The Connection Between Calligraphy and Martial Arts

Chinese martial arts and Chinese calligraphy are the two national treasures of China. They have a long and profound history of several thousand years and have been spreading overseas

and are loved by Chinese and foreign people. Wushu, the ancient first called "hand-to-hand combat ... 'martial arts," and so on, and in modern times also known as the national art. Is thousands of years our country

people used to exercise and self-defense a unique method, a variety of schools, techniques vary. Calligraphy, is the art of writing Chinese characters, there

brushwork, calligraphy, chapter. There are many styles of calligraphy, including true (Zheng), cursive, clerical, and seal script, and true styles such as Ou, Liu, Yan, Zhao, Su, Huang, Mi

, Cai, and so on. This article mainly talks about the sword in martial arts and calligraphy in the cursive, focusing on the same sword and calligraphy and bone potential, as a way to

illustrate that the sword and calligraphy have a close relationship, practicing sword and writing cursive, can communicate with each other, each other, complement each other, *** with the progress of both

conducive to the development of the two arts, but also conducive to the practitioner's physical and mental health.

Sword art "spirit"

Sword is a short weapon in martial arts, the Department of the evolution of ancient weapons. In "Shiyi Ming - Shi Bing", it is said: "Sword, check also." Sword is

A kind of preventive very body weapon. Martial arts proverbs are "knife like a fierce tiger, sword like a flying wind", "knife like a fierce tiger down the mountain, sword like turning the sea scaly

dragon". Swordsmanship is characterized by flexibility, agility, dashing, floating, consistent momentum, practiced with many changes, the sword and God, a gas

came into being, footwork is fast, waist like a snake. Sword art is mainly point, collapse, stab, tease, hang, split, cloud, wipe and so on. There are many kinds of fencing routines,

depending on different styles of boxing. Swordplay in the competition, there are provisions for "jumping in the air ... ... vertical cleave horizontal wipe ... 'point stabbing teasing collapse ... 'hook hanging winding cloud"

and other actions. Its fast and fierce, rigid and flexible, elegant and generous, giving people the enjoyment of beauty.

The Han Dynasty is the golden age of the development of the sword, the steel sword with a new look to replace the bronze sword, and has been molded, with the sword casting technology

Technology and modeling reforms, and its use of the method is also becoming more and more perfect. To date, there are many types of swords and names, but their overall body and hilt

composed of the body of the sword, including the tip of the sword, the blade, the spine of the sword; the hilt of the sword, including the handguard, the head of the sword. And the head of the sword is mostly tied with a spike. In addition to fencing

fighting, there is also a whole set of movements composed of "sword dance". The Han Dynasty, there are "Kendo thirty-eight", the sword of the previous method of making a

systematic summary of the exposition, has formed a series of the whole set of sword art Kunlun Sword, Qingping Sword, Coiling Dragon Sword, Pure Yang Sword, Taiji Sword, eight

Gua Sword, Formal Sword, Double-handed Sword, Praying Mantis Sword and the dragon and phoenix sword ShuiLu Double Sword, and so on.

The Taiji Sword is like a flowing river, always in continuous motion. The action is closely linked, the strength breaks the intention to continue, the momentum breaks the intention to

connected, such as the spring silkworm spitting silk continuous. Inside the softness, there are many contradictions, such as reality, movement, static, opening and closing, bending and stretching, etc. These contradictions are the main reasons why the Chinese martial arts are so popular. These contradictions are

opposite and unified, but also mutual transformation. Another example is the bagua sword content rich, spacious and generous, feet on the eight sides, step walk nine palace, line like a swimming

dragon shuttle, continuous, body equipment, such as the white snake spitting, the green dragon claws, out of the magic. There is like a rush of wind and lightning, twisting and rolling,

all is round. The sword moves with the body, the body moves with the sword, and the green cloud floats flat.

