1. 学书如穷径，先宜博涉，而后反约。不博约于何反清梁献《学书论》

1. Learning calligraphy is like exploring a narrow path; one should first widely involve oneself in it, and then return to the essence. Without broadening and narrowing, how can one achieve clarity? This is from Liang Xian's "On the Study of Calligraphy."

2. 书尚清而厚，清厚要必本于心行，不然，书虽幸免薄浊，亦但为他人写照而已。

2. Books should be both clear and profound, and clarity and profundity must stem from one's inner conduct. Otherwise, even if the writing manages to avoid being superficial and trivial, it will merely serve as a portrait of another person.

3. 笔要巧拙互用，巧则灵便，拙则浑古，合而参之，落笔自无轻佻浑浊之病矣。清秦祖永《绘事津梁》

3. The brush should skillfully alternate between skillful and clumsy strokes. Skillful strokes are agile, while clumsy strokes are primitive and ancient. When combined and used together, the strokes will naturally avoid the flaws of lightness and dirtiness. Qing Qin Zuyong in "The Bridge of Fine Arts."

4. 用笔法，先急回，后疾下，鹰望鹏逝，信之自然，不得重改。如游鱼得水。景山奥云：或卷或舒，乍轻扎重，善思之，此理可见。李斯《用笔法》

4. The technique of using the brush: first, quickly return, then swiftly descend, like an eagle watching the great鹏 fly away, naturally believing in it without any need for major alterations. It's as if a fish swims in water. Jing Shan Aiyun: Sometimes it coils, sometimes it relaxes, sometimes light, sometimes heavy. If you think about it carefully, this principle can be seen. Li Si's "The Technique of Using the Brush."

5. 其正书，纤浓得中，刚劲不挠，有正人执法，面折廷诤之风;至其点画工妙，意态精密，无以尚也。行书黝纠蟠屈，如龙蛇振动，弋戟森列，自成一家。宋朱长文《续书断》

5. In terms of his regular script, it achieves a balance between delicacy and richness, with a firm and unyielding quality, reflecting the style of a just and upright person enforcing the law, and the spirit of confrontation and debate in the court. As for his dotting and strokes, they are exquisite and meticulously expressive, unparalleled in their beauty. His running script is sinuous and coiling, resembling the movement of dragons and snakes, with the array of halberds standing tall, forming a unique style. (This is from) Zhu Changwen's "Continuation of the Break in Calligraphy" during the Song Dynasty.

6. 心正则笔正。北宋文学家苏轼《书唐氏六家书后》

6. The heart is right when the pen is straight. This is a quote from Su Shi, a Northern Song Dynasty litterateur, in his essay "After the Writing of the Six Families of Tang."

7. 苏文忠公曰：书法备于正书，溢而为行草，未能正书，而事行草。犹未能庄语，而辄放言，无是道也。清梁章钜《学字》

7. Su Wen Zhong Gong said: Calligraphy is perfected in regular script, overflowed into running and cursive scripts. If one cannot master regular script, yet indulges in running and cursive scripts, it is as if one cannot speak solemnly yet often speaks loosely, which is not the way. Qing Liang Zhangju's "Learning Calligraphy."

8. 要使笔锋行字画中，如入骨既立，虽丰瘠不同，各自成体。宋李弥孙《筠溪集》

8. To make the brush strokes flow within the characters, as if they are rooted and established, although they may differ in richness or thinness, each one forms its own body. From "Juxi Ji" by Li Mishaun of the Song Dynasty.

9. 草书结体贵偏而得中。偏如上有偏高偏低，下有偏长偏短，两旁有偏争偏让皆是。清刘熙载《艺概》

9. The structure of calligraphy is valued for its balance achieved through asymmetry. Asymmetry can manifest as being higher or lower on top, longer or shorter on the bottom, and on the sides, as being more aggressive or accommodating. Quoted from Liu Xiyang's "Yi Gai" (Essays on Art) in the Qing Dynasty.

10. 惟管定而锋转，则逆入平出，而画之八面无非毫力所达，乃后积画成字，聚字成篇。清包世臣《艺舟双辑》

10. Only when the brush is steady and the direction changes, can the strokes go inwards and then outwards smoothly, and all eight sides of the painting can be reached by the bristle's power. It is only after accumulating many strokes to form characters, and then accumulating characters to form articles, that one can achieve the art of calligraphy. Quoted from Qing Dynasty's Bao Shichen's "Yi Zhou Shuang Ji" (The Double Compilation of Art Boat).

11. 发笔处便要提得笔起，不使其自偃，乃是千古不传语。明董其昌《画禅室随笔》

11. At the start of the stroke, one must lift the pen, not allowing it to collapse on its own, which is an untransmitted saying for thousands of years. From Dong Qichang's "Miscellaneous Notes from the Studio of Painting Enlightenment."

12. 数画之转接欲折，一画之自转贵圆;同一转也，若误用之，必有病，分别行之，则合法耳。清笪重光《书筏》

12. When drawing curves, the transition should be smooth and not abrupt; when a line turns by itself, it should be rounded. If the same turn is used incorrectly, there will definitely be flaws. If each turn is executed separately, it will be in accordance with the rules. Qing Da Zongguang, "On the Art of Calligraphy" (Shu Fa Fa)

13. 懒人做工作，越懒越费力。

13. The lazier one is with work, the harder it gets.

14. 努力不懈的人，会在人们失败的地方获得成功。

14. The persistent will find success where others fail.

15. 所谓千古不易者，指笔之肌理言之，非指笔之面目言之也。清周星莲《临池管见》

15. What is said to be unchangeable through the ages refers to the texture of the pen, not the appearance of the pen. Qing Zhou Xinglian's "Observations on the Art of Calligraphy."

