1. The shape of the characters should not be wide at the top and narrow at the bottom, otherwise the emphasis will be disproportionate. The partitions are white, and the distance should be balanced, so that the top and bottom can be accommodated, and it will be naturally stable. ——Wang Xizhi

Wang Xizhi, courtesy name Yishao, was born in Langya Linyi (now Linyi, Shandong) and a native of the Eastern Jin Dynasty.

“The shape of the characters should not be wide at the top and narrow at the bottom, otherwise the weight and lightness will be out of proportion.” From Chapter 10 of Temperance in the Twelve Chapters of the Theory of Writing Style.

Translation: The shape of the characters should not be wide at the top and narrow at the bottom, so that the weight is disproportionate.

“The space is white, the distance should be balanced, the upper and lower parts should be covered, and it will be naturally stable.” From Chapter 7 of the Twelve Chapters of the Theory of Brushstrokes.

Translation: The space is white, people from far and near want it, everyone above and below has their own place, and it is naturally stable.

2. When you want to write, anticipate the shape of the characters and arrange them to make them stable, or unexpectedly create them and make them have different trends. This is called cleverness. ——

"Twelve Meanings of Zhang Changshi's Brushwork" by Yan Zhenqing?

Translation: If you want to believe, think of the shape of the characters in advance and arrange them to make them stable. Different potential, this is the skill.

Yan Zhenqing (709-August 23, 784), courtesy name Qingchen, nicknamed Xianmenzi, also known as Yingfang, was the grandson of the fifth generation of the ancient fifth generation of Yan Shigu, the secretary supervisor, and the disciple of Situ Yan Gaoqing. , a native of Jingzhao Wannian (now Xi'an, Shaanxi), and his ancestral home is Langya Linyi (now Linyi, Shandong).

3. For the beginners, first establish the general structure, place it horizontally and vertically, and treat the white cloth with utmost care. ——Ouyang Xun?

Translation: On average, the learned people in the early Qi Dynasty first established the overall situation, directly arranged horizontally, relatively laid bare, and pursued.

Ouyang Xun (557-641) Year), named Xinben, was born in Hengzhou (now Hengyang, Hunan), his ancestral home is Linxiang, Tanzhou (now Changsha, Hunan), a famous calligrapher and official in the Tang Dynasty, one of the four masters of regular script, and Ouyang Jizhi, the general of Nanliang Zhengnan Sun, the son of Nanchen Zuowei General Ouyang He.

4. Use white cloth at intervals, both near and far. ? ----------Wang Xizhi

Translation: Spread the white cloth in intervals, and people near and far want it.

5. There are three kinds of cloth white; the cloth white in the word, the cloth white in each word, and the cloth white in the lines. When you are new to learning distribution, you must stop evenly; once you know it is still even, you need to seek changes, such as diagonal, straight, dense and scattered. ----------Jiang ?He

Translation: There are three kinds of cloth white; the cloth white in the word, the cloth white in the word, and the cloth white between the lines. When you first learn distribution, it needs to be uniform; now that you know it is uniform, you need to change it, with straight and slanted sparse and dense interspersed in between.

Jiang He, a Qing Dynasty scholar, calligrapher and painter. A native of Jintan, Jiangsu, he moved to Wuxi. The name is Zhonghe, one is Zhonghe, Zhongshu, the other is Zuifeng, and the other is Zifeng. He is the descendant of the old Zhuo Jiang Hengsun, so he also calls himself Jiangnan Xiaozhuo.

6. If the sparse place is full, the dense place will be lifted; if the flat place is full, the dangerous place will be lifted; if the place is full, the body will be fat, and if it is lifted, the body will be thin. --------Chen? Yi?

Translation: If you press the sparse place to full, you will lift the dense place; if you press it fairly, you will lift the dangerous place; if you press the full part, it will lift the fly. thin.

Yi (1021-1088), courtesy name Heshu, was born in Luoyang (Fujian Road, Nanjianzhou). He was born as a Jinshi at the beginning of Qingli Dynasty. He had been collated by Guanguange and the school manager of Jixian. He once published the "Book of the Former Han". He was later demoted to the Jianchang (Jiangnan East Road, Nankang Army) Army due to affairs, and later served as a Dazhong doctor.

7. People are at ease with books, and there are thousands of shapes and forms, but nothing can be said about neutrality. Said fat. It's just that I'm thin. If the length of the book should be in harmony, the weight should be balanced, the yin and yang should be appropriate, the hardness and softness complement each other, and the person who talks about the appearance of the world will be neither fat nor thin. Neither long nor short is beautiful. ----------Xiang ?Mu

Translation: People are good at books, and all kinds of situations are just neutral. Talk about fat. Just talking about being thin. If the book should be in harmony with the length, the weight should be coordinated and balanced, the yin and yang should be appropriate, and the hardness and softness complement each other, just like people talk about whether they are fat or thin. Neither long nor short is beautiful.

Xiang Mu [Ming Dynasty] (about 1550-about 1600), first named Dezhi, Yi Weichun, and finally changed his name to Mu, also named Dechun, also known as Zhenyuan, also known as Wuchenzi, from Xiushui, The son of the famous collector Xiang Yuanbian.

Extended information:

Zhang Huaijin: Yan Yang and back; that is, the two characters are combined into one character, and the up and down Yan Yang must have the tendency of clutching and joining.

?

Wang Xizhi: When the two characters are combined into one, the weight should not be long, the single should not be small, and the complex should not be large. Dense is better than sparse, and short is better than long. ?

Mrs. Wei: The stippling is like a rock falling from the peak, and the bump is like a collapse; the horizontal painting is like a cloud formation thousands of miles away, but it is faint and tangible; the vertical painting is like a long-lived withered vine; the left painting is like a rhinoceros broken by the land. The painting is like an image; the strokes are like crashing waves and thunder running; the slant hooks are like the hair of a hundred Jun crossbows; the horizontal folds are like the tendon joints of a powerful crossbow; each is a character, and each resembles its shape. This is a wonderful creation, and the calligraphy is completed.