The ancient sages discussed books in the past, and their references were far-reaching and ingenious, such as "a dragon leaps over the gate of heaven, a tiger lies on the phoenix tower", what kind of words are they? Or if you use words to seek work, going too far away from the law will be of no use to scholars, so what I discuss should be in people's minds and not be overstated.
My calligraphy is written in small characters, just like big characters. Only the original manuscripts and postscripts are occasionally found in the family collection and are not available to those seeking the book. Once you have stored it in your heart, you can write it at will, and it will be natural and elegant. When I was in my prime and could not establish a family, people said that my book was a collection of ancient characters, which was composed by taking all the strong points. Since he started his own family at an old age, when people see him, they don’t know who they are as their ancestors.
The list inscribed by Dali of Dengzhou and Prince Shao of Wu in the south of the Yangtze River has an ancient meaning, and the list inscribed by Dali of Dengzhou by my son Youren is equal to it. Also, the children's friend knew that the inscription on which my name was written and the large hand-written characters were even more indistinguishable. The disciple under the door thought about his small regular script: "Each small slip can be used to write a letter to the next generation." It is said that you know it.
Lao Du wrote "Xue Jihui Pu Temple Poems": "The three characters of Yu Yu are intertwined with dragons." Today there is a stone book that can be seen, but the outline is drawn backwards, the brush strokes are like steamed cakes, and the character "Pu" is like a person holding two fists. , standing with arms outstretched, looking ugly and unsightly. From this point of view, it is clear that there is no true big character in ancient times.
Ge Hong's "View of the Sky" Feibai is the most popular among large characters, ranking first in ancient and modern times. Ouyang Xun's "Daolin Temple" is frugal and lacks spirit. Liu Gongquan's "Guoqing Temple" is disproportionate in size and requires a lot of effort. Pei Xiu's way of writing cards is genuine and interesting, and does not lead to ugliness. The real characters are very easy, but the body posture is difficult. It is better to draw and draw, and the movement is more vivid.
The eight sides of the characters can only be seen in Shang Zhenkai, and each has its own size. Zhiyong has eight sides, but he no longer loves the Dharma. Ding Daohu, Ou, and Yu began to even out their writing styles, and the ancient method was lost. Liu Gongquan's master, Ou, was not as good as Yuanjie, but he was the ancestor of the ugly and evil. Since Liu Dynasty, there have been secular books in the world.
During his lifetime, Tang Guangao was the type of Chu, Lu, and Xu Qiao, and he was particularly outstanding. Since the Kaiyuan Dynasty, due to the fatness of Emperor Ming's calligraphy custom, Xu Hao was the first to adapt to the emperor's preference, and the characters of Jing Dynasty have also been fattened since then. The ancient atmosphere before Kaiyuan no longer exists.
People in the Tang Dynasty regarded Xu Hao as more pious than the monks, which was very inappropriate. The vast and small ones are all in the same order, but they still use regular script. Seng Qian and Xiao Ziyun preached Zhong Dharma, which was no different from Zijing. They had their own differences, big and small, and were not unified. Xu Hao was a guest of Yan Zhenqing, and the rhyme of his calligraphy came from Zhang Dian's blood. He taught Yan how to use big characters to promote small characters, and small characters to show big characters, which is not ancient.
Stone carving cannot be learned, so just write it yourself and have someone carve it. It is no longer your own handwriting, so you must see the original work to gain interest. For example, Yan Zhenqing, every time he asked his children to carve words, he would understand the master's ideas and modify the curvature, resulting in great distortion. However, he inscribed his name on Lushan Mountain in Jizhou, and left after finishing the inscription, and later generations engraved it, so they all got the authenticity, without any artificiality or vulgarity, which is why he knew his beauty came from Chu. There is no silkworm head or swallow tail in all the original works, and it has the seal character of Guo Zhiyun's "Struggle for Seats", which is also Yan Jiesi's. Liu and Ou are the ugly and evil ancestors, and their younger brother Gongchuo is better than his elder brother. The theory of muscles and bones comes from Liu, but people in the world only think that they are muscles and bones when they are angry.
All big characters should be like small characters, and small characters should be like big characters. Chu Suiliang's small characters are like big ones. Later, his ancestors wrote about them, and there were some wonderful ones. Big characters are like small characters, which are not seen before.
Most people in the world hold their pens hard when writing big characters. The characters have no bones and spirit, and the round pen tip is like a steamed cake, which is really ridiculous. It is better if the words are as small as the characters, the attack is complete, and there is no deliberate pretense. From ancient times to the present, I am not sensitive, but I have achieved it. The words on the list have been in the world for a long time, and those who have knowledge will know it.