Running script is an indispensable kind of calligraphy, which is the difficulty of learning calligraphy, and is also the pursuit of many ancient and modern calligraphers, and has a very high value of appreciation

Running script is an indispensable kind of calligraphy, which is the difficulty of learning calligraphy, and is also the pursuit of many ancient and modern calligraphers, and has a very high value of appreciation

Running script is a very high value of appreciation. Li Beihai of the Tang Dynasty, who was a man of great literary splendor, allowed Wei Bei to enter the running script, with flowing strokes and penetrating bones, as heavy as Shandon, robust and

lively. Ming Dynasty calligrapher Dong Qichang spoke highly of him, saying "right army as a phoenix, the North Sea as an eagle", "Xizhi as a dragon and Li as an elephant".

Huang Tingjian is one of the four great calligraphers of the Song Dynasty, legend has it that long years of traveling across the river, used to see the swinging paddles and rowing, so that his pen also "like a long spear and halberd,

stretching across the escape, the potential to fly like a moving". There are also described Wei Tan word like "dragon tiger vibration crossbow"; Suo Jing's "floating phoenix suddenly lifted, birds of prey at first flight";

Wang Heng's "beautiful women, laughing and dancing on the mirror stage", etc., all of them are not on the line, cursive writing, and so on. None of them is a true portrayal of the line and cursive calligraphy. Cursive writing is a form of urgency. It originated in

Han, as analyzed by calligraphy theorist Zhao Yi in the late Eastern Han Dynasty: "At the end of the Qin Dynasty, the criminal net was tightly packed, and the official books were frequently written, the wars and attacks were carried out, and the military books

crossed the border, and the diatribes flew in a flurry", and a little bit of accelerated writing was done in a continuous pen. That is to become a variant of the official script, known as the "chapter grass". Its characteristics: "a simple

, two even, three rounded", the structure of the provincial reduction, writing successive, rounded not square fold, simple and bright, with our modern cursive writing.

Running cursive is a style of writing between real script and cursive script, and in fact has existed for a long time. The Qin and Han dynasties, there is no clear

concept of the true book and cursive, so there is no way to talk about the cursive, Zhang Cao (Clerical Script) gradually matured and was standardized, the cursive only showed up, but was recognized or

later thing. Running script on the evolution of the official script for the Regular Script plays a role in promoting the Regular Script, and the status of the Regular Script is established, running script, cursive script has become a kind of

people love and rich in strong artistic charm of the book style.

In the Eastern Han Dynasty, there were Dudu, Cui Yan, Zhang Zhi, Cai Yong, etc., who not only had first-class calligraphy, but also left a valuable legacy in the study of the theory of writing.

They were the first to write cursive script in the Eastern Han Dynasty, and the first to write it in the Western Jin Dynasty. The development of cursive from the Eastern Han Dynasty to the Western Jin Dynasty, I for the Eastern Jin Dynasty, Wang Xizhi, Wang Xianzhi, Wang Martyr and other cursive to reach its peak

lay a solid foundation, the "three kings" works are mostly for the Tang Dynasty facsimile engraving of the book.

Cursive writing is composed of "dots and drawings" with ink and brush. The strokes must have a "brush potential", the dots have a "start, stop and turn", and the brush potential must also have a "start and stop

bear and turn", flexible conversion, unpredictable, and y have a "bone potential". The "Bone". Every kind of brush is variable. In fact, the same kind of pen

often due to the book, font, chapter and the calligrapher's style habits are different (slightly the same as the martial arts in the Taiji sword and bagua sword); down

when the pen, Ming in the review of the situation, adapt to the situation, so that the pen under the point of the shape of the brush to adapt to the need for changes in the word and chapter, do

to" Han does not move in vain, there must be a reason for the next. Between a painting, more ups and downs in the peak copy; within a point, there is a difference in the millimeters of art" (Sun Jiuting "book

Spectrum"). Only in this way can the brush be vivid and lively.

