The cracked stone penetrates the clouds, and the jade pipe should be cleaned horizontally to make it cleaner.
In the frosty desert, the partridges are about to deflect in the wind.
The dusk clouds cover the Phoenix stage, and the plum blossoms are startled by the dusk snow.
When people are still, a sound blows down the moon above the river.
——"Zhu Ma Listen·Blow" Bai Pu (Yuan Dynasty)
…
(PS: Chapters 514, 515, and 516 have been revised today. Heroes who read this chapter can read the first three chapters again.)
…
When Bai Fu woke up, most of his depression had calmed down.
Yan Zhenqing invited Bai Fu into his study. The three walls of the study were covered with bookshelves, which were filled with all kinds of books and files.
Yan Zhenqing first took out a sheepskin scroll and unfolded it. Inside, there was densely packed tadpole writing. Bai Xia had seen this kind of writing in the sheepskin scrolls of Khorezmi, and it should be the writing of the Western Regions in Persia and the Dashi area.
These words are all neatly written, and there are some decorations on the corners of each page. The colors are bright, like a pattern painting.
Yan Zhenqing took another object that looked like a bird feather from the drawer.
Yan Zhenqing said: "This is the goose quill pen used in Chinese writing. This kind of pen has a beautiful appearance. It is made by removing the fat from the feathers of geese, teal and other poultry, and then cutting the end surface into a bevel shape."
When writing, just dip the tip of the pen into ink. The writing effect of this kind of quill pen is much better than the reed tube pen used in the countries in the Western Regions.
You try writing and see what the difference is with my Tang Dynasty Langhao pen?"
Bai Fu was very curious and tried a few strokes, but found it quite unsatisfactory. He smiled and said: "The tip of Fulu's goose quill is made of hard material and has no softness or hardness.
The nib of the Langhao pen is made of animal hair. The more time-honored the Langhao pen, the stronger its elasticity."
Yan Zhenqing smiled and said: "That's right. Our Tang Dynasty characters are the most sculptural characters in the world. Writing with a soft wolf pen can make Chinese characters flow and change, showing the beauty of endlessly changing lines.
From the perspective of recording language, there is no distinction between the two which is better or worse. But from the perspective of the beauty of the text, the difference is clear.
The writing of countries such as Persia and Dashi is beautiful in its neatness. The beauty of my writing in the Tang Dynasty lies in its connection with inner emotions, which is an expression and perception of the desire for life.
And if you want your emotions to flow freely, you need a pen as flexible as Langhao. With the elasticity of the pen tip, the words can have endless changes.
Therefore, only the Tang Dynasty raised writing to the level of "Tao". This is why it is difficult for the Persian countries to understand the calligraphy of the Tang Dynasty, and therefore it is difficult to understand the culture of the Tang Dynasty.
In writing, the Langhao pen allows "calligraphy" to be formed according to "law", resulting in the "law of calligraphy":
The first is to use the pen, the second is to know the potential, and the third is to wrap up. That is what we often call: using the pen, structure, and style. It focuses on the process of writing, rather than the result of the work.
The hooks and links, the thick and thin, the silver hooks and iron paintings... are just like martial arts, with a combination of hardness and softness. They have the lightness to move and dodge, but also the strength of thunder. Those who are timid dare not learn it, and those who are weak cannot learn it.
"
Bai Fu nodded. When copying the murals by Wu Daozi and others, he also realized that the principle of "the weak is stronger than the strong" is also contained in the brush strokes.
Yan Zhenqing said: "Young Master Bai, you have copied a large number of calligraphy by famous writers in the forest of steles and palaces, but have you ever seen the Qin steles and Han bamboo slips written by ordinary people thousands of years ago, or the remnants of Jin people's papers?"
Bai Fu was stunned and shook his head.
Yan Zhenqing took out a volume of slips from the bookshelf. The so-called "book" is to tie the "slips" one by one with ropes, tendons, etc.
Yan Zhenqing said: "These Han Dynasty slips are letters, diaries, account books, deeds, and scriptures written on bamboo slips and wooden slips.
Most of these bamboo slips from the Han Dynasty were written by unknown officials with low status, recording their daily work in pen and ink.
Or, it may be an ordinary letter or letter from home, written to family members far away.
Compared with the Qin and Han steles that extol the achievements of the dynasty and the sacrificial ceremonies, I prefer these obscure slips.
