Is the running script related to Fiona Fang's fatness and the hardness of the brush? Ask experts to introduce the long and short front, soft and hard effects in detail.

The nib of a brush is mainly composed of a nib and a pair of bristles. Twist the front edge of the pen tip by hand, pinch it flat, and then look at it in the sun or light. There is a relatively transparent and glittering part, that is, the nib, referred to as the leading edge. The so-called auxiliary hair refers to some short hairs wrapped around the nib. In the process of writing, pen front and assistant play different roles unscathed.

Brush stroke is the most elastic place in brush stroke, which determines the direction and strength of brush stroke, so there is a saying that brush stroke dominates bones and muscles. However, the brushwork with bones and muscles but no flesh and blood is not beautiful, so calligraphers of all ages used not only the nib (and the nib and the sub-nib could not be completely separated) but also the sub-nib when writing. Secondary fur controls the thickness of strokes. The more secondary hairs come into contact with the paper, the fuller the strokes will be. Therefore, there is also a saying that "the deputy is flesh and blood." In the process of calligraphy, calligraphers always coordinate the use of pen tips and auxiliary pens according to their own aesthetics. People who attach importance to bones and muscles and take thinness as beauty use less hair; And those who emphasize both bones and muscles and flesh and blood, and take fullness as beauty, must use it more.

The tip of a brush can be roughly divided into three parts according to its position: the tip (leading edge), the abdomen (middle part) and the root (joint with the pen holder). Then divide the part from the pen tip to the pen belly into three equal parts, the part near the pen tip is called a branch pen, the part from the pen belly to the pen tip is called a branch pen, and the part from the middle to the pen tip is called a branch pen. Obviously, when writing with one stroke, the secondary brush has less contact with the paper, and the strokes appear slender. For example, Chu Suiliang and Xue Ji, calligraphers in the early Tang Dynasty, often used this method. Song Huizong's The Book of Thin Gold is also a prominent example. When writing with dichotomous pen, the contact between secondary hair and paper is a little more, and the strokes are round and handsome. For example, Liu Gongquan in the late Tang Dynasty and Zhao Mengshun in the Yuan Dynasty used the dichotomy. When writing with a three-point pen, the secondary brush has more contact with the paper, and the strokes appear plump, plump and vigorous. Such as Yan Zhenqing in the middle Tang Dynasty and Su Dongpo in the Song Dynasty.