Tell us about your understanding of the beauty of neutrality and harmony pursued by Chinese art.

To talk about the "beauty of neutralization", we must first start from the category of "neutralization".　"In and", by the "in", "and" two words composed of phrases, "in", "Shuowen Jiezi" cloud: "in, within also, from the mouth l, up and down through also. ." Duan Yucai "Note" day: "However, the middle, not in the outside of the word also, not in the words of the bias also, also appropriate words also." The Meanwhile, it is said, "The center is the name of impartiality, without excesses or shortcomings." Wang Yangming, in his "Record of Transmission", when talking about the category of "Zhong", said, "This must be recognized from the heart. It is not something that words can describe. The center is only heavenly reason. Day, what is the Divine Principle? On the day when human desires are removed, one realizes the Divine Principle. Ri, what is the Divine Principle? Day, there is no bias." Lu Xiangshan said, "Zhong is a virtue, which means that it is not suitable but not appropriate." It can be seen that the meaning of "in" is relative to the two ends of the spectrum. Morally speaking, "in" is just, and in line with the right way of heaven and mankind; from the method, "in" refers to a kind of impartiality, just right state; from the behavior is reasonable, appropriate, appropriate. In short, "zhong" can be regarded as a standard for dealing with people in the world.　"He", as explained in Shuowen Jiezi, means "and", corresponding. Guangya: "and, harmony". The Dictionary of Words explains "and" as meaning harmony and concord. The category of "and" has appeared as early as the end of the Western Zhou Dynasty. According to the "Guoyu - Zheng language" records: "Fu and real biological, the same is not continued. To him to level him is called and, therefore, can be rich and long and things return to the. If the same benefit the same, all is abandoned." Distinguish between "and" and "the same". The so-called "and" is the combination of things of different natures. Later, Yan Ying of the State of Qi further explained the meaning of "and", according to the Zuozhuan (《Zuo Zhuan》Chaogong twenty years recorded: "Gong Ri only according to and I and Fu? According to Zuo Zhuan, in the 20th year of the reign of Duke Zhaogong, "Duke Ri only according to me and Fu? The Duke said: 'Is it different from the same?' To the day: 'Differences and like soup. The water and fire and minced meat and salt and plums are used to cook the fish and meat, and the fuel is used to pay for the cooking. Zaifu and the, Qi to taste ...... sound is also like flavor, a gas, two bodies, three types, four things, five sounds, six rhythms, seven sounds, eight winds, nine songs, in order to phase into also. Clear and turbid, small and large, short and long, rapid and slow, sad and happy, rigid and soft, late and fast, high and low, in and out, circumference, in order to help each other also."　From this we can see that the difference between "and" and "same" is that "same" is the addition of many of the same thing, things will not get a qualitative leap, while "and" is the same as "same", and "same" is the same as "same". The difference between "and" and "same" is that "same" is the addition of many identical things, and things will not get a qualitative leap, while "and" emphasizes the organic combination and unity of different things, which is very different from the addition of many identical things and the simple collocation of different things. This is because it ensures the synchronized development of various things while strengthening the harmony and unity among them, and does not result in a situation where one thing is not as good as the other.　Confucianism inherited the idea of "harmony" from the Spring and Autumn Period. Confucius said, "Harmony is the most important thing in the use of etiquette." In his Outline of the History of Chinese Aesthetics, Ye Lang said, "The whole aesthetics of Confucius is to emphasize 'harmony'." The Analects of Confucius - Zilu: "A gentleman is harmonious but different, while a villain is the same but not harmonious." The gentleman is still righteous, so there is difference; the villain is still interested in profit, so there is peace and harmony. "and the solid without a perverse heart, only to no perverse heart for and, I am afraid also not exhaustive. If there is no neutral gas, specializing in the heart without hostility, but also with the intention of the Abbey adjacent to ...... neutral and without hostility, and then for and." Solid In fact, Confucius judgment into the virtue, depends largely on whether the standard of "and".　