Chapter 1: The use of small regular script. Section 1: Characteristics of writing and wrist movement. To write small regular script well, writing and wrist movement are very critical issues. Zheng Fang (zi Jing) of the Yuan Dynasty said: "The person who writes the book is the key to the Dharma calligraphy." Although the general law is not very different from writing running script and regular script, small regular script also has its own characteristics. Let’s talk about several aspects that need to be paid attention to when writing small regular script in terms of writing and movement: ( 1) "The fingers are strong and the palms are empty, the wrists are flat and the palms are upright" is the basic method of Dafa. The so-called "zhishi" refers to the five-finger writing method of scratching, pressing, hooking, checking and pressing. Place the first knuckle of your thumb against the top of the pen barrel, with the force pointing upward and to the right, slightly slanted. Use the upper end of your index finger to press the outside of the pen barrel, with the force facing your thumb. Use the upper section of your middle finger to hook the pen barrel close to the horizontal stripe, bending it like a hook, with the force directed toward the lower right. Use the joint of the paw of your ring finger to press against the barrel of the pen, with the strength opposite to that of your middle finger. Press the little finger against the lower end of the ring finger to increase the finger strength of the ring finger. Due to the reasonable distribution of the five fingers, power is gathered from all four sides of the pen barrel, and the pen is held firmly and stably in the hand. When writing small regular characters, the pen should be held shallowly and the fingertips should be placed against the tube, because the fingertips are sensitive. If you hold the pen shallowly, the palms will be naturally weak, and if the palms are weak, you can move freely without any obstruction. Calligraphers in the past dynasties have different interpretations of the "Stirrup Pulling Method" proposed by Empress Li of the Southern Tang Dynasty. Some people think that people who are good at riding horses should use their toes to step on the stirrups, which are shallower and easier to get in and out. Some people think that pulling stirrups is easier. The stirrup refers to the ancient people holding a small stick with their fingertips to pick out the wick of the lamp, which is a metaphor for Qian's writing method. Some people think that when Qian is holding the pen, the tiger's mouth is shaped like a stirrup (i.e., the phoenix-eye writing method). Although these three explanations are different, they are all the same. This means that the pen should be held shallow, which means it is easy to turn. When writing small regular script, the pen should not be held too tightly, nor too loosely. If it is too tight, the pen will be stiff, and if it is too loose, the stippling will be weak. Therefore, you should use soft and hard force to hold the pen tightly but not dead, loose but not loose, and not wide enough. Fierce, it is better to have a way of neutralizing it. Zhao Hengguang of the Ming Dynasty said in "Hanshan Broom Talk": "If you hold the pipe too tightly, the force will be limited to the pipe but not as strong as the hair, and it will make the pipe inflexible, and you will not be able to command as you wish." This is indeed a word of experience. The writing power should be concentrated through the shoulders, elbows, wrists, and fingers to the tip of the pen. The muscles of each joint should not be tense and exert force. If you hold the pen too tightly, the force will stop at the tube. If the wrist is tight, the force will stop at the wrist. Even if you have arm strength, you cannot concentrate on the tip of the pen. Therefore, Su Shi proposed that although there is no fixed method for holding the pen, it must be Desire is empty and wide. Only when it is empty and wide can it function freely. When writing small regular script, if the pen is held too deep (that is, the hand is held at the middle section of the index finger and middle finger), the palm will not be weak, and the finger will be deep and the palm will be strong. The pen will not be able to move forward or backward when moving, which will easily lead to stagnation of Qi and ineffective transportation. Something wrong. When writing small regular characters, the pen should not be held too high, about an inch away from the tip of the pen. The pen should be held low enough to be calm and firm, so that the writing does not have the disadvantage of being erratic. Wei Rongzong of the Tang Dynasty said: "Real books should be close to the head if they are small and dense." Zhao Hengguang's "Hanshan Broom Talk" also said: "Real books should be steady and stable, so the pen tip should be moved one inch or one inch and two points away from the tip of the pen." If the pen is held too high when writing in small regular script, it will The painting style is superficial but lacks strength. Kuang Xiaokai is mainly dignified and calm. Holding the pen slightly lower can better control the pen power. When writing small regular script, the wrist should be flat and the palm should be upright (that is, the elbow and wrist should be flat on the table, and if the wrist can be straightened, the palm should be slightly raised, keeping an oblique angle with the paper). With the wrists flat and the palms upright, the front can be straightened easily, and if the front is straight, the posture will be full in all directions. It must be noted here that when writing small regular script, the pen tube does not always remain perpendicular to the paper surface but moves parallel to it. When the straight line is used as the center of the circle, the pen barrel moves forward, backward, left and right, ups and downs according to the direction of the stroke, and when closing the pen, the end is like a lead, and the end is held upright, then the strokes will be naturally mellow. Especially when writing small regular script with square pens and side edges, when writing, the pen should not be held directly down the center. When the pen barrel is slightly tilted to the right, back and downward, and the posture is sideways, there will be no