The writing of the solemn and profound stone inscription must be majestic, powerful, thick, full, neat, and cold.
In comparison, these slips are more cordial, more straightforward, free and unrestrained, and free. This is the true meaning of Tang Dynasty calligraphy - the awe of heaven and earth, the understanding of life, and the expression of emotions.
In this regard, it is nothing better than playing chess, calligraphy and painting, regulating mountains and rivers, martial arts and medicine, and feng shui."
Bai Fu felt his eyes light up, as if another treasure door had been opened.
Bai Fu took these Han Dynasty slips in his hands and looked at them carefully.
Bamboo and wood are materials that can be found almost everywhere. Before the invention of paper, writing on bamboo slips was a convenient way. If the words were written incorrectly, use a knife to thinly peel off the upper layer, and the bamboo slips below can still be used.
When the soft hair on the nib of the Langhao pen meets the obstruction of the bamboo texture, this stagnation retains the inkstone. In the dry and wet shades, the tension and texture of the ink stand out. It is like a gurgling stream flowing in a cobbled river.
, and like melting snow from glaciers seeping into cracked and dry land.
Although the writer is unknown, his writing style is just like wild cranes singing and flying immortals from the sky. This is where all the sparse and beautiful schools of the Six Dynasties emerged.
Bai Fu seemed to feel the smoothness and briskness of Langhao's pen when he wrote on the bamboo slips.
After talking about the Qin steles and Han bamboo slips and the Jin people’s scraps of paper, Yan Zhenqing talked about the modern people’s copybooks.
Yan Zhenqing said: "Take Huai Su's "Notre Dame" and Li Bai's "On the Balcony" as examples. The works of these masters are all the work of the calligrapher with painstaking efforts. They put their own character into the paper through the pen.
Above. The pen turns at will, completely natural."
After pausing for a moment, Yan Zhenqing seemed to feel something deeply and said: "Calligraphy is not about transcribing words, but a dialogue between oneself and another self. The dialogue in one's heart cannot be heard, but it can be seen."
‘Tao can be Tao, but it is not Tao’. The closer it is to Tao’s human nature and emotions, the harder it is to describe it with words and words.
But for things that words cannot express, calligraphers often leave it to calligraphy. Calligraphy is not only painting, epigraphy, music, music and dance, and even courtyards and gardens - it is almost the sum of all arts."
Having said that, Yan Zhenqing took out a volume of copybooks from the bookshelf, which was Zhang Xu's "Tummy Pain Notes".
Bai Fu took a closer look and saw that the first three characters of this post were quite regular. Starting from the fourth character, each line started with one stroke to the end, reflecting the upper and lower lines, lingering and connected. The more he wrote, the crazier he became, like a waterfall rushing down.
It is full of flavor. Sometimes the brush strokes are thick and bold, steady and bold, and sometimes the strokes are as thin as silk, flowing straight down.
The words are like the person, this kind of unbridled and unbridled expression is exactly the portrayal of Zhang Xuhao's wild and crazy style.
Yan Zhenqing sighed: "Speaking of which, I can be considered a student of Zhang Changshi. In the fifth year of Tianbao, Master Zhang taught me his brushwork at Pei Zhen's house.
People at that time said that Zhang Changshi was rude and went crazy when he was drunk. In fact, Zhang Changshi had a keen understanding that was different from ordinary people. Everything he saw in his daily life could inspire and melt it into his own words.
Zhang Changshi's Kuangcao may seem bizarre and extremely difficult to write, but in fact, it follows the rules of legal writing point by point. He inherits the techniques of his predecessors and creates new ones.
Using drunkenness as a catalyst, he communicated with the world and the weather in a trance, allowing his nature to be fully released, and eventually became the originator of a generation of calligraphy style."
Yan Zhenqing gave a warning and asked Bai Fu to clear the clouds and see the sun, and he was enlightened: "Foreign master's creation has won the source of the heart!
If you want to establish a sect, you must form your own martial arts style.
This style cannot rely on closed doors, nor can it be whimsical. Instead, it must inherit the martial arts of the predecessors, learn from the strengths of others, and then fully release one's own spirituality, and through the melting of the heart, integrate one's understanding of the desire for life into martial arts.
Only then can you create your own martial arts and become a master!"