Laozi also said "and". All things are negative Yin and embrace Yang, and they are in harmony with each other" and "sound and harmony" are all about the unity of yin and Yang, and the unity of contradictory opposites, and the achievement of a harmonious degree. This is different from the Confucian concept of "harmony". Here, Laozi's "and" should have four meanings: "and", harmony, the unity of yin and yang in opposition, leading to a diversity of unity or the unity of opposites; secondly, "and", reconciliation, the coordination of different factors, reconciliation, the use of The second is "and", harmony, the coordination and reconciliation of different factors, which sustains the orderly functioning of things from the inside to the outside: the third is "and", which is the "neutralization" that will be covered in this article, emphasizing the "moderation" and "middle section", and also emphasizing the importance of "moderation" and "middle section". "The fourth is the meaning of "harmony", i.e., "the unity of heaven and man" and "the order of yin and yang". The meaning of "harmony" is "the unity of heaven and man" and "the order of yin and yang", which is the variation of the two conflicting sides, the goal and destination of the transformation of the two conflicting sides, which is the result of both opposites and compatibility, both competing with each other and using each other, and is the new result of the two conflicting sides merging into one.　In the pre-Qin canonical texts, "in" has three main meanings: first, it means the middle, medium, between the two; second, it means suitable, appropriate, just right, in line with a certain standard; third, it means the human heart, the heart, referring to the inner spiritual world of human beings. Harmony" also has four basic characteristics: first, balance in the whole, second, coordination in the differences, third, order in the chaos, and fourth, unity in diversity.　In the Chinese cultural system, "Zhong" and "He" are closely related. The idea of "harmony" is the essence of Chinese culture, and its subtlety lies in achieving harmony through "using the center" and "sticking to the two". In this way, "Zhong" can be regarded as the means and method, while "Harmony" is the purpose and the standard for measuring "Zhong".　The connotations of the words "neutral" and "harmony" have a long history, but the first time they were combined was in the Meanwhile. "The unleashing of joy, anger, sadness and happiness is called the middle; and when they are all in the middle, they are called harmony. The center is also the foundation of the world; the harmony is also the way of the world. To the neutralization of the world, heaven is in the right place and all things are nurtured." In the "Meanwhile" talked about the idea of neutralization, is aimed at the human emotions, joy, anger, sadness and happiness are not manifested in the outside is "in", will be expressed and in line with the feelings of a certain number of rituals, it is called "and", if you can keep the "neutralization" posture, it will be a social If we can maintain the "neutral" situation, then society will be in good order and everything will prosper. From the point of view of expressing feelings, Confucianism advocates the "neutral and" concept against extreme emotions, but more advocate a subtle, restrained expression of feelings. Taoism focuses on the relationship between man and nature, conforming to the development of nature, and seeking harmony and unity between man and nature.　Confucianism talks about "neutralization", which is a sub-category of "mediocrity". Benevolence", as an important element of Confucianism, is the general goal of Confucianism, which is to love people with a "benevolent" heart and to "extend oneself to others" in order to become "benevolent"; and "propriety", which is the general goal of Confucianism. "Rites" are the means by which Confucianism regulates various thoughts and behaviors. As the core of Confucian scholarship, ren encompasses a wide range of moral entries and is not limited to the narrow scope of "loving others". To invoke ren' means to make the observance of the 'rites' of the slave hierarchy a conscious requirement of the heart, that is, 'to be benevolent by restoring one's self to the rites'." Confucius once said, "Those who know are better than those who are good, and those who are good are better than those who are happy." The purpose of this is to illustrate the efforts that must be made in order to reach the state of "benevolence.　In order to practice ren, so that all the people of the world could reach the state of ren, Confucius infected people's hearts and minds through the medium of art to achieve a spiritual influence on people, which shows the importance Confucianism attaches to the teaching of rites and music. The Book of Rites - The Record of Music mentions that "music is the harmony of heaven and earth; ritual is the order of heaven and earth." Certain artistic means, endowed with moral connotations, when conveyed to the audience, will enable the public to receive a moral baptism of the mind, thus conforming to the requirements of "benevolence" advocated by Confucianism. Confucius said in "The Analects of Confucius - Eight Rowdies": "To the fullest extent of beauty, and to the fullest extent of goodness. Confucius said in "The Analects of Confucius - Eight Dancers": "I have done all that is beautiful, but I have not yet done all that is good." Confucius believed that true beauty should be harmonized with "goodness".　