When Shi Manqing wrote Buddha's name, there was no tendency to turn back and forth. The small characters make the order larger, and the big characters make the order smaller. This is the fallacy taught by Zhang Dian and Yan Zhenqing. The size of the lid is commensurate with each other, and if it is written as "Tai Yi's Palace" and divided into four nests, how can the word "one" be filled with fat to fill one nest to match the word "dian"! The cover has its own proportion, and the size does not expand or increase. Yu Chang wrote "Tian Qing Zhi Guan". The characters "天" and "之" are both written in four strokes. The characters "Qing" and "Guan" are mostly drawn at the bottom. They are written in proportion to each other. When hanging up, the momentum comes with it, and they are all as big and small. Generally speaking, it really has the potential to fly.
With the rise of official script in writing, the ancient seal script was greatly deteriorated. The size of the seal scripts varies according to the shape of the characters, so the shape of all things can be known, the movements are complete, and each one is sufficient. Li Nai began to show the trend of development, but the Three Dynasties of Law died.
Ou, Yu, Chu, Liu and Yan are all written in one stroke. Arrangements are labor-intensive, how can they last forever? Li Yong took off his son and respected his body, and lacked fineness. In his later years, Xu Hao lost strength and lost strength. None of them are as good as the "Wuzhou Monument" written by Lang Guan. "Dong Xiaozi" and "Bu Kong" are both bad letters in his later years, and there is no research on them at all. Those who have knowledge will know this. Master Shen's change of style has his own extraordinary real interest, which is not as good as Xu's. Xiao Cheng, the imperial censor, wrote a book about Taiyuan, which was unparalleled in the Tang Dynasty. It is Sima's "Nan Zhen Jun Guan Monument", which is extremely Zhong and Wang interesting, and it is not as good as the others.
Zhiyonglin's "Ji Qianwen" is beautiful, round and vigorous, with all aspects of it, and is authentic. Since the word "Dianpei", Tang Linfu has been beyond the reach of others.
The characters must be bone-like, the flesh must be wrapped around the tendons, the tendons must hide the flesh, be delicate and moist, and the arrangement must be stable and decent. Risk is not strange, old age is not life, moistness is not fatness. Abnormality values ​​form over suffering, suffering produces anger, and anger produces strangeness; valuing form over painting, painting into painting, painting into vulgarity: these are all calligraphy diseases.
"A little success is like nature, and habits are like nature." This is an old saying. I dreamed that a man in ancient clothes taught me how to write origami books. His calligraphy has improved since then, and no one else knows what he wrote. When Cai Yuanzhang saw it, he was shocked and said: "How different is the method!" This gentleman is also a discerning person. Zhang Zihou named himself Zhen, and called me Xingcao alone. He wanted my calligraphy to be like Pai Shuzi, but Zhen characters must have body and posture to be better.
Yan Lugong's calligraphy can be taught, and it will become popular among the people.
Youren and other ancient people wrote books, but I didn't know that I had many books to learn from. I wrote cursive scripts as a child, and the long paragraphs are interesting.
Zhiyong's inkstone turned into a mortar, and he was able to reach the right army. If it penetrates, it will only reach Zhong and Suo. Don’t force it!
If I don't read for a day, I will feel dull, thinking that the ancients did not read for a while. Because of Sisu's talent, "Huan Gong to Luo Tie" has clear meaning and unique craftsmanship, making it the first Dharma book in the world.
There are many official documents on the mountainside villa, but I don’t know whether they exist now. Wen Gong studied Yang Ning's calligraphy, but few people knew about it. I mentioned the reason behind it, and the public university appreciated his insights.
The official list of Mushan Tower in Jinling was written 21 years ago by Guan Weizong. I think all palace lists in the Six Dynasties were like this.
When Xue Ji wrote about Huipu Temple, Lao Du thought that "dragons are entangled in each other." Now that I see its origin, it is like a heavy-handed man holding a steamed cake. I believe that Lao Du could not write.
Learning books must be interesting. If you forget all your other hobbies, you will get into the wonderful things. If you don't dwell on one hobbies, you will not work hard.
Haiyue summoned his counterpart with a doctorate in calligraphy, and asked how many people in this dynasty were famous for their books. Haiyue answered each one with his own person, and said: "Cai Jing has no pen, Cai Bian has a pen but lacks rhyme, Cai Xiangle's calligraphy , Shen Liao typeset, Huang Tingjian traces, and Su Shi draws." The superior asked again, "How is your calligraphy?" He replied, "I brushed the calligraphy."