First writing method
Crack the lower end of the lower joint of the big phalanx with force, and cut as straight as a qiang.
The food is pushed next to the middle section. The upper two refers to the main force.
Hook middle fingertip hook pen.
Uncover the pen with the name finger on the outer paw of the finger.
The ring finger lifts the pen and the middle finger holds it.
The middle finger hooks the pen and the name finger refuses. The upper two refer to transportation.
The small guide points the name to the right.
Send the little finger to send the ring finger to the left. This one refers to the main communication.
The right name is the stirrup method. The dialer holds the tip of the middle finger with the pen, which is round and easy to rotate. The stirrup is a stirrup. If the pen is straight, the gap between the tiger's mouth is like a stirrup. If the stirrups are shallow for the feet, it is easy to get in and out; if the pen is shallow for the hand, it is easy to turn.
Pillow your right wrist with your left hand.
Raise your wrist: Put your elbow on the table and raise your wrist.
Hanging by the wrist is the most powerful when hanging in the air. (In this generation, there is only one doctor who is good at writing on his wrist. When I asked him, he closed his eyes, stretched out his arms and said: "Courage, courage, courage.")
Right wrist method.
In general, when studying calligraphy, the fingers want to be solid, the palms want to be empty, the tubes want to be straight, and the heart wants to be round.
Right hand method.
Use the orange finger method to pinch the tube head. It is suitable for large cursive writing, especially for writing on the wall.
Arrowhead (扌部, Tongji) Tube Hold the tube upside down with your big finger and little finger, push it with three fingers, and write a large barrier on the spot.
Twisting the tube: Twist the head of the tube between the big and middle fingers to write, with the case on the left side and the word "fishing" on the long side.
Hold the pipe with four fingers in the middle section, with calmness and strength, and write the imperial edict sparsely.
Second blood method
Squat, fold 7/30, keep the tube straight and make a circle.
The seven parts of the force gathered in the water.
Lift the lower joint of the big finger three-thirds of the way under the water.
Nine points of strength are full.
It passed very quickly.
Each grab has its own score, squatting in a circle to grab straight, squatting sideways to grab, and attacking in the air.
衄 Three points and three strokes of the pen are lethal.
Characters are born from ink, ink is born from water, and water is the blood of characters. The tip of the pen has been exposed to water and has withered a little. The ink and wash are all hidden in the brush. If you squat, the water will be underwater. If you stand, the water will collect. If you lift it, all the water will enter the paper. The restraint is used to level it, the spear is used to kill and mend it, and the nose is used to round it. If it is too expensive, it will cause illness, like a bird frightening a snake. The strength is natural, and it is necessary to stagnate and still not be able to change again.
The third bone method
Lift the lower end of the subarticular bone of the big finger and lift the tail to fly.
Longitudinal and the lower acetabular joint of the big finger, squat with your head and hold your nose past.
The character has no bones, and the bone of the character is the lower joint of the big finger. If you lift it up, the bones in the character will be healthy, and if you lift it vertically, the bones in the character will have an axis of rotation and be flexible. When lifting, the small condyle at the lower end of the big finger bone is moving, and vertically, the tendons in the axis of rotation of the lower bone are slightly gentle.
The fourth muscle method
Hide and grab from head to tail. (Explain the two words "hidden" and "du", then there is no dead pen, the living part is the tendon.)
The tendons of the characters are the sharp edges of the strokes. Hide it in the broken place and save it in the connected place. The Tibetan is squatting from head to tail to grab, while the Du is making moves in the air, which is the meaning of Feidu's writing.
Right lettering. (A painting must also be hidden and measured, not just the discontinuities but the connections.)
The middle finger goes down and goes up, and the left goes right and the middle finger is soft.
The name finger goes up and down, right and left, and the pen is strong.
The fifth meat method
The flesh of the characters is the hair of the pen. If the sparse areas are full, the dense areas will be lifted; if the flat areas are full, the dangerous places will be lifted. If the areas are full, it will be fat. If the areas are lifted, the fat will be enough, and the thin ones will be thin.
The pen is one inch for writing, seven centimeters for squatting, five centimeters for lifting, nine centimeters for pressing, and one point for drawing. Taking this as the rate, Qing Jing decreases by three percent. For beginners, the light lifting and squatting are like meatballs. For experienced people, lifting and squatting are tight and heavy. (For example, "Long Live the Withered Vine" [same as above], Ji Hai's pen is used in the painting to express more than just the words.)