From this, Confucius put forward a famous aesthetic proposition - "the quality of literature and refinement". The Analects of Confucius says, "Quality over text is wild, and text over quality is history. The quality of the writing is refined, and then the gentleman." "Quality" can be interpreted as the inner moral character of a person, "Wen" can be interpreted as decoration, a person lacks decoration, then the person is wild, and the outer decoration exceeds the inner moral character, the person will appear shallow. It is only when the combination of "literacy" and "quality" are combined that a person can be called a gentleman. From the perspective of personal cultivation, "quality" refers to the quality of simplicity, and "literature" refers to the external form of cultural cultivation. A true gentleman has cultural cultivation, but will not lose their nature, so to be a person to "WenQiBinQin". The category of "culture" and "quality" has rich connotation and wide extension. Literary quality and refinement is a balanced and harmonious state reached through cultivation, and the content and form of the balanced state, "cultivation" to take "in", balanced and harmonious to reach "and'', as the saying goes:" Inside of it, out of it".　Of course, Confucius also said: "not to be in the line and with it, will also be impetuous, crazy people enterprising, impetuous people do not do." Here, Confucius saw the desirability of the "mad" and "impetuous". Often, in order to reach the final "neutral" state, we often have to use some radical ways, which is exactly the "neutralization concept" in the balance and coordination of the characteristics.　Confucianism talks about "neutralization" and Taoism also talks about "neutralization", but the so-called "neutralization" of Taoism is different from the "neutralization" of Confucianism. The meaning of "neutral" is described in Laozi, which reads, "Between heaven and earth, it is like a bellows for blowing up the fire in a furnace. It is like a bellows. It is empty and unyielding; it moves and comes out more and more. It is better to keep the center than to keep the middle". Between heaven and earth seems to be a big bellows, inside the emptiness, once drumming up the air flow is endless, many governmental orders and teachings, it is better to keep still and do nothing. In Chapter 45 of Laozi, it is said, "The great surplus is like an impulse, and its use is inexhaustible." Zhu Qianzhi's case: "Da Ying Ruo Chong, 'Chong' is also empty, this Da Ying Ruo Chong, that is, Da Ying Ruo Xu is also empty." "'Surplus', full also. Great fullness if emptiness, in fact, and everything under the sun is born in 'something', 'something' is born in 'nothing'" is the same reasoning, seemingly emptiness, but "Nothing is born from nothing, but everything is born from nothing." This describes the great virtue of "Chong".　There is a difference between what Taoism calls "harmony" and what Confucianism calls "harmony". "Confucianism's 'and' so-called 'neutralization', the Department of the two ends of the buckle, in order to seek which 'in the line of thought'. The 'harmony' spoken by Laozi and Zhuangzi, on the other hand, is to obliterate differences by 'to one'."　Zhuang Zi - The Theory of Qi Matter" says: "The sound of chemistry is treated with each other, and if it is not treated with each other, and the and of Tian Ni, due to the Man Yan, so the poor years also. What is the meaning of "and to Tian Ni"? Ri: Is it not, but it is not." Zhuangzi - Shanmu" recorded: "a top and a bottom, to and for the amount" "Zhuangzi - the way of heaven" recorded: "and heaven and those who are called heavenly music." Zhuangzi said "and" is to follow nature, and nature as a principle, talking about the natural and natural, forget about life and death years forget about right and wrong and benevolence, to achieve the realm of unity between man and nature, invited to swim in the infinite realm.　Laozi, Chapter 42: "One is not born, so it is divided into yin and yang, and yin and yang are united and all things are born." Back to all things are wrapped in opposing poles and seek unity in opposition. And is the transformation of differences into the same contradiction into the power of unity, is a contradiction in the unity of the harmony of the opposing factors. Lao Tzu also says: "All the world knows that beauty is beautiful, but it is evil, and all know that goodness is good, but it is not good. Therefore, the existence and the absence of each other, the difficulty and the ease of each other, the length and the shortness of each other, the height and the bottom of each other, the sound and the sound of each other, the front and the back of each other." The Laozi is full of such seemingly contradictory and opposing factors, although they are different in nature, but can be interdependent and mutually useful, in this respect and Confucianism is consistent, only in dealing with the contradiction between the poles of yin and yang, Taoism is more compliant with the natural generation of heaven and earth, and seeks to comply with the natural way of heaven.　