obstruction inside and it will flow naturally. It can often achieve handy results. Qingzhu Hegen said in "Linchi Xinjie": "I would also say that holding a pen is like a marksmanship, left and right, front and back, slanted and straight, and must be turned with the trend. It is concentrated and controlled in the heart. It is also slightly sideways at times, and the movement is more clever. . "This passage is worth recalling. If we stick to the center as the final rule and stick to it, we will definitely not be able to achieve smooth and natural changes. In short, the way to write should be done according to your own needs and not to be curious. Only in this way can the power of writing be fully exerted. (2) Referring to dead-wrist movement is the basic wrist movement method for writing small regular script. When writing small regular script, the wrist should be loose and flexible. Do not be too tense or use too much force, which will make the wrist stiff. Even if you have wrist strength, you cannot use this force. The role of the wrist The main thing is to adjust the tip of the pen, secretly changing the center of the pen through lifting, pressing, pausing and other movements, so as to achieve the purpose of center stroke. Only in Zangfeng paintings can the power of the pen be deep into the bones, so that the pen power is abundant and the strokes are round and flexible. When writing small regular script, the pen tip should be strong and the wrist should be light. The writing within a square inch is mainly done by movement of the wrist. Make sure that the pen power comes from the wrist. The stippling is natural and vigorous without floating. When moving the pen, the fingers should follow the movement of the wrist, but in the mind one knows that there is a wrist but does not know that there are fingers, so one should use the wrist to move the pen, not just pick with the fingers. Cao Cao of the Ming and Song Dynasties said in "Calligraphy Essays": "The hands are not the main movement but the wrist movement. Although the wrist is the main movement, it is movement with the heart." This is a very subtle method of movement of the wrist, which can only be achieved by using the pen skillfully. The state of freedom in which the mind and hand forget each other and are at ease with each other. Death does not mean that the fingers are frozen and motionless. Wrist life means that the fingers can be alive even if the wrist moves. Yao Mengqi of the Qing Dynasty said in "Yi Shen of Calligraphy": "A dead hand means a live wrist, and calligraphers have no other curse. If a dead hand means straight, a live hand means the calligraphy will be smart." According to legend, Liu Yong, a calligrapher in the Qing Dynasty, often twisted and turned when writing small regular script. Penholder, this is a different method. Although it can be used as a reference, beginners should still focus on wrist movements.
When sitting down to write small regular script, the power lies between the fingers and wrists. It is not necessary to hang the wrist high, because each character in small regular script is only two or three-thirds square, and the writing style is limited. On the other hand, small regular script is calm and heavy, and the writing is precise and meticulous. It is necessary to hang the elbow Writing small regular script is really difficult for beginners to control and control, so it is not appropriate for beginners to learn small regular script. Before the Jin Dynasty, people often sat on the floor when writing in regular script, with nothing to rely on. They hung their wrists to write, and their writing power was very impressive. Therefore, the predecessors advocated that writing small regular script should also be done with hanging wrist. For example, Jiang Heng of the Qing Dynasty said in the "Inscriptions and Postscripts of Zhuocuntang": "The pen is suspended in the center, and the arm fingers are like iron and stone, and I use all my strength to write small regular script. The so-called mustard seeds soaking up the mountains and rivers are not just for magic, but also to preserve the meaning of bamboo slips and lacquer calligraphy. "Yu Wanyi'er." It is said that Mi Fu, a calligrapher in the Song Dynasty, was good at writing small regular script with his elbow hanging. Once, his school friend Chen Boxiu and his son asked him for advice on how to hold the pen. Mi Fu said: "If you hold the paper with your wrist, you will have finger strength at the end of the pen but no arm strength." "Then Bo Xiu asked: "Can I also write small characters while holding the pen on my elbow?" Mi Fu smiled and did not answer, so he ordered the boy to take out a pen and paper, sit upright on his wrist, and write a poem called "Fu Ku Praise Table". , the characters are like a fly's head, the strokes are strict, the style is like big characters, very precise. When Boxiu and his son saw it, they were overwhelmed and admired each other. When they asked for advice, Mi Fu replied: "This is not difficult, as long as you continue When writing a calligraphy, every word is written without mentioning it, and you will naturally master this method skillfully over time." This story had a certain influence on later generations. For example, Jiang Ji's "Extended Calligraphy Theory" of the Qing Dynasty said: "You can draw your wrist when writing small regular script. It is no longer inferior, but if it can be cantilevered, the Qi will be calmer, and it cannot be done without sitting upright, so it is better than hanging on the wrist." Another example is that Wang Yun of the Qing Dynasty also ridiculed the inability to hang in the "Guan Jian of Calligraphy". As a person who writes small regular script on the wrist, he said: "The ancients hung their wrists to write on the head of a fan. Although there is no need to rely on a case in small regular script, if you carefully read the regular script of "Huang Ting", the rules are the most stringent, and the magic machine is used to run through the grass, and people are not aware of it. Nowadays, most people use the fixed fan bone to write small characters, and they dare not write big characters such as "Chunhua" and "Shengjiao". The small ones are covered by the skill, and the big ones expose the disease. "I don't think it is necessary for beginners