| 书法的角度、速度、力度、长度！ |
| 添加时间：2017/12/4 14:43:26 浏览次数： |
| 一、迟速与疾涩之关系 The relationship between the one and the tartaric speed and the disease and astringency “决谓牵掣，子知之乎？”曰：“岂不谓为牵为撆，锐意挫锋，使不怯滞，令险峻而成，以谓之决乎。”牵掣，讲的是行笔速度。“迟”与“速”是根据行笔速度做出的区分，行笔速度的快慢与笔毫的顺逆相结合，体现在行笔中就成为“疾、涩”，疾则相对快，涩则相对慢，但疾涩不仅仅是速度上的快慢，更侧重的是行笔运笔的势态。这种在笔画中看不到，却影响笔画呈现的形态且能根据笔画形态推测出来的挥运法度，书法中称为“笔势”。疾、涩是相对而生，相对而存的。 "That will hold up, son know?" Said: "that is not held for Pie, and forge front, not timid to lag, steep and that comes to." Finally, the speed of the line. "Late" and "speed" is based on the distinction between the line speed, speed and speed without the pen line reverse combination has become embodied in the line of "disease, astringent, disease is relatively fast, and is relatively slow, but JISE is not only the speed of speed, is more focused on the line of the pen. This is not to look at the stroke, but the effects of stroke form and according to the stroke form inferred waving shipped testimonies, called "pen calligraphy". Disease and astringency are relative and relative and relative. “疾势：出于啄磔之中，又在竖笔紧趯之内。”“掠笔：在于趯锋峻趯用之。”“涩势：在于紧駃战行之法。”“横鳞：竖勒之规。” 说明了疾势、涩势在哪些笔画中运用。讲完疾势紧跟着讲掠笔；讲完涩势后紧跟着讲横鳞。由此透露出，掠笔是用疾势，竖勒笔画所用的“横鳞”是涩势。疾涩二势是书法的根本：“臣父造八分时，神授笔法，曰：“书有二法，一曰疾；二曰涩。得疾涩二法，书妙尽矣。夫书禀乎人性。疾者不可使之令徐，徐者不可使之令疾。”“行笔之法，十迟五急，十曲五直，十藏五出，十起五伏，此已曲尽其妙。然以中郎为最精，其论贵疾势涩笔。” "Disease potential for pecking Zhe, and within the vertical stroke of tight Ti." "Ti Feng Jun: grazing pen is used Ti." "The potential is tight Jue: astringent battle line method." "Horizontal scales: the rules of the vertical." It explains which strokes are used in the strokes of the disease and the astringent potential. At the end of the disease, he followed the skimming. From this, it is revealed that the brush pen is a disease, and the "transverse scale" used in the brush strokes is an astringent trend. JISE two potential is the fundamental of Calligraphy: "Chen father made eight points, divine strokes, said:" there are two books, a Japanese disease; two, acerbity. Two ways to get sick and astringent, the book is wonderful. The book of husband is human. A sick man can not make it a Xu, and a Xu may not make it ill. " "The line of the law, ten late five anxious, ten song five straight, ten reservoirs five, ten to five volts, this is wonderful. However, in most of the fine Zhonglang, your disease potential astringent pen." “把笔抵锋，肇于本性，力圆则润，势疾则涩。”揭示出疾和涩的辩证联系。“八体之中有疾有涩。宜疾则疾，不疾则失势。宜涩则涩，不涩则病生。疾徐在心，形体在字，得心应手，妙出笔端。”强调了疾与涩运用要恰如其分，只有心法的自如才能有技法的自由。疾涩笔法的自如运用被后来的刘熙载生动地描绘出来，“古人论用笔，不外疾、涩二字。涩非迟也，疾非速也。以迟速为疾涩而能疾涩者，无之！用笔者皆习闻涩笔之说，然每不知如何得涩。惟笔方欲行，如有物以拒之，竭力而与之争，斯不期涩而自涩矣。涩法与战掣同一机窍，第战掣有形，强效转至成病，不若涩之隐以神运耳。”刘熙载对涩疾和迟速关系作了区分和说明，其中尤其对涩作了详细解释：“如有物阻之”，这种体验正是“偃管”、“逆锋”所造成的笔毫与纸面之间的摩擦力和阻力。古人曾经用“横鳞”、“紧駃战行”、“担夫争道”、“锥画沙”、“屋漏痕”、“逆水撑舟”、“荡桨”等形象的比喻来表达和描述这种运笔的体验和感觉，正是“立象以尽意”。 "The pen is against the front, caused by the nature, the force of the circle is moist, the potential disease is astringent." The dialectical relationship between disease and astringency is revealed. "There is a disease and a astringent in the eight body. Yi disease disease, disease is not lost. It should be astringent and astringent, but not astringent. Xu disease at heart, in the form of words, handy, a wonderful pen." It is stressed that the use of disease and astringent use is appropriate, only the freedom of the heart law can have the skill. It was vividly depicted by the later Liu Xizai, "the ancient people theory used pen, no more than two words of disease and astringent." It is not too late, and the disease is not fast. At a late speed as a disease and astringent and astringent, there is no! I use the writer to learn to smell the astringent pen, but I do not know how to get astringent. But if the pen desire line, to resist, and tried to compete with them, not astringent and astringent, since. The same machine is the trick of the astringent law and the battle, and the war is tangible, and the strong effect turns to become ill. Liu Xizai distinguishes and explains the relationship between astringent disease and slow speed. Especially, it explains in detail: "if there is resistance," this kind of experience is the friction and resistance between pen and paper caused by "lean pipe" and "reverse Front". The ancients once used "cross scale", "tight Jue war", "fight bear husband" and "cone sand painting" and "marks of a leaky roof", "water support boat" and "paddle" and other vivid metaphor to express and describe the writing experience and feeling, it is "like to do". “然而轻则须沉，便则须涩，其道以藏锋为主。