The "beauty of harmony" is closely related to ethics and morality in the core category of Confucianism, "Zhongyong". Confucius once pointed out: "Zhongyong is also a virtue, it is to the point! The people are fresh for a long time." The concept of mediocrity in the pre-Qin era was in fact an ethical concept. The "beauty of neutrality and harmony" embodies Confucianism's "benevolence", and also embodies "great virtue" in its content, and this "great virtue" fits another proposition in ancient Chinese aesthetics This "great virtue" is in line with another proposition of ancient Chinese aesthetics -- "sublime".　The Shuowen Jiezi explains the word "Chong" as follows: "Chong, the mountain is big and high." "High, sublime. "Sublime" into the category of aesthetics, experienced from "worship" to "sublime" evolution process.　"Worship" comes from the worship of religion. Religion and art are closely related. As early as in ancient times, people have shown their faith in the superhuman power, people in front of God and the sky seems small, for the worship of God and the sky, in fact, is for the worship of "virtue", including natural phenomena, the worship of natural things, then formed a respect for God, God first, after the ritual of the culture, the people out of respect and worship of God, want to comply with God's "will", "worship", "worship" and "worship". Out of their admiration and worship of God, people wanted to follow God's "will" and please God, and so religion came into being. "The essence of religion is the loss or re-loss of man's self-consciousness, the cheap or even priceless sale of his personality, which manifests itself in man's worship of idols of his own making. In this act of worship, when the fervor of religious belief takes the place of reason, or when man worships an idol with spiritual fervor, that is when he himself disappears completely or suffers great pain in the flesh." Thus worship also includes the sublime.　The word "sublime," which in ancient China represented an aesthetic trend, "is also associated with 'many,' 'abundant,' 'thick,' 'thick,' 'thick,' 'thick,' 'thick,' and 'thick. thick', 'honor', 'respect', 'still', etc.? Describing the building's height, grandeur, width is cloud 'Chong Xia', 'Chong Cheng' ...... depicting spectacular natural scenery as 'Chong Tian', 'Chong Tian', 'Chong Cheng', and so on. ', 'Chong Yun'...... praise the high and noble character of people, the cloud 'Chongzheng', 'Chongxin '." It can be seen that the aesthetic meaning encompassed by "Chong" not only involves buildings, natural scenery also involves the spiritual realm of man. Mencius, "The Heart of Perfection" says: "Fulfillment is called beauty.　Fullness and splendor is called greatness." "Fullness" and "big" not only characterize a kind of personality strength, and they are similar to the meaning of the "sublime" beauty, the expression of a kind of difference from the general bland beauty. Chinese "sublime", both ontological and morphological or category theory, not only refers to the object in the volume, quantity, power of the huge and majestic, but also in the aesthetic subject of the subjective consciousness and aesthetic attributes to the object. The aesthetic object no longer exists objectively; it carries the subjective consciousness of the aesthetic subject. The "sublime" is infused with ethical and moral meanings. "In the Confucian view, the good is the sublime, and the sublime is the good." The "good" is also included in the "beautiful". In this way, the cognition of the "sublime" rises from the worship of natural things to the realm of human speech, behavior, and spirituality.　As the highest state of harmony and beauty in China, the connotation of "the beauty of harmony" includes the moral categories of "goodness", "supremacy" and "supreme virtue" in Confucianism. The connotation includes the moral categories of Confucianism's "goodness", "greatness", and "virtue", and contains the praise of the spiritual beauty and personality beauty of the great manhood of righteousness and the enterprising spirit of Qianjian's unrelenting strength. "On the one hand, the 'sublime', which is the representative of the northern aesthetic trend, conveys the fear of the force and the awe of the quantity of the tall and beautiful things in nature, and also conveys the worship of the dignity of the personality and the virtues of the Mao Xing."　