to do it with a cantilevered arm. In regular script, the method of raising the wrist can generally be used, that is, the elbow is placed on the table and the wrist is lifted up. The so-called virtual lifting means that the wrist is not tightly pressed against the table, but remains in a state of aloofness from the table. This can effectively control and By controlling this pen and allowing the wrist to rotate flexibly, the writing power and gestures can be fully exerted. For example, when writing slightly larger regular script (about two centimeters square per character), you can also use the method of pillowing the wrist, which is called pillowing the wrist. That is what Xu Wei of the Ming Dynasty said in "Handwriting Methods": "Put your left hand on the table and press the pen on the back of your left hand with your right hand, then you will feel smoother when going back and forth, and your wrist will feel rounded." If you write extremely small characters (each character Half a centimeter square), you can use the wrist method, that is, the wrist is pressed against the table, but it cannot be pressed tightly. Just move the fingers without moving the wrist, which will cause the pen machine to freeze. When writing small regular script, you also need to pay attention to certain postures. Generally speaking, when sitting upright and writing Xiaokai, keep your feet flat, heels on the ground, and shoulder level apart. Lean your upper body slightly forward. Keep an inch or so between your chest and the edge of the table. Do not lean on the table, and keep your eyes on the paper. Don't press too close to your eyes, keep it about one foot away, keep your elbows open, press your left hand on the paper, and then write in small letters quietly. The correct posture can not only help maintain physical strength and protect your eyesight, but also better Give full play to the artistic effect when writing. The above are the methods of holding the pen and moving the wrist that must be paid attention to when writing small regular script. In fact, the only way to truly master the skills of using the pen is to write more and experience it. In the beginning, it is conscious and passive, and then it becomes proficient. At the extreme level, the Qi will be harmonious, the momentum will be self-coherent, the arms will be active, the wrists will be self-motivated, the fingers will be condensing, the pen will be straightened, the Qi will flow through the ten fingers, and if you focus on one point, you will have nothing to think about and will only rely on your own one. I feel like I am writing, just as Zhu Luzhen of the Qing Dynasty said in "The Essentials of Calligraphy": "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 iron, and he concentrates on his fingers. The tip has been used for a long time, so that the fingertips are strong and strong, and the brush is like flying. It is almost extremely skilled, and the wonders of folding hairpins, roof leaks, and wall bumps will naturally be found between the strokes, and the scenes of painting sand and mud will be , so you can get it." In short, the ultimate goal of correct fingering and wrist techniques is nothing more than to obtain the two words "power" and "power". The person who writes is playing with this pen, and this pen is in your hands. If you play it "easily" in your hands, you will reach a state of "forgetting each other between heart and hand". (To be continued) Section 2 Xiaokai Fa Brushwork Fa Brush, also known as Qi Brushwork, is an important part of brushwork. Chen Jieqi of the Qing Dynasty said in "Fu Zhai Ruler Slips": "If you want to ask for the writing skills of the ancients, you must ask for them at the beginning of the stroke." He also said: "All the methods are at the beginning of the stroke. If the stroke cannot be done after the stroke, there is no way to use your heart and force." According to legend, Wang Xizhi When writing in small regular script, he pays the most attention to the starting point. Unfortunately, we can no longer see his original handwriting. The precision in using the pen, the flow of the strokes, the changes in stipples and the adjustment of the strokes are all reflected in the strokes. Therefore, those who are good at strokes must not stick to one method, but can correct abnormalities, straighten out the writing, and control it freely. , the so-called "good fortune lies at the end of the pen" is also true. Now let’s talk about several methods of writing small regular script. (1) The so-called "Zang Feng" means that when starting to write, the sharp edge is not revealed, and the mark is hidden. The hidden edge is narrowed, and there is no trace of the beginning or end. This method is what (biography) Wang Xizhi said in "Shu Lun": "Use a sharp pen." The writing must be written neatly, and no boldness or cowardice may appear.” Zangfeng's hair pen can give people a rich, subtle and calm beauty. When starting the pen with the front hidden, you can use "reverse in and flat out", that is, opposite to the direction of the stroke, first go in gently to make a dot shape, and then reverse the stroke. The purpose of the inverse is to hide the front and draw the strokes in the center. If you can't adjust the front in one stroke, you can go back and forth twice. This is the method of writing seal script, so it is also called seal script.