There is a score for the strength of the paper and a temporary consideration for the strength of the writing. If the water is too dry, the meat will be scattered; if the water is too dry, the meat will wither. If you grind the ink dry, you will get a wet brush. If you grind the ink wet, you will get a dry brush. If the ink is too thick, the meat will be stagnant; if it is too light, the meat will be thin. If it is thick, it will accumulate more; if it accumulates, it will be uneven.
The method of grinding ink is to press hard and push lightly to travel far and near.
The inkstone is wide and thin, and if you wash it every night, the ink and ink will be mixed evenly, and the flesh and blood will be absorbed. Meteorites can only be obtained from fine streams that stop the water; phthalate stones can only be obtained from continued astringency?
When grinding ink, do not use water from the inkstone pond, which may cause the ink to stagnate (hù shut, clogged). You must use water drops to draw fresh water and temporarily consider it.
Do not rub ink on any book by yourself, as this will cause your hands to tremble and your muscles and bones to become strong, which is a taboo.
Beginners should use good paper and then not be timid; they should use bad pens and then not choose pens.
Useful pen fractions include paper, ink, inkstone, etc.
Sixth Law of Justice
Yan Yan grabs the head and grabs the tail.
Raise your head to grab it, and grab it with your tail.
Tie: The head is tied, the tail is tied.
Rein up and down, lean down, and grab it from a distance in the air to kill its strength, just like reining in a horse. Wherever the tail is raised, observe how the pen is dry and wet. If it is dry, then squat down and hold down but actually grab it to make up for it. Next, squat without holding down. Next, stand without squatting. Next, lift without stopping and then grab it. If it is wet, it can be grabbed immediately after being lifted.
Ordinary paintings should not be compared to calculations; in the final exhibition, there are no horizontal paintings, and the beginning is calligraphy.
Seventh straight method
Hanging out, grab the head and the tail, and stop in four halves.
Hang the needle, grab the top with the head, grab the bottom with the tail, stop five points in the vacancy, go up two and one down.
Xiangshou grabs left, upper right, right upper left, Kun grabs left upper left, right upper right, crouch sideways, grab sideways and pass sideways, stop in five steps, two up and two down.
Back and opposite.
Strive to build the front by grabbing the right side with the head, grabbing the upper end with the tail, and then the left waist is thrown out. Stop in seven points, go up and down, one at a time. You can also hide the waist.
□<任一> First grab the center, come up, fall down in the air at the end of the word division, and squat down at the end of the stroke. The tail rushes up and out of the air, and stops when all the strength is exhausted. The pens such as hanging dew, hanging needle, Xiang, back, and Nu are all used. Fat and barren are divided into characters, and the length and side are suitable for use.
Eighth Circle Method
There are endless variations in the side point, all of which are squatted with a side posture, looking at each other from head to tail, forming a three-pass stroke. There are postures such as Yan, Yang, Xiang, Back, Flying, Lying, and Standing, and the shapes of willow leaves, mouse arrows, squatting owl, and chestnuts. Spreading water, the upper side, the middle Yan, the lower side is raised and horizontal, the second stop is followed by the fourth stop, the upper one is inner, the middle outer two is, and the lower one is from outer four to inner three.
Lianfei follows each other at four o'clock, and moves forward and backward. (Qi Yan Sha Heng.)
The external phase of the fierce fire is facing towards the sky, while the internal phase is facing upwards.
Zeng Tou丷 Opposite to Guicong, open at the top and close at the bottom.
Their feet are facing each other, with the upper part closed and the lower part open.
Pecking Point the head, turn the tail, turn to the left and tilt slightly, like a bird's beak pecking at something.
Sweeping, head, tail, right, slightly raised, like a grate sweeping hair.
With the back tilted, the head is rounded and squatted over, and the hanging acupuncture method is performed to the left. To turn forward, squat with your head tilted, look right, turn left, and move the needle toward the vertical tail to the left, just like turning your hands forward and backward.
Wave 乀From 乀five stops, one in the first, three in the last, and one in the end. Horizontal and five stops, one in the first, two in the last, and two in the end. Generally speaking, when painting on the back, do not squat, but squat in the air with the edge of the edge. The three sides are strong, and the fingers are pressed down. When the strength is full, the hand is slightly stopped and the head is raised. There are three more in the three-pass strokes, like the ups and downs of water waves.