"Neutralization" requires "exhaustion of mind" and "exhaustion of nature." "The basic provision of the heart is 'benevolence', goodness. If a person can fulfill his benevolence and goodness and reach the realm of 'practicing the form', then everything he says and does outside is not harmony, the so-called 'harmony in one body'. Thus the inner layer of the aesthetic form of neutralization is ren, and the outer layer is harmony." "Behind the outer layer of Zhonghe beauty is the deeper goodness, ren. The 'exhaustive goodness' that Soliloquy speaks of is 'exhaustive harmony'; 'exhaustive goodness' means 'exhaustive benevolence'; exhaustive goodness is exhaustive benevolence exhausting peace. When this is done there will be joy in benevolence and benevolence in joy-one life personality is all aestheticized; and aesthetics is moralized." "The unity of beauty and goodness, harmony and benevolence, is the natural fusion and unity of aesthetics and morality in their deepest roots and, at the same time, in their highest state; morality enriches the content of aesthetics, and aesthetics strengthens and consolidates the power of morality." Taoism's "concept of harmony" focuses on the relationship between man and nature, adapting to the development of nature and seeking harmony and unity between man and nature. Confucianism's "neutralization" has the meaning of "harmony and difference", "from the point of view of aesthetic thought, the requirement of opposing factors in the aesthetic object should be harmonious and unified." It is about the appropriate degree of moderation, reaching the extreme, without bias. As the highest state of beauty, the Confucian concept of "neutralization" is in line with the Confucian standard of "propriety" and "benevolence", while the Taoist concept of "neutralization" reflects a more refined view of beauty. The Confucian concept of "neutralization" is in line with the Confucian standard of "propriety" and the requirement of "benevolence", while the Taoist concept of "neutralization" reflects the law of "letting nature take its course" and the essence of the spirit of "transcendence", which has a great influence on the social education of the public and the aesthetic influence of the later generations. For thousands of years, people have used the "neutral view" as a yardstick for aesthetics, and art forms that conform to this "neutral" beauty have been prevalent, while those that do not are difficult to be accepted by the people. The second section of the concept of harmony into the field of calligraphy As early as in the "Department of Rhetoric" has been mentioned: rigid and soft, gossip phase swing. Under the influence of this idea, the two aesthetic categories of "feminine beauty" and "magnificent beauty" were created. However, the Chinese classical aesthetics is not the two kinds of beauty cut apart, but to strive for their organic unity, just some preference, however, is not abrogation, which presents a different form of beauty.　"In the system of classical Chinese aesthetics, the magnificent image should not only be majestic and strong key, but also at the same time to show the inner flavor; the graceful image should not only be beautiful and soft, but also at the same time to show the inner bone force." In the meantime, this is the embodiment of the idea of "neutralization". Chinese people attach great importance to the idea of "neutralization", which guides the details of every aspect of Chinese life, and even more so for the arts, painting, poetry, novels, music and calligraphy are y influenced by it. In the process of creation and aesthetics, the idea of "neutralization" occupies an important guiding position. For example, painting emphasizes "robustness and grace", poetry emphasizes "elegance and praise", and music emphasizes "Gong Shang, Angle, Chanting, and Feather", etc. It also produces important aesthetic categories, such as It also gave rise to important aesthetic categories, such as "style and bone".　In the ancient Chinese system of thought, these art forms not only served as carriers of beauty, but also had a political and religious function. By infecting the audience, these art forms influence the spiritual realm and then regulate one's own thoughts, words and deeds to make them more in line with certain behavioral requirements. The standard of "neutralization", with the requirements of "morality" and the needs of politics and religion, entered the field of art. Tang Taizong said in his view of art: "The interpretation of the truth to seek splendor, from people to desire, chaotic in the Avenue, the king is ashamed of it." Instead, it should be "moderate in harmony, not tied to the float." It can be said that in line with Confucianism and the beauty of the "texture and refinement" is his aesthetic ideal.　The "beauty of harmony" does not only require the harmonious and organic unity of the elements that make up the art form to be subject to the constraints of "etiquette", but the feelings contained in the art form must also be implicit, gentle and generous, "Zheng Sheng" and "The Sound of Zheng". The music that does not belong to "elegance and correctness" such as "Zheng sound" and "extravagant sounds" is opposed by Confucianism. Poetry and music are like that, they not only have the form of beauty, but also contain the content of "beauty", that is, "goodness" with moral quality.　