Although this method can be borrowed when writing small regular script, there are differences. Since the dots in small regular script are very small, the movement of inversion is very light and delicate. Sometimes it is just a meaning. It must not be made into a round head like a steamed cake. , and should be full of variety, and the best thing is not to show any trace. On the other hand, when writing in a reverse direction, the pen machine should not be stagnant. The best thing is that the pen can absorb ink and the ink does not bleed to the side. The strokes and strokes of small regular script must be clear and clear. Only after removing the debris can you write straight and honest. People in the Wei and Jin Dynasties all like to use this method in small regular script. Take a look at Zhong Yao's "Jian Ji Zhi Biao". There are muscles and bones at the starting point of the pen, and the stipples are round and simple, with an antique flavor. There is an aura of Yuanyi, pure and majestic, flowing between the lines, like the bells of the three generations. The writing on the tripod makes people dare not look at it. Another example is Wang Xizhi's "Huang Ting Jing" in small regular script. There is no awning at the starting point of the pen. It combines skill with clumsiness and hides age with moistness. It also has an ancient, lush, quiet, elegant and natural atmosphere. Human eyebrows. (2) The development of the square script. The square script originated from the official script. Most of the stele inscriptions in the Six Dynasties were written with square script. The regular script of the Tang Dynasty inherited the style of the northern stele, thus forming a regular script with the square script as the main feature. The so-called square pen means that the pen has edges and corners when writing. It is the main method of writing regular script. If the square pen is used well, it can give people a strong, vigorous, sharp and deep beauty. To start the square pen, you can use the counter-trend cutting method, also known as the point method to start the pen. Zhou Xinglian of the Qing Dynasty said in "Linchi Guanjian": "Every time a word is written, it starts from the dot. The dot will ensure the four directions are complete, and the pen will have control and will not be sloppy and hasty." The method is to carry on the upward stroke before starting the extremely low stroke before starting to write. Make a reverse movement in the air (or touch the paper lightly with the tip of the pen, and then reverse it), and then make a diagonal landing point (when writing horizontal drawings), or a diagonal landing point (when writing vertical drawings), like a knife entering When cutting into the point, the momentum should be heavy, but the landing point should be light. Mr. Gao Ershi, a modern calligrapher, pointed out in his "Inscription on the Monument of Cao'e": "If you hold the pen steadily and write lightly, it will have a kind of elegance." This is indeed what he said. This kind of brushwork is also called "building the front and writing down" in calligraphy, which means building, pounding, and pounding the soil to make it solid. Just like construction workers building land, the front of the building is straight down, which means that it is like a falling stone from a peak, which means it will crash into it. After cutting against the trend, the tip of the pen is up and the belly of the pen is down, which has become a side trend. At this time, it is urgent to adjust the tip to make the pen tip deflect from the center. This is the most critical place for writing small regular script. When adjusting the stroke, you can use your wrist to slightly drive the tip of the brush to make one or two spiral-shaped strokes that combine lifting and pressing to quickly blend the tip of the brush into the painting. Zhou Xinglian said in "Linchi Guanjian": "When you write and put down the paper, you should stand on the ground like a person, with your heels set, stretching your waist and back, your bones will be naturally strong, and you can respond to all directions with a slight turn. If you are not good at using the pen, you will either sit or lie on the paper, or squat on the paper. It's on the paper. To eliminate this shortcoming, there is no trick. Just lift the pen up when writing, as Si Weng said. "When writing small regular letters, this movement of adjusting the front is very small and can be completed in a very short moment." Yes, sometimes it all depends on a feeling in the wrist. To practice this kind of front-adjusting movement, you should start with Dakai. At the beginning, the movements are very passive and intentional, but over time, you will naturally become proficient. After touching, you can quickly lift the front, like a dragonfly touching water, and it will rise as soon as it sticks. Complete such an action unconsciously. Dong Qichang of the Ming Dynasty said in "Essays on Painting a Zen Room": "The pen must be lifted at the point where it is started, and it must not be broken by itself, which will not be passed down through the ages." Therefore, lifting the three characters is actually a mantra for using the pen. . The summary is put forward just right, and the brush strokes are brought back into the painting. Starting with a square pen, the shape of the stroke should be varied. Due to the different weights, angles, directions, and dwell times of the contrarian strokes, various changes can occur. Take a look at Yang Ningshi's "Leek Flower Tie" The original small regular script has the most profound meaning and changes in the starting point. The method of starting a pen to make a point against the trend is more convenient than the method of going against the trend and leveling out. Chen Jieqi said in "Fu Zhai Ruler Slips": "The key to moving the wrist is to keep the finger still, not to rest, and to go straight up and down. Straight up and straight down, no matter what, it's all about my wrist. The word "straight down" needs to be understood. The strokes are slightly vague, and the full momentum is already there. "This kind of brushwork that follows the natural trend can not only make the pointillism rich in changes, but also express it. A kind of masculine beauty. Take a look at the small regular script of Yue Ke in the Southern Song Dynasty. Although the square script is mainly used, the shape is square and the stroke is round, giving it a very steep appearance. Huang Daozhou's small regular script of Ming Dynasty is also good at square script, simple and clear, handsome and pleasing to the eye. (3) The so-called Lu Feng brush, as the name suggests, means that the edge of the brush is exposed when the brush is drawn. This kind of brush is most commonly used in small regular script. The method has both side edges. When the brush is dipped in ink and licked, the edge of the brush is slightly upward. When holding the tube and writing, tilt the tube slightly to the right and back, straighten the wrist, then insert the sharp edge into the paper, and then write down. Because the sharp edge enters sideways when writing, the sharp edge is outward, so it can give people a feeling of high energy and energy. The artistic feeling is fresh and graceful, and the