Calligraphy is a major feature of China. Since ancient times, there have been many famous quotes about calligraphy. So which ones are the most classic? What I bring to you below is the content of the most classic calligraphy quotes. I hope you like it!

The most classic calligraphy quotes (selected version)

1) Zhang Caoyuan’s original li It is a simple and popular font for the Han Dynasty's Qi Zhang. Qing Dynasty. Fan Gongmian's "Report on Calligraphy"

2) Small regular script is difficult, and small grass is even more difficult. Regular script is conquered by law, grass is conquered by spirit. Dharma can be reluctantly combined, but gods are not extinct and cannot move beyond the eight dharmas and wander in the nine palaces. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

3) In real writing, peace is the highest priority, followed by elegance and elegance; in cursive script, simplicity and purity are the highest priority, followed by majesty and elegance. Qing Dynasty. Bao Shichen's "Yi Zhou Shuang Ji"

4) The book seeks energy and attacks the true grass. Tang Dynasty. Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork"

5) The grass is free and unrestrained, covering the wrist and turning the frown, hanging the tube to gather the front, the soft hair is extended outward, the left is the outside, the right is the inside , ups and downs, continuous rolls, collecting and breathing, turning inward to hide the front. Yu Shinan's "Bi Mui Lun"

6) The style of cursive script is like a person sitting, lying, walking or standing, bowing his head and arguing angrily, riding a boat or leaping on a horse, singing, dancing or pupating. Southern Song Dynasty. Jiang Kui's "Xu Shu Pu"

7) Herbal medicine is easy and quick, but today's countermeasures are difficult and late, and there are many missing fingers. Eastern Han Dynasty. Zhao Yi's "Fei Cao Script"

8) Since before the Tang Dynasty, it was mostly Ducao, but the two characters belong together. The number of crosses is continuous, and it is called continuous and hairy. Although this comes from the ancients, it is not surprising, and it can become a serious illness. The ancients acted like a fool, but now people act like they are true. The connection between them is particularly leading. Examining his calligraphy, he found that the stipples were all heavy, and the non-stippling areas were occasionally leading, and his brushstrokes were all light. Although there were many changes, they did not mess with the rules. Southern Song Dynasty. Jiang Kui's "Sushu Pu"

9) Every time I write in flying cursive script, I feel the smoke, clouds, dragons and snakes running around at will, rushing up and down, which is very scary. I watch it calmly, and my expression is happy and joyful. . Song Dynasty. Cai Xiang's "Collected Works of Cai Zhonghui, Scholar of Duanming Palace of Song Dynasty"

10) The cursive script of the ancients has few blank spaces and is mysterious, and has many blank spaces and is mysterious. On the contrary, vulgar calligraphy is the same. Qing Dynasty. Liu Xizai's "Art Summary"

11) The structure of cursive script is expensive and partial. For example, the top is too high and the bottom is too low, the bottom is too long and too short, and both sides are biased and give way to each other. Qing Dynasty. Liu Xizai's "Art Summary"

12) Zijing's method is neither grass nor walking. It flows in the grass, opens in the shape, and the grass is outside the middle. There is no way to follow the rules, but rather to be restrained; to stand out clearly, to be simple; to be passionate and free, to travel in a transcendental way; to adapt to the situation and act according to the consciousness. If the wind moves and the rain disperses, the flowers bloom, the brushwork and posture are the most elegant. Tang Dynasty. Zhang Huaiguan's "Shu Yi"

13) Learn seal script, read the authentic styles of ancient vessels, and recognize ancient Chinese characters. His spirit is simple and simple, and he can help others. He also knows the wonderful things that have not changed, such as pictograms, referring to things, and understanding. Qing Dynasty. Fan Gongmian's "Report on Calligraphy"

14) The round, vigorous and ancient style comes from insect seal script; the wavy stipples come from eight points; the turning back comes from flying white; it is simple and happy , it comes from Zhang Cao. Southern Song Dynasty. Jiang Kui's "Sushu Pu"