"The neutral, gentle and generous style proposed by Confucius for the aesthetic personality and the literary arts that reflect it is regarded as the universal, the highest, and even the absolute norm." This shows the influence of the idea of "neutrality and harmony" as the "highest norm" on Chinese culture. This is true for culture, art, and calligraphy is no exception.　The idea of "the beauty of harmony" is an important guiding significance for the art of calligraphy. Calligraphy emphasizes the combination of "yin and yang", "majesty" and "beauty", "strength" and "beauty", "strong" and "weak", "fast" and "astringent", "curved" and "straight". The interpenetration and unification of "straight" and "strong" and "weak", "fast" and "astringent", "curved" and "straight" must not be neglected.　"Neutral and" two words into the calligraphy evaluation, is in the Chinese Ming Dynasty calligraphy theorist Xiang Mu's "Calligraphy YaYan": "round and square, square and round, positive can contain strange, strange does not lose the right, will be in the neutral and, S for the beauty of good. The Chinese is also, not too less than is also, and is also, no misbehavior and no hostility is also. However, the solid can not be abolished and, and also can not be separated from the center, such as rituals and music, the body of the natural. Rites too section is strict, music pure and obscene. So the ritual Shang from the calm and uncomplicated, music to avoid taking over the Lun and overlook such as, in and consistent bit of Yu can be expected, not to mention the Hanmo."　"The beauty of neutral and 'embodied in the art of calligraphy, is the requirement of the various factors to grasp the appropriate degree, so that the coordination and unity to achieve the overall 'and'." The so-called "square and round each other into a positive and strange, partial with that is not neutral, so that the regular and the line of real and bias is not constrained blunt, that is, the prism of craggy carry on. Cursive and grass and bias not cold and vulgar, that is, absurdity. I do not know the right and odd with the right, the right of the so-called things Ping Shi, that is, neutralization."　The "neutral" view into the field of calligraphy, first of all for the creation of calligraphy before the mentality has clear requirements. Zhongtong Chong refers to maintaining inner tranquility. In Tang Emperor Li Shimin's "The Secret of Penmanship," he said, "When writing, one should look and listen, stop worrying and concentrate, and when one's heart is in the right place, one's mind will be in harmony, then one's mind will be in the right place. If the mind is not correct, the characters will be interjected; if the spirit is not in harmony, the book will be upside down. The way is the same as that of the vessel in the temple of Lu. The upright is the meaning of harmony." Calligraphy before the creation of the psychological must be maintained in a state of tranquility, "mind and spirit is not correct, the will is not and" can not create a "neutral and beauty" of the calligraphy.　In the process of creating a work of calligraphy, the raw materials and tools needed for the creation of calligraphy are also required. Only when the tools and raw materials meet certain specifications can they reach the realm of "harmony" and be able to coordinate and cooperate with each other. Wei Shao said in the "brush formation diagram": "The pen should take the rabbit hair in the Chongshan Jie Ren, August and September to collect, its pen head is one inch long, the tube is five inches long, the sharpness Qi waist is strong. The inkstone to take the pan-fried new stone, both moist and astringent, floating Jin Yao ink. Its ink to take Mount Lushan pine smoke, Daixian antler gum, more than ten years, strong as a stone for the person. Paper take Dongyang fish eggs, virtual soft smooth net." @ on the pen, ink, paper, inkstone requirements are very strict, each tool and raw material selection should be in the most appropriate degree. Another example is what Wang Xizhi said in the "book theory": "If the book is weak paper, with a strong pen; if the book is strong paper, with a weak pen: strong and weak are not equal, then the erratic fall does not enter." What Wang Xizhi said is the matching of various tools and raw materials in calligraphy creation. "Virtual", "strong", "weak" fully explains the existence of the contradiction between the calligraphy tools to choose and choose, coordination and harmonization, to be able to match the coordination of tools and raw materials, is a prerequisite for the creation of good calligraphy, can not be ignored as a "neutral" condition. It is a "neutralization" condition that cannot be ignored.　There are also many requirements in terms of brushwork. Involved in the point of painting, size, length, thickness, dry and wet with the pen of the late and sharp, straight and narrow, hidden front, show front and other issues. Wang Xizhi said: "first must use the pen, there are supine, there are drums and oblique, or big or small, or long or short." It is also not noble to be calm and stable, and to achieve a kind of harmony among several opposing factors, such as supine and supine, drums and slants.　