1. Flat and stable. Those who are sideways take advantage of the situation. .Feng Wu's "The True Story of Calligraphy"

2. The lines complement each other and are related but not inconsistent. .Shi Zhiguo's "Ode to the Heart"

3. There are certain rules in ancient books, and the shape and size of the characters are used as the momentum. .Bao Shichen's "Two Boats of Art"

4. It is better to preserve your strength when you indulge, and to use your momentum to gain momentum. .Wang Xizhi's "Twelve Chapters on Bishu Lun"

5. The words are endless and luxuriant; the words inside are complete and dense, which is dense. .Liu Xizai's "Art Introduction"

6. Regarding the trend of writing, pay attention to careful thinking and careful observation, and then write. .Wang Xizhi's "The Theory of Brushstrokes"

7. Make the brush strokes strong, the characters have special shapes, the lines are unique, extremely natural, and methodical. .Song Cao's "Calligraphy Prologue"

8. When writing and finishing words, the top should overlap the bottom and the top, so that the situations are complementary to each other, and there is no need to back up the momentum. .Cai Yong's "Nine Movements"

9. The style of characters is made up of one stroke, with occasional discontinuities, continuous blood, and interlaced lines of climate. .Zhang Huaiguan's "Book Break"

10. When it comes to character, it is better to be clumsy than to be clever; it is better to be ugly than to be charming. Qing Dynasty. "Calligraphy Guide" Wang Moxian

11. The shape remains unchanged, but the trend and back have different moods. The trend is dominated by one, and the same is true for the seven-sided trend. ."Essentials of Hanlin" by Chen Yizeng

12. In fact, the branches are laid out in white and there is no external frame. The frame is established and then changed vertically and horizontally, which is not as good as the ambition. .Zhu Hegen's "Linchi Xinjie"

13. It is said that large characters want to be as detailed and tortuous as small books, and small characters want to have the momentum of large characters. .Chen Qi's "Negative Xuan Ye Lu" Chen Qi's "Negative Xuan Ye Lu"

14. The ancients wrote the whole text in white, with length, length, width and tons of width. Nothing less. .Fan Gongmian's "Summary of Calligraphy"

15. As fast as a frightened snake loses its way, and as slow as a lucky water wandering. If it is slow, it will be like a crow, if it is urgent, it will be like a magpie's sharpness, its whipping will be like a pheasant's peck, and its sting will be like a rabbit's throw. Xiao Yan's "Cursive Script Formula"

16. For any author, the first word can control the momentum to the end, then this word is the leader of the entire article. Ge Shouzhi's General Interpretation of Hanxi Calligraphy

17. Those who talk about emptiness are black and white: each word has a word of emptiness, a line has a line of emptiness, and a picture has an emptiness. .Feng Wu's "The True Story of Calligraphy"

18. The empty space in the middle of the line also has rules, whether it is far away or not close, just like the tapestry method, where the flowers and fields must be in harmony. Zhang Shen's Explanation of Calligraphy

19. It is easy for people to have uniform calligraphy, but dense size, short, fat and thin, suddenly changed, can turn inward with deep breath, and is called Shenjing Er. .Liu Xizai's "Art Summary"

20. It must be spacious up and down, clear on all sides, and the people can be free and unrestrained. If it fills up the sky and fills up the painting, it will not be elegant, and this is also true for the first thing. ."Twelve Taboos of the Painter" Natural Rao

21. Fu Ren's brush is formed, the ink is gathered as a momentum, the painting is partial, and it assumes a dangerous posture, sparse and old, frivolous and fresh, and charming. It's useless to fall down. .Xiang Mu's "Elegant Words on Calligraphy"

22. It is very difficult for a husband to write with the momentum of writing. The method of Feng Tian coming and going, and the method of returning repeatedly, depends on careful observation and then writing. Eastern Jin Dynasty. Wang Xizhi's "Twelve Essays on Pen Script"

23. Make the overall blankness not urgent, not scattered, not sporadic, not lonely, not rowing teeth, that is, the whole body is blank, that is, the whole body of dragon veins. "Secrets of the Southern Sect" by Hua Lin

24. Zhang Shixing said: When writing, first look at the text and what method should be used. Writing is like composition. It has calligraphy, organization, composition, and finally structure, with the beginning and end corresponding.