15) The seal script is graceful and clear, the official script is precise and dense, the cursive script is noble and smooth, and the chapters are easy to pick up. Sun Guoting's "Shu Pu" of the Tang Dynasty

16) Fu Yuzhen, regular script, seal script, and official script are not very skillful, but they are good at running cursive and sincere. The calligraphy and ink of the Six Dynasties was collected with Fu, and the vice was on the end of the pen, so it was calm and joyful, like riding a horse, advancing and retreating easily, not bothering to be whipped, and doing nothing inappropriate. Northern Song Dynasty. Zhao Gou's "Han Mo Zhi"

17) The official script is well-organized and the rules are strict. Scholars should be calm, work hard, and not be harsh on a single stroke. Only when the flesh and blood are exposed can one be powerful and powerful. Qing Dynasty. Fan Gongmian's "Summary of Calligraphy"

18) Our scholar said: "The official calligrapher said that it is appropriate to be flat," but he didn't know that the beauty lies in not being flat. If the pick is flat and hard, like the head of a folding knife, then it is called Han Li. The so-called Fang Jin is ancient and clumsy, and he is absolutely prepared. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

19) The eight-part font is rich in Bozuo, and the Han people's eight-part script is written in the middle. Qing Dynasty. Fan Gongmian's "Summary of Calligraphy"

20) Chongzhuan is complex, while Caoge is close to fake. The rules are regular and easy to use. No matter what is appropriate, there is also a way to apply Zhang, use fake ink, and pledge the hair. Biao Huan Yong Zhuang, the shape is restrained, the flowers are connected, and the lines are arranged in intervals. It is as dull as the astronomical cloth, and as beautiful as the beautiful patterns. Western Jin Dynasty. Cheng Gongsui's "Li Shu Style"

The most classic calligraphy quotes (latest edition)

1) The characters of the Northern Wei Dynasty have a fixed method and can be freely produced, so there are many variations. The calligraphy of the Tang Dynasty There is no fixed momentum, but the expression is reserved, so the shape is carved. Qing Dynasty. Bao Shichen's "Yi Zhou Shuang Ji"

2) The essence of calligraphy is both positive and strange. The so-called righteous person is one who leans forward, pauses and stumbles, uncovers the body and responds, has a majestic manner in his muscles and bones, and is indeed in control. The so-called strange ones are various in their rise and fall, soaring and shooting into the air, charming and graceful, and ingenious. Ming Dynasty. Xiang Mu's "Elegant Words on Calligraphy"

3) The calligraphy must also be rounded and follow the laws of nature; if it often becomes angular, it is a disease. Zhang Huaiguan of the Tang Dynasty, "The Theory of Pingshu Medicine and Stone"

4) In one painting, the peaks and peaks rise and fall; Kuang Yun accumulated his stippling to form his characters. Sun Guoting's "Shu Pu" of Tang Dynasty

5) Gu Guyun: All the harms of writing a book are that charming appearance is a minor drawback, and frivolity is a serious disease. It is necessary to put pen to paper and straighten everything out.

As for putting the pen down, it will form its own cursive script, and the most taboo thing is to decorate it with intention, otherwise it will not be a book. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

6) Strange rocks are beautiful because of their ugliness. When they are extremely ugly, they are extremely beautiful. Popular books are not about beauty, but they are ugly and clumsy. Beauty and ugliness are different, they are all different things for people. Qing Dynasty. Liu Xizai's "Art Introduction"

7) Sweetness and ripeness are not natural, cleverness is not craftsmanship, recklessness is not oldness, clumsiness and evil are not antiquity, and ugliness is not magic. Qing Dynasty. Fang Xun's "Mountain Quiet Residence on Painting"

8) The rules are ingenious, which is the spiritualization of Ming and the endless occurrences. If you are proficient in your skills, your mind will be able to change. Qing Dynasty. Feng Ban's "Yin Yao of Blunt Books"