When Xiao Yan talked about the problem of the delay and speed of the brush in his Cursive Script, he pointed out, "The speed of the brush is like a snake losing its way; the delay is like the wandering of a clear water stream. Slowly, the crow walks, sharply, the magpie is strong ...... or thick or thin, running with the state." Too fast or too late obviously do not run the pen essentials. "If the brush is evil, then there is no angle; if the brush is wide, then the book is weak; if the point is long, then the law is ripped away; if the painting is quick, then the character is horizontal; if the painting is sparse, then the character is slow; if it is constrained, then there is a lack of potential; if it is released, then there are fewer; if it is purely bone, then there is no charm; if it is purely meat, then there is no power; if it is little ink, then it is floating, and if it is much ink, then it is dull." Xiao Yan's passage covers the essentials of the techniques in the movement of the brush, and also mentions the length of the dots and the amount of ink used, etc., aiming to show that in each of the techniques, it is necessary to achieve a suitable state.　As Yu Shinan said: "Too slow and no tendons, too fast and no bones. Horizontal millimeter side tube is blunt and slow and meaty, vertical tube straight stroke is dry and exposed bone ...... long is not surplus, short is not insufficient." The pen's slow and sharp, the use of the brush, should grasp a good "degree", the so-called "increase one point is too long, reduce one point is too short," said this is the truth. Calligraphy on the pursuit of this "degree", is to seek how to take the law in the "in", in order to achieve "and".　Each technique is nothing more than choosing the appropriate form between two extremes in order to achieve a state of harmony. And among the techniques at the same level, such as the amount of ink used, the speed of strokes, the arrangement of dots and drawings, the straightness and curvature of strokes, the weight of strokes, and other techniques at the same level, there must be coordination and cooperation, and if each technique does not reach its own optimal state, then it is not conducive to the harmonization of the various techniques.　Between the three levels of brushwork, structure and layout, the principle of "neutralization" should also be followed. Sun Jiuting summarized in his "The Genealogy of the Calligraphy" a paragraph about the unity of strokes, structure and layout, which is in line with the "beauty of neutrality and harmony". "If a number of strokes are applied together, their shapes are different; if a number of points are listed together, their bodies are different from each other. One point becomes the rule of one word, and one word is the standard of the final article. The word is the standard of the final chapter. It is not always late to stay, and it is not always fast to be dismissed; it is only moist when it is dry, and it is withered when it is thick. The rule of squareness and roundness is obliterated, and the straightness and curvature of hooks and ropes are hidden. At first it is obvious and at first it is obscured, if it is traveling and if it is hiding. Poorly perverted on the tip of the millimeter, combined with the mood on the paper. There is no difference between the heart and the hand, forgetting the rules of the regular script. Since the back of Xixian and no loss, against the bell Zhang and still work. For example, the Jiangzhu Qingqin, a different posture **** color; Sui Zhu and wall, heterogeneous with the Yan." Back to the beginning of this passage speaks of "a number of paintings and apply, its shape is different; all points are listed, for the body of mutual misbehavior'' explains the fact that the shape between the point of painting is different. After that, it is written: "A point becomes the rule of a word, and a word is the standard of the final article. Violate but do not violate, harmonize but differ.'' A successful piece of calligraphy, from dots and paintings, to individual characters, to a whole piece of calligraphy as a whole, is all one and must be harmonized. From the beginning of the discussion on the fact that dots and paintings are different, to emphasizing the harmonious relationship between dots, characters, and the whole piece, in order to illustrate the meaning of "against the grain, but not against the law, and yet different," in fact, is to emphasize the harmony. "Stay not always late, dispatch not constant speed ...... together with the mood on the paper." In the late and fast, dry and moist, thick and dry, square and round, straight and curved several groups of opposing factors in how to coordinate to achieve "neutral" state, and can "poor perversion in the millimeter, and the mood on the paper." "Infernal heart hand ...... heterogeneous with Yan." Describe the various elements to achieve the state of neutralization and beauty, enter the realm of perfection.