The statutory character of calligraphy includes the following aspects: calligraphy, like silent music, takes the form of words requiring a natural pattern of “size-to-size comparison, cross-sectional interaction”. From a normative point of view, there is a great deal of convergence, a little bit of division; a great deal of uniformity and a little bit of change. Small, small, big, united。
Large and flat pens are prone to simple and flat problems, thin pens are prone to minor and fragmented problems and need to be properly combined so that certain parts of the area that should be assembled must be put together in pieces. The same is true of curves and straightness, which are soft, straight and square. And there is a straight piece of a few threads, and there is a round of each other, and there is a soft one, and there is a straight one, and it is a straight one, and it is a straight one, and it is a different one, and it is a strange one, and it is a beautiful one. There should also be gaps and errors in the overall placement。
In particular, weed books, which are arranged in clusters of words, such as stone-painted roads, do not appear to be overly organized, parallel and mechanical. There is also a need for change between the differences, which cannot be the same. Care needs to be taken to look for inclusion in the overall context, and also in the context of participation. In short, in terms of specific images, there is a need for a margin of divergence, which is a good work to find。
The chapter law of the book shall have the effect of responding together. The next step is to lay the text to occupy the space of the work, to present the content of the work, and then gradually to enrich its hierarchy, and to modify its image, for that reason, in the form of a synonym of the writing process. This is all the more true in the case of the sketches, which, from a holistic point of view, have to be left open in order to make the top and the bottom. Zong weithiani put it in words, and the air went out of paper. If you drive to the point where you're going to be scattered, and you're going to look back, then you're going to be able to do it. There's nothing left to lose. Discrepancies are inevitable and cohesion is lost. Therefore, convergence and echoing appear to be different synonyms and identical in substance。
The calligraphy requires “a thousand miles of thought, a thousand miles of vision, access to the ropes”. Thus, in its operation, the law must be known, on the one hand, and the heavens, on the other. It should not be allowed to be limited by the four branches of the pedagogy, so that they can become more natural and more pristine, less deliberately crafted and engraved, and truly grasp the techniques and rules of good practice. And whatsoever of these shall be set according to their natural nature, and shall not be made to be wontful by wonders, or by rejuvenation, or by sculpting, or by drawing upon a friend of the king。
The “white” relationship in the calligraphy law is very important. The ancient cloud: “the whiteness of the galleries, the smoothness of the hand; the whiteness of the song, the whiteness of the eye cloth.” the meaning of white is as important as the meaning of blackness, but, in the case of writing, the point of error should be placed on “white”, in pursuit of a delicate mix of “difficult” between white。