若不涩，则险劲之气无由而生；至于太轻不沉，则成浮滑，浮滑则俗。”（此处藏锋，指行笔中的藏锋，即逆毫中锋行笔）韩方明从执笔方法和运笔方法上作出了要求。清代包世臣也从执笔技法上对如何能涩作出了总结，“北朝人书，落笔峻而结体庄和，行墨涩而取势排宕。万毫齐力故能峻，五指齐力故能涩……长史之观于担夫争道，东坡之喻以上水撑船，皆悟到此间也。” "However, light must be heavy, it should be the main front astringent, tibetan. If the insurance is not astringent, fresh air and not too light; not heavy, is frivolous, vulgar is frivolous." (here refers to the line of the front, in front, the center line of Han Fangming from no inverse) writing methods and brush methods to make a request. Bao Shichen of the Qing Dynasty from the write techniques on how to make a summary of the "Shibuya, 1919, and Jieti and Zhuang Jun strokes, ink astringent and potential Pai dang. Ten thousand milli force can be so strong, five finger Qi can be so astringent... In view of the long history of the loader for road Dongpo Yu above water boat, are realized here." 疾势和涩势运用得如何，关系到笔画质感的有无和好坏，关系到笔画的质量和生命力，这是笔法的核心。这两种势，不但涉及到用笔的速度，也涉及到用笔的力度，是速度与力度的凝结体，一切笔法，最终落脚点都在此二势。速度快慢与疾涩势有一定的对应关系，但不可将两者简单对应，笔法中的速度从来都是和力度相辅而行的，真正的涩势，还是要看书写者对于笔性的熟悉和对毛笔的掌控能力。 How to use the disease and the astringent potential is related to the quality of the brushwork and the quality and the vitality of the strokes, which is the core of the writing method. These two potentials not only relate to the speed of using pen, but also to the intensity of using pen, which is the coagulating body of speed and strength, and the ultimate goal of all strokes is in the two potential. The speed and JISE potential of a certain relationship, but not the simple correspondence, writing speed is always and efforts to coordinate, astringent potential real, or to read and write in pen familiarity and brush control ability. 二、细粗与提按之关系 Two, the relationship between the fine coarse and the lift “力谓骨体，子知之乎？”曰：“岂不谓趯笔则点画皆有筋骨，字体自然雄媚之谓乎。” "The force is the bone, what does it know?" Said: "not that Ti pen stippling has both natural bones, that between male Pro font." 筋骨，正是行笔中的力度问题。笔力在书法中的重要性：“当其用笔，常欲使其透过纸背，此功成之极矣。真草用笔悉如画沙，则其道至矣。是乃其迹可久，自然齐古人矣。”“力透纸背”是指笔画强烈的质感和笔力透出的一种视觉效果和心理效果。笔力是衡量笔画质量高低的重要标尺，毛笔的提按与笔力有很大关系，行笔力度强弱体现在行笔的提按中，提笔则轻，按笔则重。提与按是影响笔力表现的重要因素，但是，“粗不为重，细不为轻，纤微向背，毫发死生。”笔画细不等于无力，笔画粗不等于有力。理解提按的关键在于对“笔力”的理解。晋代卫铄《笔阵图》云：“善笔力者多骨，不善笔力者多肉。多骨微肉者谓之筋书，多肉微骨者谓之墨猪。多力丰筋者圣，无力无筋者病。”多肉者，即那种依靠机械的物理力按压毛笔所形成的粗大而没有质感的笔画，这是书法中的病笔形态 It is made of bones, strength problem. The importance of strokes in Calligraphy: "when the pen, often want to make it through the paper, this becomes extremely. The true grass uses the brush to learn the picturesque sand. It is its trace for a long time, natural and ancient people. "Forceful" refers to a kind of visual effects and psychological effects of strokes and strokes with a strong texture. T is important to measure the quality of the brush strokes, as with strokes of a great relationship, the line intensity reflected in the press line, light pen, pen heavy press. Provided with important factors, according to the impact performance of the pen but not coarse fine is not heavy, light, fiber support, and hair." A stroke is not equal to weakness, and a brush is not equal to strength. The key is to understand the "energetic" understanding. Jin Wei Shuo "pen array map" cloud: "good strokes were more bone, poor strokes were fleshy. More bone micro meat tendons book called, fleshy micro bone called the Mexican swine. Mister Saint Feng Steel, weak gluten free disease." Fleshy, which rely on physical mechanical force formed by pressing the brush without coarse texture strokes, this is the pen calligraphy in the form of disease |
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