strokes between dots and paintings can be made smoother due to the smooth strokes when starting the strokes. Just as Dong Qichang said in "Rongtai Collection": "Yu Yongxing once said that he had an understanding of the word Tao, and the tip of his pen was like drawing a knife to cut off water, which is the same as the cone drawn by Yan Taishi in the sand and the traces of leaks in the house. "This method of hair strokes is generally used for short paintings, and the main painting should not be too exposed. If it is too exposed, the meaning will not be solemn. When using this kind of brushwork, you must pay attention to two points. First, when the sharp edge is exposed, be careful not to use an empty tip. Second, although the tip is tilted sideways when you start the stroke, you must bring the tip back into the painting when you close it. If it is tilted to the bottom, it will be The disadvantages of being superficial and superficial can be seen immediately. This should not be done carelessly. Zhu Hegen's "Linchi Xinjie" describes this method of closing the brush: "At the end of each wave of painting, there are faint traces of accumulated ink like millet, which cannot be conveyed by stone carvings." Let's look at the starting point of the writing of the Tang Dynasty. Although the sharp edge is exposed, when the pen is closed, it is very smooth and full, which makes it look full and powerful. This is the key point that must be paid attention to when writing small regular script.
Lu Feng's hair brush is one step more convenient than the square brush, so it is often used by calligraphers of the past dynasties. For example, Zhao Mengfu's small regular script is mostly made of Lu Feng. It is said that he can write ten thousand words in a day, and his small regular script can be written as fast as the wind and rain. . Wen Zhengming of the Ming Dynasty was also good at this method. His small regular script was clear, powerful and beautiful, and it also served as a flanker. Finally, let’s talk about the remedies in writing. Zhao Hengguang said in "Hanshan Broom Talk": "The writer loses the place when he writes, so don't change the way because of the loss. There is a place in the wrist that can be saved. "This means that when the strokes are made due to improper adjustments or mistakes in starting the strokes, which lead to shallow and thin defects, they should be repaired in time, and it is not advisable to add additional strokes to repair after the writing is completed. There are two methods of remediation: the first is the method of temporary rescue, that is, "go to the place where there is a shortcoming and make up for it." Return the pen tip to the starting point in time and then move the pen. Through reciprocating movements, temporary rescue will be achieved. The ink overflows from the middle, and the shape is natural and full. The second is the timely method of making up for it. Even if there is something unpleasant, you can think about how to make up for it with a few strokes. There is no need to change the direction temporarily. If you save it well, it will be more interesting. Of course, it is best to follow the starting point of the pen and follow the perfect edge. If you go against the direction, there will be no ink. The remedy is only a last resort. In short, writing is the most important part of using a pen, and the key to this is to adjust the tip. No matter what kind of writing style you use, it is important to use inversion, either virtual inversion or real inversion. The movement of inversion should be brisk, and the trajectory of inversion should follow the upward movement of the stroke. When writing, the movements should be clean and sharp. There should be neither hesitation nor sluggishness in the pen, nor sudden haste or cowardice. The above three writing techniques can be used interchangeably when writing small regular script. Sometimes it is square, sometimes round, sometimes hidden and sometimes exposed, so that the beauty of the changes can be maximized. However, only one style of writing can be used as the main style to maintain the consistency of the entire work. (To be continued). Section 3. The method of closing the brush in small regular script. The closing of the brush is also an important part of the brush in small regular script. The closing of the brush not only means the end of one stroke, but also the beginning of the next stroke. If it is closed well, it can not only complete the shape of the point painting, but also the beginning of the next stroke. At the same time, it can also make the whole character full of energy. In writing practice, people often pay attention to starting the pen and neglecting to close the pen. They only know that it is difficult to start the pen to hide the edge, but they do not know that it is even more difficult to close the pen to reveal the edge. Therefore, Ni Sumen's "Calligraphy Theory" of the Ming Dynasty said: "You must pay attention to all aspects of using the pen, including coming out, collecting, turning, and releasing." Among them, four places involve collecting the brush. Let’s talk about the basic rules of closing the brush: (1) There is a distinction between closing the brush and hiding the exposed brush in small regular script: when using the brush in small regular script, it is mainly to hide the front. Only then can it give people a harmonious and full artistic feeling. When Zang Feng closes his pen, he should use "light lifting, light pause, and quick closing". Take horizontal painting as an example. When closing the pen, use the wrist technique (that is, turning the wrist slightly to the upper right) to gently lift the tip of the pen to the upper right corner of the horizontal painting, then gently tap downward once or twice, and then quickly reverse to the left. Fold and collect. When writing horizontal strokes, the strokes should be extended to the upper right. When closing the strokes, the tip of the strokes should be slightly forward to the upper right, making the stipples slightly mixed with the official meaning. Due to different methods, the resulting pen shapes are also different. Taking vertical painting as an example again, we also use light lifting, light pause, and quick closing. When it's time to close the pen, lift the tip slightly to the