9) Learning books is like a narrow path, first it is better to know more about it, and then to break the contract. What's wrong if you don't learn about it? Liang Xian's "Lun on Learning Calligraphy" in the Qing Dynasty

10) True books regard fairness as good. This secular theory was lost by the Tang people. Among the ancient and modern genuine books, Zhong Yuanchang is second to none in terms of the wonders of ancient and modern books, followed by Wang Yishao. If we look at the books written by the two schools today, they are all free and bold, so why should they be restrained from being straight? Southern Song Dynasty. Jiang Kui's "Sequel Book Pu"

11) His official books are delicate and thick, strong and unyielding, and have a decent person to enforce the law. It has the style of court criticism; its pointillism is exquisite and its mood is precise, which is beyond comparison. The running script is dark and straight, like a dragon and a snake vibrating, and a halberd in the forest. It is a unique style of its own. Song Dynasty. Zhu Changwen's "Sustained Book"

12) It is as straight as standing, walking as walking, and grass as walking; there is no one who cannot stand but can walk, and cannot walk but can walk. Qing Dynasty. Feng Wu's "The True Story of Calligraphy"

13) Su Wenzhonggong said: Calligraphy is prepared in the formal script, and the overflow becomes cursive. If the formal script is not completed, it will be cursive. Still unable to speak eloquently, but always talking freely, this is not the way. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

14) When it comes to calligraphy, a scholar must first learn the correct calligraphy. He must prepare all eight methods and do not attach them to each other. If the regular script method has arrived, then the brush strokes will naturally reach the perfection of the two methods, the hand will be full of beauty, and there will be no traces. On the contrary, it will flow into the secular world, and those who do not enter the consciousness will point to the eyes. Northern Song Dynasty. Zhao Gou's "Han Mo Zhi"

15) Regular script and cursive writing are consistent with the use of pen. If the regular script is not written with a cursive brush, there will be no blood at all; if the cursive script is not written with a wiping brush, there will be no beginning or end. The regular script must be harmonious and the cursive writing must be clear. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

16) The style of running script is slightly the same as true. ?The hairspring is broken but can be continued, all because of innocence...? Yu Shinan's "Bi Mui Lun"

17) What is valuable in this world must be difficult to appreciate. It is difficult for real writing to be fluttery, for cursive writing to be serious, for large characters to be tightly packed, and for small characters to be generous and generous. Northern Song Dynasty. Su Shi's "On Calligraphy"

18) Although the big characters are big but small, and the small characters are small but big, the main script must have cursive meaning, and the cursive script must have regular writing. Hao Jing's "Yuan Gu Lu"

19) The cursive brush has many loops. If you do it correctly, all the turns will become a flat edge, so you must secretly take advantage of the momentum to change the center of the brush. Qing Dynasty. Bao Shichen's "Yizhou Shuangji"

20) If you use regular script to do things, it will be too rigid, and if you use cursive method to do things, it will be too vertical.

The most classic calligraphy quotes (popular version)

1) The words must be flying and not stagnant, which is the method. "Yutang Forbidden Sutra" by Zhang Huaiguan of the Tang Dynasty

2) There are too many calligraphy and lack of style, and the layout is straight and straight with little momentum. The point that does not change is called chess, and the picture that does not change is called layout calculation, which is the most taboo. Qing Dynasty. Feng Ban's "Yin Yao of Blunt Books"

3) The body is sparse and dense, the meaning is suave, or there is the tendency of flying away and flowing, the awe-inspiring and steep air, and the elegant appearance. Zhuo Nao's ambition to adjust and adjust, hundreds of bodies and shapes, competing for cleverness and beauty, how can it be generalized! Southern Dynasties. Xiao Yan's "Cursive Script"

4) The style of one character has many changes due to changes. .Responsive. What arises like this and responds like this, each has its own meaning. Jiang Kui's "Xu Shu Pu"