To pull out the pen, first make a left-handed flying pen, hit the front from the side without squatting, drum down with the force, hold it slightly when full of strength and lift it out, pass the pen three times, like pulling out an object with your hand.
The upper point of the qiu is like standing on the right foot, the force is used to bend downwards like the right thigh is folded in three, and the force is used to pull down like the gully of the right foot.
Lift heavily and squat lightly, the round edge comes out to the left, and the momentum is raised and closed, like a whip to spur the horse, the force is on the object.
Zhe squats and stands on one side, comes out slowly when the speed is too fast, and hides the head and tail. It is necessary to peck upward first, using the force like splitting silk, with the force outside the split.
Frustration is caused by the bleeding of the front pen, either up or down, left or right, all of which are caused by bleeding.
Hitting with a sharp edge and hitting in the air is the master of point technique.
Tick the right and cross the abdomen.
Under the crotch, at the end of the front pen, squat forward and lift up the crotch, hugging the body and making it short.
Back Throw L To □ <亻一> Lean up and turn your hips, the hips are wide and round, or the back is lifted, or the posture is flat, or the needle is flat, or the posture is round, like throwing an object from the back.
The big back throw is performed with the upper body stretched upward and the left shoulder stretched upward, or with the left shoulder stretched upward and the right shoulder raised, with the length and length flexed and extended, each according to the shape of the character.
Pick up the right back □<任一>, raise your head and turn your back, and hold your belly in front of your back to clear it.
Ge Ti lifts his body downwards in the air, and when the momentum is exhausted, he may raise his body and hug his body, or he may tuck his legs back to his abdomen, or he may bend his legs to the left. It is generally like standing straight to the right, and he may look left and right and bend his legs back, as if he is about to fly. There is cutting the sword, building the sword, rebelling against the sword, and flying the sword.
Gou Bao Yan Le Xiang □<任一>寯, or lean back □<任一>寯, Gou Nule Nu Hao, either Yan Xiang or Yang Back.
The double package is to make a left side kick first, then pull the tail and stop the stroke to take advantage of the momentum. The flying stroke follows the momentum and wraps the stroke. The stroke is opposite to the head stroke, then the back stroke is followed by the tail stroke, and the tail stroke is flat.
The method of double wrapping is the same as that of double wrapping, but the posture is squatted with the head tilted, and if the posture is far away, the posture is shortened and wrapped.
Square 匚 is flat on the top, sideways, and flat on the bottom; 匚 or upward, sideways, and flat on the bottom.
Flying upwards, flying flat, sideways, flying downwards. The flying pen is flying in the air, and it is quickly lifted and turned with the wrist.
Only those who are satisfied on all sides can fly.
The eight sides of the Nine Palaces are dotted in the center.
Structure: According to the number of dots drawn, there are stops for density and density, and ninety-nine and eighty-one dividing lines are made to distribute them evenly. First, Zhong, Wang, Yu, and Yan used the Zhujie painting seal on the calligraphy and painting. After sealing, the calligraphy and painting scores in the calligraphy and painting were scrutinized one by one. I still want to observe its original intention of bending and stretching, and don't let any mistakes be lost. Only when you are familiar with the four calligraphy styles can you learn about other calligraphy styles. If the calligraphy on the Dharma post is large, use small seals to mark it; if the calligraphy on the calligraphy is small, use large seals to mark it. "Huang Ting" and "Le Yi" can be used as an abbot. They also used Zhu Jie Hua to print on paper, or paint it on a board with the word "Fei" on the top and "Woo" on the bottom, and took the radical words from Xu Shen's "Shuowen" and divided them one by one according to the law. It must be simple and skillful, beautiful on the outside and strong on the inside. Each one is better.
If the mean square is long, the eyes will be two minus the width, if it is short, the eyes will be two minus the length, and if the mouth is small, the mouth will be four minus. Although there are lengths, widths , narrows, and big, there must be an open space in the line, and the air position must still be written, and it must be tilted to the right. Or one point each. (division method)
Tenth Distribution Method
If the square of the cloth is rounded out in the middle, it will be sparse, and if it is rounded in the middle, it will be dense and square. The solitary person displays a painting of dots, such as "big", " people", and "divination". Those who re-merged frowned, such as "Zao", "Zhuan", "Ying", "Luan", "Yue", "Lu" and "Sen". There are no ancient ones , so you can't write them well.