upper left, then tap downward once or twice, and then quickly turn upward to close it. The center of the pen can be straight down, and when it is time to close the pen, it should be depressed downward to make the ink essence fall darkly, and then folded upward to close it. This is the hanging method. There is a simple style when used in small regular script. Zangfeng is also used when closing the pen, which is called tail guard in calligraphy terminology. Cai Yong of the Eastern Han Dynasty said in "Nine Movements": "Protect the tail. When the strokes are exhausted, use all your strength to close them." When closing the brush, only if the front is hidden in the painting, can the strokes be drawn from all sides, and the strokes be perfect and complete. The strokes are flexible and there is no need to The disadvantages of being rigid and superficial. When closing the brush in small regular script, there are also some sharp strokes, such as hooks, hanging needles, etc. However, it must be noted that when a sharp stroke is made, the sharp edge should come out from the middle, and the end should be like a lead rope to achieve the method. Feng Ban of the Ming Dynasty said in "Bi Yin Shu Yao" that "it is a big mistake to use the edge of the pen to draw the edge. The person who makes the edge will not withdraw it until it is sharp. Chu Yun said: 'It is through the back of the paper', and the edge is exposed on one side." No matter whether the pen is hidden or exposed, it is more valuable than closing. Any pen that hides the front is closed on the paper, which is called "round squatting and grabbing straight" in calligraphy terminology. In the terminology, it is called "forwarding and empty grabbing". The movement of closing the pen should be quick, which is called "slowly go back quickly". The direction of ending the stroke should echo the direction of starting the next stroke, then the energy will naturally be concentrated, and the strokes will be broken and the meaning will be connected. (2) No matter where you go, you should retract, and if you don’t droop, you should retract. This is the Dharma of retracting the pen. When writing horizontal drawings, you should retract it. When writing vertical drawings, you should retract it. Either empty grabbing or real retracting is an inverse word. In fact, retracting and retracting can produce Three effects: First, it can keep the stipple painting perfect and round in the stroke shape, or there may be faint traces of ink gathering at the end of the stroke, or the ink may fall darkly at the condensation part, all of which give people a thick and full three-dimensional feeling, making it look more beautiful. The essence is composed, the ink is overflowing, the stipples are thoughtful, and the beginning and end are clear. Second, it can generate writing force. Using contraction at the end is the same as using reverse force when writing. It is a reactionary force. Qing Kang Youwei said in "Guang Yi Zhou Shuang Ji": "Pu Zhi is tight, the wrist is hanging in the air, and the strength of the whole body rushes to the wrists and fingers, and the pen force can calm down." "Pu Zhi" is the grabbing method, just like boxing Just like that, you must shrink your fist first so that the punch can be punched out quickly and powerfully. The three functions can produce strokes. The main purpose of shrinking and shrinking is to produce strokes. The regular script writing pen breaks the connection with the meaning, and the momentum comes out from the inside and coils in the void, which is the "invisible turning". When writing small regular script, you should form a kind of retrospective momentum when finishing the pen, so that it can echo with the start of the next stroke. The ancients said that "giving a foot away is like a fish swimming in water." This is like a fish suddenly turning around in the water, very leisurely and contented, so that it can flow endlessly. If the word "Fan" is powerful, the structure will be natural and appropriate. Zhu Hegen's "Linchi Xinjie" said: "Writing must be controlled. When you start writing, you should let the ultimate intention go out, and when you turn around, you should try your best to move. Then the structure will be naturally stable and comfortable. This is the so-called hundred-foot hairspring in the palm of your hand.
"Although small regular script is mainly dignified and quiet, it is important to have movement in the silence, so that its charm can be vivid. Just as Huang Tingjian of the Northern Song Dynasty said in "On Calligraphy": "The heart can turn the wrist, the hand can turn the pen, and the calligraphy will be easy. As expected, there is no other difference between ancient hand-made calligraphy, but it can use the pen and ear. "What he means by turning around and commanding, as true as grass, refers to this kind of vivid and flexible brushwork in silence. In short, you should be careful at the beginning and end of everything, especially when you finish," Dong Qichang said in "Essays on Painting a Zen Room" "Nothing hangs down, no shrinkage, nothing goes but no retraction, this eight-character mantra is a mantra without equal." "Pretending to write small regular script, the pens must be lively and the words must be vivid. Between the dots and the strokes, look forward to the emotion, start and transfer, concentrate on it, and naturally gain momentum. (3) When you close the pen, you must keep the pen to write in small regular script, and place it at the end of the pen. It is necessary to retain the pen and prevent it from being erratic and erratic, especially for some longer strokes such as hanging strokes, hanging needles, long strokes, and pressing the feet. Staying means to be dignified and calm when putting away the pen. Shen Zongqian of the Qing Dynasty said in "Gate Zhou Xue Hua Bian": "When the pen is running on the paper, it should be delivered with the wrist. If it is not appropriate to pick with the fingers, then there will be no dryness. The shortcomings of being strong and superficial, after using it for a long time, gradually become proficient and calm, and if there is any reason to realize it in the pen and ink, it is called knotted mind. "One of the "send" characters can be recalled. It should be sent with the wrist, with a subtle and restrained