25. Lateness brings beauty, speed brings strength. Be quick first, then be late. If you are not good at what you do, but you are late in doing things, you will have no spirit; if you are fast in doing things, you will lose momentum. .Jiang Kui's "Sequel Book"

26. Zhang Jingyuan said: Each font has its own control. One word controls two characters, two characters control three characters. In this way, one line controls two lines, and two lines control. Three lines, this is how you manage one piece of paper. .Liang Zhangju's "Learning Calligraphy"

27. Writing words must be controlled. Where you start to write, your best intentions are carried away; when you turn around, you try your best to move away. The natural structure is stable and comfortable, and the so-called hairspring is also in the palm of your hand. .Zhu Hegen's "Linchi Xinjie"

28. Even if oddity is within the righteousness, it is also within it. It is upright without being strange, although it is solemn and solid, it is always simple and thick but has little writing. It is strange but not correct. Although it is majestic and bright, it is powerful but lacks elegance.

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

29. Beginners should seek to be fair and upright, and pursue danger and danger. At the beginning, it means not reaching, in the middle, it means passing, and at the end, it means passing. At the time of the meeting, everyone was old. . Sun Sun Guoting's "Book Book"

30. If you are good at shooting, the arrow will be pointed and far away. If you use it close, it will hit the object deeply and have more power. If you are not able to shoot well, the arrow will be close and close. , the object is not in the middle, the solid is not deep, and the potential is exhausted. .Zhang Huaiguan's "Six Type Calligraphy Theory"

31. Writing books is very expensive. Every word, connected up and down, echoed left and right, folded, is perfect. In other words, numbers, lines, and dozens of lines are always spiritually united and never scattered. .Zhu Hegen's "Linchi Xinjie"

32. Words are noble and graceful, especially noble and powerful. There is posture that attracts attention, and power that attracts people's hearts. Otherwise, it tastes like chewing wax. For example, if beauty has color but no appearance, it cannot move people. ."Calligraphy Guide" Wang Moxian

33. Therefore, when discussing body posture, odd and even come first. Dignity mostly comes from accident, beauty mostly comes from surprise. Although the parallel body must have some momentum to vibrate it; although when dispersed, there must be occasional bone grafting. .Bao Shichen's "Two Boats of Art"

34. The structure must be done calmly on the paper. Make a plan in your mind first, write it down in the pen, and then arrange it randomly so that it can be executed freely. The sparse ones are sparse, the dense ones are dense, and if you take care of them from all sides, you will definitely be able to get off the toilet and transcend the dust. "Tongyin Painting Secrets" by Qin Zuyong

35. Write with spirit. Qi must come from familiarity, and when there is Qi, there is power. The size, length, and height are neat, casual, and naturally concentrated to form fragments. But you can’t manipulate it bit by bit, you’ll know it once you’re familiar with it. .Liang Tongshu's "Pinluo'an Lun Shu"

36. When writing words, spirit is the main focus, and Qi Shen is the main focus. There should be strength at the starting point, twists and turns at the horizontal line, roundness at the turning point, lift at the straight down point, straight and straight point at the pick-up point, calmness at the connection point, subtlety at the reflection point, and review of the ending. .Zhu Hegen's "Linchi Xinjie"

37. When the ancients discussed books, composition was a major issue, and the same is true for the so-called dense lines. The composition of "Lanting Preface" by Youjun is the best in ancient and modern times. The characters are all reflected in the text, whether they are small or large. You can make them as you like, and they all follow the rules, so it is also a masterpiece. .Dong Qichang's "Essays on Painting a Zen Room"

38. Big characters make small characters smaller, and small characters enlarge, so they are naturally broad and powerful. For example, the Japanese character is small, and it is difficult to be as big as the Chinese character. For example, I want the painting and calligraphy to be the same as those of the sparse characters. You have to consider all the locations so that they reflect appropriately and then place them on top. .Ouyang Xun's "Thirty-Six Methods"

39. This word is said with care and has a clean and correct method. In one of the articles, there is no clean method. The upper characters are different from the lower characters, the left row is compared to the right row, and the horizontal and oblique characters are dense and dense. Each has its own advantages. Continuously extending up and down, looking left and right, in all directions, like a formation: people have different opinions, fighting is chaotic but not chaotic; chaos is round but not broken. .Xie Jin's "Miscellaneous Notes on Spring Rain"

40. The brilliance and withering are seen in the composition and originate from the writing method. People with rotten flowers will have their green flowers internally consumed and their colors will fade; those with vegetation in late autumn, with withered leaves and sparse branches, will be condensed with business, and those with anger will be skimmed off. The brilliance of the book is because of its weak strength, and the pen cannot capture ink, which means that it cannot foreshadow and come out at will, so the disadvantages of brilliance are particularly obvious; because of timidity, the withered pen is all in the painting, and the knotting method is stopped in the words, so it is reserved. The withering state is especially obvious.

.Bao Shichen's "Art Boat Two Boats"