Original text:
Looking at the books written by the sages of the past, we find that the quotations are far-flung and the comparisons are strange, such as "the dragon jumps over the heaven's gate, and the tiger lies down in the phoenix pavilion", and so on. Or the rhetoric for work, go far from the law, not beneficial to the scholars. Therefore, my discussion, to enter the person, not for the overflow of words.
Translation:
Looking at the comments of the famous calligraphers of the past generation on calligraphy, citing things, all the twists and turns and abstract, like "the dragon leaps over the gate of heaven, the tiger crouches in the Phoenix Pavilion" and so on, what kind of language is this? Either is the pursuit of gorgeous rhetoric, so in fact, from the specific penmanship is farther away from the learners of the book is not beneficial. So what I said here, just want to be easy to understand, without those pompous words.
2, the original text:
My book of small characters in running script, there are as large characters. Only the family collection of authentic trekking, occasionally, not with the book seekers. The heart has been stored, random pen, all natural, ready for its ancient elegance. When I was not able to establish a home in my prime, I was told that my book was a collection of ancient characters, and I took all the strengths and totaled them into one. Since the old man began to form his own family, people see it, I do not know what is the ancestor.
Translation:
I write small characters in running script, which are like large characters; but I only write so occasionally after the inscription of the genuine works in my home collection, and do not give it to those who ask for it. Write this kind of word, the key is to have a clear mind, the heart of the bottom can be free to pen, write a very natural, and the handwriting is also simple and elegant. When I was an adult, I had not yet been able to form my own calligraphy, and people said that my characters were "set of ancient characters". In fact, I was absorbing the strengths of various schools and synthesizing them. By the time I was old, I began to form a unique family, and when others saw it, they didn't know which family's characters I had learned.
3, the original text:
Jiangnan Wu, Dengzhou Prince Shao, Dali inscription list has ancient meaning, my son Youren Dali inscription list with the same. And young children you know on behalf of my name book tablet and hand large characters more indistinguishable. Under the door of the Xu Squire especially love its lowercase, cloud every small brief can make the book, said you know also.
Translation:
Ken Jiangnan's Wu, Dengzhou's Prince Shao, with large letters in clerical script inscription is very ancient; my son Youren, large letters in clerical script is the same as them. Furthermore, my youngest son you know, on behalf of me to write monuments and handwritten large characters, others can not distinguish; the door of the province of the minister Xu especially like his small regular script, once said to me: "If there is a short note to me, you can let your son on behalf of the writing." He was referring to my youngest son Youzhi.
Original text:
Lao Du wrote a poem entitled "Xueji Huipu Temple", which reads, "The three large characters of Yuyu, and the dragons are precariously intertwined." Today there is a stone book to see, is the outline of the inverted stroke, pen, such as steam cake, "Pu" word such as a person holding two fists, stretching arms and standing, ugly and strange. By this argument, the ancient no real big word is clear.
Translation:
Du Fu wrote a poem entitled "Xue Ji Huipu Temple", which has two lines: "Yu Yu three big characters, dragon precariously entangled". Now see the topography of the original stone, a look, the original is to use back to the front of the color strangulation, each stroke seems to be like a steam cake. One of the "Pu" character, like a person clenched two fists, straightened arms and pestle there, is in is strange and unattractive. In this way, the ancients did not really have a big character at all.
Originally:
Ge Hong, "Tiantai's view," flying white, for the crown of the word, the first ancient and modern. Ouyang Xun "Tao Lin Temple", cold and frugal spirit. Liu Gongquan Guoqing Temple, the size of the disproportionate, exhaustion of sinews. Pei Hugh rate of writing cards, is a true interest, not fall into the ugly. The real word is very easy, only the body is difficult, it is not as good as painting calculations, hooks, its potential to live.
Translation:
Ge Hong's book "Tiantai's view" four characters flying white book, for the crown of the large characters, the first in ancient times. Ouyang Xun's "Temple of the Taoist Forest" is thin and shabby, without spirit. Liu Gongquan wrote "Guoqing Temple", the font size does not match, but also exhaustion. Pei Huo wrote the plaque at will, but very flavorful, not ugly. Regular script is easy to write, just write out the momentum to difficult. I should say, only do not like to draw the calculating chip like so stereotypical, the momentum of the pen is alive.
Originally:
The eight sides of the word, only Shang Zhenkai see, the size of the respective points. Zhi Yong has eight sides has less Zhongfa. Ding Dao Guan, Europe, Yu pen began to hook, the ancient law is gone. Liu Gongquan division of Europe, less than far, and for the ugly and strange evil ancestor. Since the willow world began to have a common book.
Translation:
The character has eight sides, which can only be fully expressed in block letters, and the big and small characters have their own specialties. Zhi Yong's character has eight sides, but it already lacks Zhong Yao's brushwork. Ding Daoguo, Ouyang Xun, Yu Shinan and others, the penmanship began to become neat and well-proportioned, at this time is the ancient method is exhausted. Liu Gongquan's calligraphy was modeled after Ouyang Xun's, but it was far inferior to Ou's, and became the ancestor of the ugly and grotesque. Since the beginning of Liu Gongquan, the world will have a common book.
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