meaning, and not to use all the strength. When the time comes to stop the pen and strike out, it seems that a person has a lot of strength, but only uses three or four points. It is very generous and leisurely. The power is sent to the tip, but the writing style is somewhat retrospective, just as Chen Jieqi said in "Yuzhai Ruler Slips": "The traces of leaks in the house still have more than enough power, but they are drawn but not released." "Only in this way can one be calm and complacent. The so-called leakage marks in the house are caused by the leakage in the house and the rainwater meandering down the wall. Due to the resistance of the wall, it will move left and right and meander down, leaving traces behind. At the end, it looks like a dewdrop, which is a very vivid metaphor for the way of using a pen to get straight with a curved posture and to retain the pen. "Pin Luo'an Lun Shu" written by Liang Tong of the Qing Dynasty said: "The leakage mark can only be retained when it is straight down." , don't let your ears wander. "In one sentence, the method of using brushes for leak marks in the house is explained. The fourth section of the small regular script conversion method is mainly manifested in the communication, turning, connection and connection of stipples. It is the key point of the structure of link stipples, and the conversion is Well, not only can the stippling be explained clearly, but the glyph structure can also be plastered smoothly, giving people a precise and dense artistic feeling. Let's talk about some specific methods of conversion. Forming a square and turning to form a circle are the basic rules of writing in small regular script. Although the style of small regular script is dignified and square, the writing style can be divided into square and round. The square and round are mainly expressed in two ways: one is expressed at the beginning and end of the stipples. If there are edges or edges appearing at the hook or hook, they are collectively called square. Those with hidden edges or hidden edges are collectively called round. The second aspect is manifested in turns. Any edges or corners appear when turning, such as when drawing a gold section. Jade, when it is clean and sharp, is called square. When it is rounded and plump, it is as soft as pure steel, and when it is smooth and smooth, it is called round. The square pen has a masculine beauty, while the round pen has a feminine beauty. For example, Zhong Yao's regular script is slightly flat and mixed with official meaning, but the pen is mainly square in "Xuanzhi Biao" and "Jian Ji Zhi Biao". The main focus is on circles, and seal script is also used when turning, which makes it appear round and ancient. Yan Zhenqing's small regular script has a square body shape and a round stroke. He also uses the turning method when turning. Although it does not show off the edges and corners, it contains the muscles and bones. It is rich in the legacy of the Qin and Han Dynasties, giving people a simple and vigorous ancient beauty. Wang Xizhi's small regular script is mainly round, and the seal script is contained in the turning points. , implicit and implicit, the small regular scripts of Zhao Mengfu, Yang Weizhen, Huang Daozhou and Wen Zhengming mainly use square pens. Although the stipples are square, the pens are round. Although the body posture is square, the pens are extremely round and strong, such as It is difficult for generals to compete with each other. From this point of view, the round pen originated from the seal method and is mostly used in the center. The square pen originated from the official script and is also used in the side strokes. The small regular script brush is used in the middle section of the painting. Seal script is the main method, but most of the starting, stopping, turning, and hooking are done with the side edge. This is also because the side edge is used to gain momentum, and in order to make writing easier, Zhou Xinglian's "Linchi Guanjian" said: "As for the side edge method, Then use the side posture to guide it, which was also found in the ancient world. "Song Cao's "Calligraphy Essays" also said: "Occasionally, the side edge is used to gain momentum. "This is because it is more convenient to use the pen on the side edge than the inverse and flat strokes of the seal script. The ancients never excluded the side edge when writing small regular script. They used the center edge to establish the bones and the side edge to capture the beauty. The pen is extremely round and flexible, and can be used in all directions. , the writing style is all perfect, especially the small regular script which is mainly square, how can it be a certain way to stick to the center. Therefore, Ming Fengfang's "Shu Jue" said: "The ancients wrote seal script, Fen, Zhen, Xing and cursive scripts. , there is no difference in the use of pens, the main front must be used, and the side front may be used occasionally to capture the beauty. It is divided into the following parts of the book, the front is second, the side front is first, and the seal is one and cannot be sided. "It can be seen that the ancients did not abandon the side forwards when writing small regular scripts, and used side forwards for three purposes: one is to gain momentum, the other is to gain beauty, and the third is to seek changes. The center forward and the side forward constitute a pair of the most basic contradictions in calligraphy. Yin and Yang, one bright and one dark, can produce miraculous changes. So what is a side forward? What is the difference between it and a side forward? Let’s first talk about some characteristics of the side forward: the point method starts from the side. One of the major characteristics of using a sharp brush is that when writing horizontal strokes, one must go straight into the front edge of the pen, and when writing vertical strokes, one must go horizontally toward the front edge of the pen. Liu Xizai of the Qing Dynasty said in "Shu Gui": "The strokes in most books start from one point, which is called side, so the method of side is used. , Zutong Yufa.