Taste the similarity

Sword movement is composed of point, stab, chop, cloud and other offensive and defensive movements of a variety of swordsmanship, swordsmanship and with the hands, eyes, stance, step group

into the combination of swordsmanship, and a variety of combinations of swordsmanship to form a complete set. The same as in cursive calligraphy, such as dots, horizontal, apostrophes, presses and other strokes,

so as to form the word law, but also a number of words or pen breaks and so on to form the chapter law. Whether it is the sword, the brush or the whole set of swords and

the whole chapter all have "bones", which is the same point. "Bone" is the content, such as martial arts "essence", also regarded as

similar to the calligraphy of the "skeleton" or "charm The "bone structure" or "charm" in calligraphy is also regarded as the same. Potential is the shape, such as the sword in the sword art and calligraphy I in the book body, including: sword

, combinations and sets; rows and cursive strokes, characters and chapters.

Appreciation of a fencing set, from the starting point to the closing point, to see whether it is a full set of action is reasonable in place, not only to see the potential, but also to see

bones, as the whole calligraphy chapter is reasonable, not only the appearance of (potential) good, the connotation (bone), the Shen Yun is more important.

Swordsmanship has "

point, teasing, chopping, ＼ stab, etc., calligraphy l}1 nails "horizontal, vertical, apostrophe, press", etc.; swordplay in the exhibition and contraction of calligraphy in the opening and closing;

Swordsmanship has a one-two punch, calligraphy has a swipe; swordplay has a "rhinoceros ox looking at the moon ..." "Yan potential balance", calligraphy has "oblique but not

down, Lingya independent"; swordsmanship has "vacated the sky "Calligraphy has "flying movement"; the sword art should reflect the "spirit", with the sword and "hand,

eye, stance, step'' close coordination with the tacit understanding, calligraphy has In calligraphy, there is a "hidden but not revealed...'There are hidden and revealed", "contains the charm,

internal and external unity", "there are square and round, sometimes hidden and sometimes appearing". square and round, sometimes hidden and sometimes appearing", up and down, left and right, coordinated and smooth.

Sword art "virtual, real", can be found, "virtual" is disguised, hidden. Concealment of their own real out of the wife of the sword,

such as "near and show the far, attack and show the defense", this is a fake to confuse the real, confuse the other side of the strategy. "Real,, is a clear

Fire fight with the real. The grass hut strategy. Volume VI. Real and false": ''Real and show the false, to my real, hit their false

, such as broken bamboo pressing eggs." For example, chopping the sword is his own strength, but disguise weakness, paralyze the other side, to achieve the purpose of surprise victory

. In swordsmanship, "slow vs. sharp," "light vs. heavy...'light ruffles vs. heavy chops," "retrogression vs. progression...'defense vs. attack. ...'virtual and real" and so on,

To be used flexibly, organic cooperation. For example, in the whole set of swordsmanship, sometimes "walking like a cloud" to match the cloud sword, wipe the sword; sometimes running and jumping hard

to match the collapse of the sword, stabbing sword. There are also fixed postures, such as "Golden Rooster Standing Alone...'Rhinoceros Ox Looking at the Moon". The whole set is used around the field, the movement

is well-coordinated, and the physical strength is evenly distributed, which makes this set of swords as good as a whole piece of cursive writing. The virtual and the real are a pair of opposites and unity

contradictions. Opposition is only one form of their contradictory relationship. They are mutually antagonistic and mutually inclusive inseparable relationship.

This relationship abounds in swordplay and cursive writing. Swordsmanship and cursive writing are "the most profound, the most remote, and the most unrestrained."

Cursive calligraphy also has a "reality", in the knotting, chapter and verse is constantly expressed. For example, the "light and heavy"

and sharp...'hide the front and show the front", the "sparse and dense...-competition let ...'-white and black...'-subdominant...'-short and long" and "small and big",

And chapter of the use of word spacing line spacing "sparse and dense", the center of gravity of the "oblique and positive", the black "wither and moist" "light and dense ", as well as falling

Marks with the size and location of the seal, must be suitable and appropriate and so on. Take the pen to say, the pen is not real lack of composure; pen is not virtual and lack of roundness. Only

Using the real pen, the line looks stupid; all with the virtual pen, close to the oil slick. In the change should seek harmony, rhythm, rules, so as not to clutter