5) The writing style is very casual, without restraint, but has a slightly domineering air, not as calm as a smoker, a scholar. If you can get its meaning, all worldly paths will be swept away. Qin Zuyong's "Tongyin Painting Secrets"

6) Do whatever you want, it's natural. Southern Dynasties. Xiao Yan's "Reply to Tao's Essay on Hermitage"

7) The brush must be used lively and vividly, and the images should be taken according to the shape. Whether intentionally or unintentionally, the painting should be natural and witty. It's time for Kungfu to reach its destination. Qin Zuyong's "Tongyin Painting Secrets"

8) Don't let the dead spots stop painting, then you can complete the way of calligraphy. Tang Dynasty. Li Shimin's "Bi Yi"

9) The word is like using soldiers, both in winning. The soldiers are in constant formation, and the words have no fixed shape. When the battle is approaching, the opportunity is decided. The general will judge the situation, make clever plans, and be sure to be sure. However, although the formation changes, the formation cannot be chaotic; although the shape of the characters changes, the physique cannot be exceeded. Ming Dynasty. Xiang Mu's "Ya Yan on Calligraphy"

10) Changes include height, length, length, width, and narrowness. The changes are endless. "Three Flavors of Calligraphy"

11) Calligraphy is based on nature. When nature is established, yin and yang are born. When yin and yang are born, the movement of qi is established. Cai Yong's "Shi Shi Divinely Instructed Brushstrokes"

12) When using the brushwork, first return quickly, then descend quickly. The eagle looks at the passing peng. It is natural and cannot be changed again. Like a fish swimming in water. Jingshan Aoyun: It may be rolled or relaxed, and it may be light and heavy at first, but you can think about it well. This principle can be seen. Li Si's "Using the Brushwork"

13) Looking at the body posture, it seems natural and does not care about the brushwork. Tang Dynasty. Zhang Huaiguan's "Shu Duan"

14) Wei Bozi said: The ancients wrote calligraphy in fine and graceful regular script, but suddenly they made a serious and dangerous thing, which was caused by their mental power and incompetence. Self-contained, unconsciously writing, the reader will be frightened and change his perspective. When later generations saw this, their learning was weird, but what they wrote was not impressive enough. He is ruthless and wants to cause mischief.

People yawn and sneeze, and then they are shaken and relieved. If you just learn to open your mouth and stretch your waist without doing so, you will not be happy. Qing Dynasty. Liang Zhangju's "Learning Chinese Characters"

15) Every book can be called a book only if it has ten late and five urgent desires, ten curves and five straight lines, ten hidden and five outgoing chapters, and ten ups and downs. Jin. Wang Xizhi's "Shu Lun"

16) The wind flows through the water and the stone, and the text is written naturally; the clouds come out of the dark room, without any intention and state; the interest comes from the touch, and the pen contains interest from the movement, touching each other, and often It's wonderful. To be able to contain the wonders of heaven, there is no need to talk about the order and context, but the order and context are not there since they are not there. Qing Dynasty. Shen Zongjian's "Gate Zhou Xue Hua Bian"

17) The characters must be neat but uneven, so as to avoid the problem of characters being like operators. If the words are arranged word for word, if thousands of styles are the same, it will not be a book.

18) There is no need to set up a frame when writing characters. Each character has its own style, length and size. Because of its natural and dynamic posture, it can express the emotions of all things and be in harmony with the ratio between heaven and earth. Intentional neatness and intentional change are both dead ends. Qing Dynasty. Wang Shu's "Lun Shu Sheng Yu"

19) However, if you want to be natural, you must first be intentional. It starts with straightening and finally changes. If you accumulate habits for a long time, you will have a general understanding. Qing Dynasty. Wang Shu's "Lun Shu Shengyu"

20) What is the difference between being born and being clumsy? When being born, there is no recklessness, so the literati call it "the pen of the literati"; when being clumsy, there is no ambition, so the elegant person The so-called "elegant people are profound".

Ming. Gu Ningyuan

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