Reflection tape: If you are leaning towards something that is out of proportion, you can avoid it by bending and stretching the dots. If it is too complicated, it will be eliminated, and if it is too sparse, it will be supplemented and continued . This must be what the ancients did, and it can be used with ears.
Transformation: If the dots and strokes in a character are combined, it is appropriate to bend and stretch them to transform them. If the point does not change, it is called the layout of chess, and if the drawing does not change, it is called the layout of the operator, such as "one", "horse", "three", and "book". Among the characters, the words that tend to be close to each other and combined with each other can be changed according to the opening and closing of the words. The words "Lin", "Jing", "Yan" and "Yan" are like "Lin", "Jing" and "Yan".
The body shape changes according to the characters, and the body shape is recognized according to the body shape. The glyphs include solitary, combined, combined, and accumulated, which must be distributed according to Xu Shen's "Shuowen". "One" and " two" are lonely, "sun" and "moon" are single, "zao" and "yan" are heavy, "lin" and "bin" are combined, "turn" and "shadow" are combined, "jing" and " yan" are "" means tiredness, "舨" and "Yang" mean accumulation, "爨" and "yu" mean accumulation. Take this as an example and widely recommend it.
The characters should be sparse if they are right, and dense if they are sparse.
If you are right, you should wait, if you are in the middle, you should be half.
The sections are flat, rising, and falling, one-sixth of them are flat, three of them are rising, and the last two are falling. The flat ones are round and stable, and there are many flat paintings; the rising ones are vibrating, and there are many upward paintings; the down ones are convergent, and there are many Yan paintings.
Emotions, joys, anger, sorrows and joys, each has its own score. Joy means the Qi is gentle and the words are relaxed, anger means the Qi is thick and the words are dangerous, sadness means the Qi is depressed and the words are condensed, and joy means the Qi is flat and the words are beautiful. There are heavy and light feelings, and the characters are also shallow and deep, with infinite changes.
The Qi is clear and solemn, strange and ancient, and there are differences between them. The windows are bright and clean, the atmosphere is naturally clear; the writing is not stagnant, the atmosphere is naturally peaceful; the mountains and rivers are hidden, the atmosphere is naturally solemn; the rare and heroic heroes are naturally strange; the beautiful gardens and pools are naturally beautiful; the creation is ancient, the atmosphere is naturally ancient; the tranquility and leisure, the atmosphere is naturally ancient Natural. The eight types work together, and the changes are endless.
The shape of the glyph has eight sides, which are gradually increased and changed. One side changes, and the shape changes eight times; two sides change, and the shape changes fifty-six times; and if there are more than three sides, the changes are countless.
The situation remains unchanged but the trend has its own mood. The potential is dominated by one, and the potential of the seven sides tends to it.
Twelfth Dharma Book
Zhen Zhongyao's "Li Ming", "Ke Jie" and "Declaration". Wang Xizhi's "Le Yi", "Praise to Painting", "Huang Ting", "Oath", and "Frost Cold". Wang Xianzhi's "Luo Shen" . An unknown surname "Cao E" from the Six Dynasties. "Preface to the Legacy" by Uncle Yang. Tao Hongjing's "Crane" and "Old Hall Altar". Zhiyong's "Qianwen". Yu Shinan's "Confucius Temple Stele". Ouyang Xun's "Jiucheng Palace", "Huadu Temple" and "Yu Gonggong". Chu Suiliang's "Book of Sorrows" and "Holy Teachings". Zhang Xu's "Lang Guan". Yan Zhenqing's "Magu Tan", "Release Pond", "Ode to Zhongxing", "Qianlu Zi", and "Dongfang Shuo". "Dharani" by Liu Gongquan.
Xing Zhongyao's "Bingshe". Wu people's "Yi Dun", "Xue Han" and "Chang Feng". Xizhi's "Orchid Pavilion", "Extreme Cold", "Bitter Heat", "Official Slave", "Quick Snow", " "Lai Qin", "Feng Ju", "Holy Teaching Preface", "Kaiyuan Temple", "Seventeen Tie" 》. "Rehmannia", "End of the Year", "Guard", "Giving Clothes", "Auntie", "Flock of Geese", "End of Year", "Summer", "Feng Dui", "Missing Love", " "Tianbao", "Wuxing", "Huangmen", "Shanyin", "Dongjia", "Zhuansheng" , "Xiangpao", "The Goose Returns", "Trouble", "Summer Festival", "Hate Deeply", "Huang Qi", "禜石", "Luo Yi", "Yue Nei", "Zun Ti". "August 5th" by Xie An. Chu Suiliang's "Ode to the Dead Tree". Li Yong's "Yuelu" and "Sala Tree". Zhang Congshen's "Xuan Jing".
