The words in this piece of calligraphy hide
details that only experts can see(一波三折)
In the Eastern Jin Dynasty of China, there
was a famous calligrapher. His name is Wang Xizhi.
He wrote an article in which he mentioned
some of his views on how to write Chinese calligraphy well.
I think if you want to write a good
calligraphy work, your mentality must be as cautious as a general going to war.
You must first calm down and concentrate,
and then imagine in your mind that you are writing this calligraphy work on a
piece of paper with an invisible pen.
To write a good calligraphy piece, you must
consider the structure of each text in the whole article.
The size and shape of each word in the
article should maintain a dynamic balance with the other words in the article.
But you must not misunderstand what I mean
by balance and stability.
When some people write Chinese calligraphy,
each stroke has the same thickness. The words they write look like an abacus,
which is dull and boring.
Let me give you an example.
About 100 years ago there was a
calligrapher called Song Yi.
Song Yi's calligraphy teacher was a famous
calligrapher (Zhong Yao).
The Chinese calligraphy Song Yi wrote when
he was young is like what I said, the size and strokes of each character are
the same.
If you see Song Yi's early calligraphy
works, you can understand the feeling I want to express.
After being taught by his teacher, Song Yi
began to practise Chinese calligraphy diligently every day. After three years,
he had completely corrected his shortcomings.
He continued to improve and maintained a
high level of enthusiasm for improving his calligraphic works.
About ten years later, he became a great
calligraphy expert.
Song Yi's later calligraphy works have the
standards that good calligraphy works should have.
To write a good Chinese character with a
Chinese brush, there must be three curves hidden in the strokes of the
character.
The first stroke at the beginning of the
character should make people feel rounded but powerful.
When you write a horizontal stroke, it
should look like a well-organised army.
When you write a hook stroke, it should
feel like a crossbow arrow ready to shoot.
When you write a dot stroke, it should feel
like a stone falling from a mountain to the ground.
When your strokes are taut, they should be
as tough and elastic as a dead vine.
If your strokes are relaxed, be like a
person suddenly running forward.
The literal translation of this saying is
that there must be three twists hidden in the strokes of a Chinese character.
This idiom is used to describe the words in
a calligraphy work that hide details that only experts can see.
It is often used to describe a thing that
has many twists and turns and is not going well.
Dear friend, what inspirations or thoughts
do you have after listening to this story?
Have you ever spent a long time learning a
skill? Is your handwriting beautiful?
I hope this story can give you some new
insights.
一波三折(The words in this piece of
calligraphy hide details that only experts can see)
中國的東晉王朝，有一個著名的書法家。他的名字叫做王羲之。
他寫過一篇文章，在這邊文章中，他提到他對於如何寫好中國書法的一些觀點。
我認為如果你要寫好一篇好的書法作品，那麼你的心態要像是一個將軍要打仗一樣的慎重。
你必須先靜下心來然後集中精神，接著你要在腦海想像你用一隻看不到的筆在一張紙上面寫下這篇書法作品。
一篇書法作品要寫得好看，你必須要考慮整篇文章中的每個文字之間的結構。
這篇文章中的每個字的大小與形狀都要與這篇文章中的其他文字保持一種動態的平衡。
但是你不可以誤會我所說的平衡與穩定的意思。
有些人在寫中文書法的時候，每一筆畫都是一樣的粗細，這些人寫的字看起來就像是一個算盤一樣令人感到呆板與無趣。
我舉一個例子說明。
大約100多年前，有一個書法家，他的名字叫做宋翼。
宋翼的書法老師是著名的書法家(鍾繇)。
宋翼年輕時寫的中國書法就像我所說的，每個字的大小與筆畫都一樣。
如果你看到宋翼早期的書法作品，你就可以理解我想要表達的感覺。
宋翼經過他的老師的教導後，他開始每天勤奮的練習中國書法，經過三年後，他完全改正了自己的缺點。
他接著又持續的精進，他對於讓自己的書法作品變得更好保持得很高的熱情，
大約十年後，他成了一個很棒的書法專家。
宋翼後來的書法作品，就具備了好的書法作品該有的水準。
要用中國毛筆寫好一個好的中國字，在這個字的筆畫中必須隱藏著三個轉折。
這個字的開頭的第一的筆畫，要令人感覺圓潤但是帶有力量。
寫一個橫線的筆畫時，要令人感覺像是一隻排列整齊的軍隊。
寫一個鉤的筆畫時，要令人感覺像是一隻準備好要發射的弩箭一樣。
寫一個點的筆畫時，要令人感覺像是一個石頭從高山上下墜到地面。
當你寫的筆畫緊繃的時候，要像是一根枯藤一樣堅韌有彈性。
當你寫的筆畫放鬆的時候，要像是一個人突然向前快步走。
這句成語直接翻譯的意思是在一個中國字的筆畫中必須隱藏著三個轉折。
這句成語被用來形容一件書法作品中的字隱藏著專家才看得出來的細節。
這句成語經常被用來形容一件事情遇到很多曲折，這件事情很不順利。
親愛的朋友，你聽完這個故事有怎樣的啟發或有怎樣的想法呢。
你曾經花長時間學習一件技術嗎?你寫的字漂亮嗎?
我期待這故事能讓你產生一些新的收穫。
出處為晉-王羲之-題衛夫人筆陣圖後