"When writing the pen, take the momentum from the side and use the dot method to cut in. The writing speed is much faster than the reverse in and out of the center of the seal script, and the changes it produces are much richer than the seal script. Due to the angle and weight of the dots, Different strokes, directions and dwell times can produce wonderful changes in the shape of the strokes. It is not as monotonous as the seal method. Therefore, calligraphers of all ages like to use this method when writing small regular script. The exposed tip pen is the side edge. The two major characteristics of using a pen are that when writing small regular script, the tip of the pen is inserted sideways, and it is more convenient to follow the writing method. From the ink writings of famous ancient sages, the starting point of the pen often shows a slight edge, which is very profound, full of energy, and flowing strokes. Although the stroke is sideways when starting the stroke, it is deflected when the stroke is finished, giving people a sense of simplicity. Liang Gu of the Qing Dynasty said in "On Writing": "Yu Li observed the right army of the Jin Dynasty, Ou Yu of the Tang Dynasty, and the Song Dynasty." Su Huang's dharma calligraphy and the original works of Zhao and Dong from the Yuan and Ming dynasties are not without their sharp edges. In particular, Xu Hao's generation often folded their pens to hide their sharp edges, so why should they not be sharp? The words are all bald, the pens are like carved, the wood is strong and the machine is stagnant, but the spirit is not there, and the writing can be enough. "So when writing, you should take advantage of the situation, keep the tip of the pen out, and the pen belly is holding the paper, so that you can command satisfactorily. Any edges and corners appearing at the turning points of hooks and legs are the three major characteristics of Xiangfeng's pen. Square-style regular script scripts often have edges and corners exposed at the turning points. It can give people a sharp and bright artistic feeling. This angular shape is mainly expressed through the side method. Taking the vertical hook as an example, after writing the pen, tilt the pen barrel slightly to the upper right to tilt the pen. Lay it on the paper, but the pen body must still be kept in an angled shape, and with your luck in mind, focus on moving downwards. Before the hook is released, use a slight downward force to make a quick dip (crouching front) to create an edge, and then take advantage of the momentum. When the pen is moved, the force is concentrated on the tip, and the bone strength is naturally strong. Since the brush strokes are spread at an angle, the force is not as uniform as the center of the brush, but the force is often directed to the lower right. This writing method is not very easy in actual writing. It requires a certain amount of writing power to back it up. Therefore, the four characters "luck" are very important. If you have no writing power and cannot lift a pen, then the pen will either squat on the paper or sit or lie on the paper, and it will inevitably form a deflection. In the final analysis, it depends on whether you can lift the pen. Beginners should continue to practice If you practice it carefully, you will have insights over time. Different strokes will lead to different tilt directions of the pen barrel, which are usually opposite to the direction of the stroke. For example, when writing floating goose hooks, the pen barrel can gradually tilt slightly to the left according to the situation, and write the heart. When hooking, the penholder can tilt slightly toward the upper left. When writing hooks, the penholder can tilt slightly forward. When writing horizontal strokes, the penholder can tilt slightly toward the lower right. If the pen is straight, the front is hidden, and the pen is flat. The front and sides fall together, and are naturally full of changes. Yuan Liu Youding's "Yan Ji Zhu" said: "The straight strokes are round and the side strokes are square. The usage is different, but the beginning of writing is the same. The difference is just that the strokes are used with the sharp edge. He has a different ear. If he wants to write sideways, his edge will be slightly lost, but the style of the calligraphy is straight. "One sentence explains the secret of using a side-edge brush. From the above, we can see that when making a stroke, the point is square, and the sharp edge is exposed when it is inserted sideways. The side-edge is used at the hook and crotch to have edges and corners, and the square exposure and edges are exactly the square brush. Therefore, the so-called side forward is a square pen, which is a form of Li Fa. The side forward and the lateral forward are very similar in form, but they are essentially different. The side forward is square, the lateral forward is flat, and the side forward can. During the deflection, the side edge is deflected to the bottom. When the side edge is laid diagonally, the pen body can remain upright and can be lifted by a pen. However, the side edge is exposed on one side and the pen body lies stiffly on the paper, so the pen is square. It has the beauty of being strong and sharp, but has the disadvantage of being thin and flat. Although it is slightly different, there is a huge difference. Beginners should pay attention to the turning. It is another form of expression of the square circle. The turning method is round and vigorous, and the turning method is round and vigorous. The French method is strong and powerful, and different ways of using the brush can produce different aesthetic feelings.
Folding can be done by lifting or lifting. Taking the horizontal fold as an example, move the pen to the right. When you reach the folded corner, use your wrist to turn it slightly to the upper right, lift the tip to the upper right corner of the horizontal drawing, and then quickly move it sideways on the paper. When turning the pen, the front edge is turned from the negative side to the positive side. When turning the pen, the tip of the tip makes a dark circle on the paper. The movement is extremely smooth, fast and light. Turning the pen is actually to make the horizontal and vertical strokes match up naturally, so as not to reveal any traces. To move up, lift the pen and make an oblique horizontal point to the right and down, then quickly move it inwards, adjust the front and then lead the pen downward, or use the Teton,