sizes of the ancient stickers are quite similar, such as an old man traveling with his young grandson. The lengths vary, but the affection is sincere and the pain and itching are related. Qing Dynasty. Bao Shichen's "Yi Zhou Shuang Ji"

15. There are several reasons for a line of words. Some are bigger on the top, some are longer on the bottom, some are taller on the left, and some are taller on the right. , not to follow the same path, but to inherit the whole path. Ming Dynasty. Li Chun's "Eighty-Four Methods for the Structure of Large Characters"

16. There are eight methods for using pens in real writing. Between the characters, the long and short complement each other, the oblique and upright are leaning on each other, and the fat and thin are mixed together, seeking to be beautiful and charming after adulthood. Song Dynasty. Jiang Kui's "Xu Shu Pu"

17. The style of writing is vigorous and vigorous, without revealing the muscles and bones, making it dazzling. "Secrets of the Southern Sect" by Hualin of the Qing Dynasty

18. Those who are good at penmanship have many bones, and those who are not good at penmanship have more flesh. Those with more bones and less flesh are called sinewers, and those with more flesh and less bones are called ink pigs. Those with strong tendons are holy, those with weak tendons are sick. "Brush Formation Picture" by Wei Shuo of Jin Dynasty

19. When using ink, it must be moist and not dry, especially if it is fat, as fat will lead to great evil. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

20. If the horizontal direction cannot be flat, the vertical direction cannot be straight, the wrist cannot be stretched, the eyes cannot focus, the distribution will not be perfect; the distribution will not be perfect, the rules will not be perfect; rules If there is a loss, it is difficult to write down the law. Qing Dynasty. Da Chongguang's "Book Raft"

21. There is no way to learn books without following the rules, and there is no way out without following the rules. It is said that if you catch a fish because of the trap, you will forget the trap if you catch the fish. Qing Dynasty. Zhu Luzhen's "The Essentials of Learning Calligraphy"

22. Use all your strength, and even if it sinks into your bones, your pen will be able to reconcile it. Harmony is neither hard nor soft, and changes are everywhere. Therefore, those who know harmony are those who have deep energy and are not indulgent. Qing Dynasty Wang Shu's "Lun Shu Teng Yu"

23. Thin but showing the bones, fat but showing the flesh, are not considered good; thin but not showing the bones, fat not showing the flesh, is the best. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

24. If the painting is accelerated, the calligraphy will be horizontal, and if the painting is sparse, the calligraphy will be slow; if it is restrained, it will lack momentum; if it is released, it will be sparse; pure bones will have no charm, and pure flesh will be weak. A little ink is floating and astringent, while a lot of ink is dull and dull, both are the same. Xiao Yan's "Reply to Tao's Esoteric Treatise"

25. People in the world only regard anger as muscles and bones, but they don't know that anger does not have muscles and bones. Northern Song Dynasty. Mi Fu's "Hai Yue Ming Yan"

26. The essence of the book is unified in the word "integrity". In terms of bone quality, it is called a hole in the middle, and a hole in the middle is a hole, and a hole in the side is a da. Dongda means that whether it is dense, fat or thin is good, otherwise it will be a disease.

27. The word has the power of courage, which is the bone; the word has the power of endurance, which is the tendon. Use bones to get bones, so take the fingertips; use tendons to get tendons, so take the wrist hang. Qing Dynasty. Liu Xizai's "Art Introduction"

28. People know that straight painting is all-powerful, but they don't know that the power of hairspring is stronger and more sharp. Qing Dynasty. Da Chongguang's "Shu Raf"

29. The characters have bones, flesh, tendons and blood, which are filled with Qi. The six rounds of the book are dominated by Qi. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"

30. Generally speaking, the most important thing is to have a good pen. If you make few mistakes, you can still shine. What is valuable is that the thick fibers are out, the blood is connected, the muscles and bones are old and strong, the wind is flowing, the posture is equipped, the true attitude is true, the attitude of doing is doing, the attitude of grass is grass, must be learned extensively, and can do both.

Song Dynasty. Jiang Kui's "Xu Shu Pu"

31. A man who transports his heart first, and then his body. All the strength of his body is transferred to his arms and wrists, which are as strong as bending iron, and he concentrates on fingertip. Qing Dynasty. Zhu Lvzhen's "Essentials for Learning Calligraphy"

32. Calligraphy must have both yin and yang. Generally speaking, being calm and depressed is Yin; being extraordinary and bold is Yang. Liu Xizai's "Art Introduction" of the Qing Dynasty

33. Avoid being wild if you are strong, and avoid being thin if you are strong. Qing Dynasty. Liang Xian's "Pingshu Tie"

34. Old people are the strength of calligraphy, while young people are the beauty of calligraphy. Ming. Modern times. Kang Youwei's "Guang Yi Zhou Shuang Ji"

36. The writing is like a human being, but the muscles, bones, flesh and blood, the spirit and energy channels, eight are prepared and then it can be a human being, and the ear of a walking corpse. Qing Dynasty. Wang Shu's "Lun Shu Teng Yu"

37. A book must have spirit, Qi, bones, blood and flesh. If the five elements are combined together, they will not become a book. Northern Song Dynasty. Su Shi's "Lun Shu"

38. When starting to learn, it is advisable to start with the muscles and bones. If the muscles and bones are not standing, the flesh will not be attached. "Lun Shu" by Xu Hao of the Tang Dynasty

39. The God of Wind has flesh in his bones. Those who are old and vigorous have bones in their flesh. Those who are determined to visit the pond should use their discerning eyes to distinguish them. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

40. Firstly, the bone body is restored, and the spirit is restored. It has skin and blood, strength and tendons... Threads come and go, with clear veins. "Details of Calligraphy"

41. The bones are there, but the moisture is added. Sun Guoting's "Shupu" of Tang Dynasty

42. The shape is established by the muscles and bones, and the expression is polished. Tang Zhang Huaiguan's "On Characters"

43. If you want to learn to write, you must first establish a frame, and then make ups and downs, just change to suit your needs. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

44. The character is a city, which means it is not empty when it is big, and it is not lonely when it is small. Yu Shinan's "The Essence of Writing"

45. When using a pen, you need to make full use of the power of the strokes, but you must control it in a controlled way; when you knot the words to get their true form, you need to reflect the beauty of practice. Qing Dynasty. Feng Ban's "Buyin Shu Yao"

46. People from Jin and Tang Dynasties must record the characters one by one and refer to them frequently. This is the most important thing. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

47. If it is straight and similar, shaped like a counter, with the top and bottom straight, and the front and back flush, it is not a book, but it can be painted with stippling. Eastern Jin Dynasty. Wang Xizhi's "Inscribed on Mrs. Wei's Brush Formation Picture"

48. The bones of the characters are the bones under the big finger; Words are born from ink, and ink is born from water. Water is the blood of words.

Yuan Dynasty. Chen Yizeng's "Essentials of Hanlin"