1. The pen is full of ink: the pen and ink are used very freely and fully. It mostly describes calligraphy and poetry as smooth and vigorous. The pen moves the dragon and the snake: The pen depicts the dragon and the snake leaping. Describes the calligraphy style as vigorous and free-spirited. He also writes on behalf of the commander.

2. The flowing clouds and flowing water, the writing strokes are like clouds and smoke.

3. With one stroke, you can see it as if a runaway horse soars into the sky and flies away; it is also like a dragon flying in the sky, moving around, coming from nothingness, and returning to the void again. This is almost crazy and primitive. The impulse of vitality contains the aura of heaven and earth.

4. Calligraphy incorporates the perseverance, courage and enterprising spirit of Confucianism, as well as the emptiness, detachment and tranquility of Laozi and Zhuangzi. It often uses a kind of change that does not seek richness to reflect in the writing. It means leaving behind the glitz and glamor of the world in order to seek the true meaning of space and distance.

5. Observe that his strength is not lost, his posture is stretched but not exaggerated, and his handwriting flows like water and clouds.

6. Du Shijie has strong bones but is thin in calligraphy and painting. If there are no leaves in the frost forest, the waterfall will fly.

7. A group of crocodiles playing in the sea, and a dancing crane flying in the sky (Emperor Xiao Yan of Liang Dynasty commented on Wang Xizhi)

8. Floating like floating clouds, as powerful as a frightening dragon. The iron book and the silver hook are the best in ancient and modern times.

9. Huaisu is like a strong man wielding a sword, his expression is moving, and he moves forward and backward without missing a beat.

10. Just smudge a few times with your pen, and a picture of a flying dragon will appear on the paper. The dragons he painted are lifelike, majestic and varied. When Chen Rong painted a dragon, he often did not paint the entire dragon, but painted the head or claws of the dragon, which flickered in and out, as if hearing its sound or seeing its shape. He also splashed ink to form clouds and sprayed water to form mist. It was so magical that people called it " Suo Wenglong" (Chen Rong's nickname is Suo Weng).

11. The fonts are interlaced, large and small, open and close, and the thickness of the lines changes obviously, with ups and downs. The last line is crooked, so crooked that it almost falls over, but this tilt is not rigid, but more free, reflecting his willful side and his own style. Chen Rong's posture is steep, and the shape of his knots may be leaning or upright, heavy or light, which has the beauty of "coming like thunder and gathering wrath". He writes quickly, uses the pen powerfully and exerts heavy force.

12. Be simple and unpretentious and accept the universe.

13. The teacher’s words are a symbol of years and years, and each stroke is sonorous and powerful.

14. He is domineering and unfettered at all, even writing the whole line in one stroke, like a god, coming and going without a trace.

15. The teacher’s words are like petals, the fragrance spreads far and wide, becoming more and more fragrant.

16. The dragon and the snake race and wear through the iron inkstone.

17. Its color, its shape, its thickness, dryness and wetness, its discontinuity and rolling, thickness and thickness are all infinitely variable, and the weather is myriad.

18. The majestic brushstrokes and wild gestures are unintentional and have the most vitality-filled characteristics.

19. The ancient ink is lightly rubbed with a few fragrances, and the new inkstone bath shines brightly, either vigorously or gracefully, like a graceful beauty, like a vigorous and brave warrior, or like the spring breeze blowing in the face of flowers. One piece may be as deep and cold as the north wind entering the pass.

20. Like a strong man drawing his sword, his appearance is moving.

21. Manqing’s pen, the bones of the willows and bones

22. Luan soaring and phoenix Zhu: Zhu: flying high. It is a metaphor for the flying gesture of calligraphy strokes.

23. Luan Piaofengbo: Luan: a legendary bird like the phoenix. It turns out that calligraphy is described as free and unrestrained. It is also a metaphor for the separation of husband and wife among advanced students.

24. Flying dragon and snake: describes the vigorous and vivid calligraphy strokes. Su Shi's "Xijiang Moon·Pingshan Hall" lyrics: "I haven't seen the old immortal for ten years, and dragons and snakes are flying on the wall."

25. Flying dragon and dancing phoenix: Like a flying dragon, like a flying phoenix. The original description is unrestrained and majestic. Nowadays, calligraphy is often described as lively, flexible and skillful writing, and also describes the lifelike dragon and phoenix sculpture art.

26. Use examples to make discoveries: Zuo Qiuming wrote a biography of the Spring and Autumn Annals, and summarized the calligraphy of the Spring and Autumn Annals into several categories and gave a general explanation. Later, the style of classifying and exemplifying a book was called "example and enlightenment". See "Fanfan Jiexi". Powerful and penetrating the back of the paper: It originally refers to the strong and powerful calligraphy, but now it is also used to describe the vivid, profound and powerful poetry.

27. The sword was drawn out: the sword was drawn out of its sheath and the bow was opened. Describes a situation that is tense and on the verge of breaking out. Later, it was also used as a metaphor for calligraphy to be vigorous and powerful.

28. Spring earthworm and autumn snake: a metaphor for poor calligraphy, which is as crooked as the tracks of earthworms in spring and snakes in autumn.

29. The first writing of Huang Ting: Huang Ting: Taoist classic "Huang Ting Jing", Jin people have "Huang Ting Jing" small regular script calligraphy. In old times, when commenting on calligraphy, there was an idiom: "The first time I wrote Huang Ting, it was just right." Later it was used as a metaphor for doing things just right.

30. Beauty Hairpin: Describes the beauty and beauty of calligraphy or poetry style.

31. Penetrate three-thirds of the wood: It originally described the power of calligraphy (it is said that when Wang Xizhi of Jin Dynasty wrote on the wooden board, the ink penetrated three-thirds of the wood into the wood), now it mostly describes the profound and powerful force of analysis, description and discussion. The power of similar words can be seen through the back of the paper, and it is an apt description of the root of calligraphy.

/p>

34. Although the offering has a father-like style, it is not a novelty. Looking at the style of his calligraphy, he is as sparse and thin as a dead tree in the middle of winter; looking at his handwriting, he is as restrained as a hungry official in the Yan family.

35. Three points into the wood

36. Wang Xizhi has profound attainments in real calligraphy, cursive calligraphy, and Xing calligraphy. His real calligraphy is clever and dense, opening up a new realm; his grass is long, thick and slender; his running script is charming and vigorous. People call his calligraphy "floating like floating clouds, as powerful as a frightening dragon"; "dragon leaps over the sky gate, tiger lies in the Phoenix Pavilion".

37. Graffiti: letter: let one go, casually; letter pen: write casually; graffiti: a metaphor for poor writing and random scribbling. Later, "graffiti" or "graffiti" were used to describe poor calligraphy or random writing. There are also people who call themselves graffiti to show their modesty.

38. Scribbling: scribbling: writing casually. Graffiti: The metaphor is poorly written and scribbled carelessly. Later, "graffiti" and "graffiti" were used to describe poor calligraphy or random writing.

39. Iron painting and silver hook: painting: strokes; hook: hook. The calligraphy is described as strong and beautiful.

40. The pen moves the dragon and the snake, the iron draws the silver hook.