"Chun Hua Dharma Tie" The ancestor of all Tie dynasties, Wang's imitation and engraving, has a deep understanding of the ancient meaning, but the original is not found, so this is enough.
The son of "Jiang Tie" and "Chun Hua", Pan Shidan's imitation, his bone method is clear and vigorous, which is enough to correct the loss of the king's flesh. However, if the horse's bones are exposed, it would be a pity that it is barren.
The son of "Tan Tie" and "Chun Hua", Baoyue Master Mo, has a gentle and elegant charm, even flesh and blood, but the appearance is round and lacks a strong and vigorous spirit.
"Daguan Tie" The younger brother of "Chunhua", Cai Jing's model carving, Jing Shen was prosperous and wealthy, he was wanton and careless, his writing was biased towards the left hand, not retro style, and he relied on the fine craftsmanship of his carving hand, which was still better than other posts.
"Tai Qing Lou Xu Ge Tie" Liu Tao's molding is exquisite, inferior to "Chun Hua". It is fat and boney. It was prepared in Wang's work, but it lost its roughness and charm, so it lacked charm.
"Xi Yu Tang Tie" was modeled by Liu Cizhuang, who was quite distinguished among the "Chun Hua" engravings, and the light ink extensions are particularly good.
"Wugang", "Xiuneisi", and "Fuzhou" are all impressive. The "Ding Tie" is hard in stone but poorly carved. Although it is comprehensive, it lacks ancient meaning.
"Xingfenglou Tie" was carved by Cao Shimian. It is more than fine in workmanship, clear but not dense, and is inferior to "Tai Qing Continuation Tie". "Yulintang Tie" is carved by Wu Ju, thick and unclear, and mostly mixed with Mi Jia's calligraphy.
"Bao Jin Zhai Tie" is a model of Cao Zhige, the son of "Xing Feng". It is the lowest among all the Tie. It is rare to find a good Tie today. Scholars rely on it to get a glimpse of the people of the Jin and Tang Dynasties.
"One Hundred and One Tie" was engraved by Wang Wanqing. His writing style is clear, elegant and charming, but he hates that the carving hand is not exquisite.
"Tie of Two Kings" I have collected some short notes in the cursive calligraphy of the Two Kings, but I am not a calligrapher who can imitate them, so I am not very knowledgeable.
Chapter 12 on the right, the rough strokes are round and the characters are square, close to the dense spaces, the blood is thick and the bones are old, the muscles are hidden and the flesh is clean, the brush strokes create ancient meanings, each word has its origin, the day is coming to a famous book, no paper and pen are spared, and the work is meticulous. If you are familiar with it, you will be satisfied with it for a long time.
[Comment] Chen Yizeng was a calligrapher from Yuan Tong to Yuan Dynasty in Yuan Dynasty. His courtesy name was Bofu, a native of Chuzhou (now part of Zhejiang). [This is said from "History of the Yuan Dynasty" and "Selected Poems of the Yuan Dynasty" as being from Gui'an (now part of Zhejiang). ] He was promoted to Jinshi, and became an assistant to the Imperial Academy. He stuttered and had abnormal dexterity. He was able to recite many of the sutras and commentaries. His diction was vast and eloquent, and he was as famous as Chen Lu. He is also good at real cursive seal script and is the author of "Wen Shuo", "Wen Quan" and "Xingwen Xiaopu".
One volume of "Hanlin Essentials" is divided into twelve chapters: one is the writing method, the second is the blood method, the three is the bone method, the four is the tendon method, the five is the flesh method, the six is the flat method, the seven is the straight method, the eight is the round method, the nine is the method, and the ten is the method of spreading. Eleven Reforms, Twelve Dharma Books. Various names are established in each law, some of which are based on predecessors, and some of which are created by oneself. The predecessors attached great importance to this book when discussing it, and some thought that it was too complicated to make scholars and confused as to what it meant. As soon as you say it, you can't stick to it.