. Please see Mi Fu cursive, point and draw a heavier pen, the pen force is strong, not floating, non-point and draw the occasional lead even, the pen is light, a

virtuous spirit. His line a word center of gravity line, left and right swing, ups and downs, but the whole still maintains the balance, this is his style,

as in the drunken sword, dancing and undulating, up and down, left and right, seems to be out of balance but also to maintain the balance; seems to be drunk non-drunken, but drunkenness

hundreds of out, hidden killing, to be the momentum that is like a lightning strike, give a person thrilled, enjoyment of the beauty of it. Then look at the Tang Dynasty calligraphy change artist

Yan Zhenqing wrote "General Pei Poem", masculine beauty in the words flow between the lines. That "war horse if the dragon and tiger'' five words, especially majestic

Spectacular. The whole word has positive, oblique, quiet, dynamic, fat, thin, withered, moist, really splashing ink, swallowing mountains and rivers

. Tang Dynasty calligraphy "mad" everyone Zhang Xu, Huaisu's wild grass is unrestrained, free and unrestrained, ups and downs, clutching and gathering,

People's breathtaking. This is the same as the "sword like a flying phoenix" as 1 out of the same. Tang Dynasty poet Du Fu had a poem to describe the Gongsun Damiang disciples dancing sword

as "to the thunder and fury, the strike as if the river and the sea condensed green light", "the mountain color is frustrated, heaven and earth for a long time low angst". Another cloud: "the past Wu people

Zhang Xu, good cursive book stickers, several long in Yecheng County to see Gongsun Daniang dance sword "West River Sword Instrument", since then the cursive long progress, bold and grateful, that is, Gong

Sun can be carried out.'' As a calligrapher, often watching the sword practice or experiencing the flavor of the sword will be very beneficial to one's own cursive writing

creation. The gentle, flowing, continuous, quick sweeping and crisp pointing of the sword, or the ever-changing sword blossoms of swordsmanship, etc., are a great source of inspiration for calligraphy practice.

The use of qi is slightly the same

Anyone who practices internal martial arts emphasizes internal work. The internal work is the basic work, also known as the foundation work. Calligraphy of the pen power and charm can also be said to have a direct relationship with the gas

Practicing calligraphy, in addition to the wrist is strong, more important is to write with the gas with the writing of the word can be written out of the people wood three points. Book

writer's bottom of the gas is not enough, the word will not be strong and powerful. Calligraphers accumulate years and months of writing, such as intentionally with the luck of writing, over time the

natural solid foundation of internal energy deep Sword art in the line of the sword should be qi sinking dantian. When attacking and defending with force, then use the nose to grunt; when jumping to lift the gas

so that the gas l factory

up to go, so that you can jump high; when landing, the gas should be upward floating, in order to be as light as a feather; vibration of the foot, the gas should be downward sinking, so as to achieve the heavy

as steel. Qi and the sword should be coordinated in order to be flexible and changeable, clear distinction between reality and reality, soft as water, strong as steel, sheepish needle,

rigid in the soft, valiant 'beautiful, infinite changes. The

Calligraphy with gas is also very important. Excluding distracting thoughts, the gas sinks into the dantian. The brush should be even, and the force should reach the tip of the brush. The brush stroke should be transformed to close the breath. When the brush is lifted up

, the qi goes upward. Pressing the pen to sink the breath, closing the pen to release the breath. We often see some of the attainments of the calligrapher when writing or writing a very important

a closed breath, tongue licked on the teeth, to be written after the word out of a breath, electricity is to release the exhaust gas. Calligraphy in the use of gas in a variety of, a few

years or a few bu years of luck with the pen practicing the word on the health benefits of the body is great, countless excellent calligraphers are mostly long-lived old life.

The use of qi in swordplay and cursive writing is basically the same. The qi operates at the same time as the action of the sword and the brush, and there are lifting qi, closing qi, sinking qi,

exiting qi, and luck. -A good martial artist or calligrapher can move the qi to the tip of the sword or the brush, and can make the sword or the brush in his hand be used in a flexible and varied way

, calm and powerful.

In summary, although the concepts of swordsmanship and cursive writing are different from each other, the rationale is the same.