16. 山谷云：凡作书之害，姿媚是其小弊，轻佻是其大病。直须落笔，一一端正。至于放笔，自成行草，最忌用意装缀，便不成书矣。清梁章钜《学字》

16. Valley Cloud: The harm of writing is that elegance is its minor flaw, while triviality is its major disease. One must write with precision, making each stroke neat and proper. As for letting go of the pen, it naturally forms calligraphy, and the greatest taboo is to刻意装饰， for then it ceases to be proper calligraphy. From Qing Dynasty, Liang Zhangju's "Learning Calligraphy."

17. 古人作书，落笔一圆便圆到底，落笔一方便方到底，各成一种章法。《兰亭》用圆，《圣教》用方，二贴为百代书法楷模，所谓规矩方圆之至也。

17. The ancients in writing would make their strokes round if they started round, and would make them square if they started square, each forming a unique style. The "Lanting" uses roundness, while the "Sacred Edict" uses squareness, and these two pieces serve as models for calligraphy for all generations. This is what is referred to as the ultimate in the principles of regularity and roundness.

18. 学者贵于慎取，不可遂为古人所欺。清吴德旋《初月楼论书随笔》

18. Scholars are honored for their cautious selection, and must not be easily deceived by the ancients. Qing Dynasty author Wu Dexuan's "Random Thoughts on Calligraphy from Chuyue Lou."

19. 古人草书，空白少而神远，空白多而神密，俗书反是。清刘熙载《艺概》

19. Ancient calligraphy is characterized by a sparse use of blank spaces and a profound sense of the divine, while an abundance of blank spaces gives rise to mystery. The opposite is true for common calligraphy. Qing Dynasty's Liu Xikai in "Gaiyao" (Summary of Art).

20. 子敬之法，非草非行，流便于草，开张于形，草又外其中间。无籍因循，宁拘制则;挺然秀出，务于简易;情驰神纵，超逸优游;临事制宜，从意识便。有若风行雨散，润色开花，笔法体势之中，最为风流者也。唐张怀灌《书议》

20. The style of Zi Jing is neither grassy nor flowing, but it flows like grass, expands in form, and the grass is outside in the middle. It does not rely on precedent, but prefers to be constrained; it stands out robustly, aiming for simplicity; emotions are unrestrained, and the spirit is free and leisurely; facing events, it adapts accordingly, following the dictates of consciousness. It is as if wind spreads rain and flowers bloom, the most elegant in the midst of the style and posture of the brush. From Tang Zhang Huaian's "Book Discussion."

21. 高韵深情，坚质浩气，缺一不可以为书。刘熙栽《艺概》

21. Rich in refined poetry and profound sentiment, firm in substance and grand in spirit; any one of these qualities is indispensable for a book. Liu Xi Zai's "Gongye Gai" (Art Sketches).

22. 风行水石，自然成文;云出严间，无心有态;趣以触而生笔，笔以动而含趣，相生相触，辄合天妙。能含天妙，不必言条理脉络，而条理脉络自无之而不在。清沈宗謇《芥舟学画编》

22. The wind flows over rocks and water, naturally creating patterns; clouds rise from between narrow spaces, spontaneously displaying their beauty without intention; the interest is sparked by touch and the brush brings forth the趣. Interacting and influencing each other, they embody the wonder of heaven. One who can contain the wonder of heaven need not explicitly speak of structure and connection, for these are naturally present even without explicit mention. Qing Dynasty scholar Shen Zongkan's "Jiezhou's Compilation of Learning to Paint."

23. 书尚清而厚，清厚要必本于心行。不然，书虽幸免薄浊，亦但为他人写照而已。刘熙载《艺概》

23. Books should be clear and profound, and clarity and profundity must originate from one's own heart and conduct. Otherwise, although books may be fortunate enough to avoid being thin and turbid, they can only serve as a portrait of others. (This is from Liu Xiyang's "Yi Gai," a book on artistic conceptions.)

24. 草即纵心奔放，覆腕转蹙，悬管聚锋，柔毫外拓，左为外，右为内，起伏连卷，收揽吐纳，内转藏锋也。虞世南《笔髓论》

24. The grass is set free, the wrist twists and turns, the bamboo tube gathers the tip, the soft bristles expand outward, with the left being the outside and the right being the inside, the ups and downs connect and roll together, the gathering and releasing, the internal turning and concealing of the tip. Yu Shiniang's "On the Essence of Brushwork."

25. 每落笔为飞草书，但觉烟云龙蛇，随手运转，奔腾上下，殊可骇也，静而观之，神情欢欣可喜耳。宋蔡襄《宋端明殿学士蔡忠惠公文集》

25. Every stroke of the brush is a fluttering grass script, and one can only feel the smoke clouds and the serpentine dragons, moving with the hand, surging up and down, which is truly astonishing. When observed in stillness, the spirit is joyful and delightful. From the Collection of Poems by Cai Xiang, a Scholar at the Supreme Palatial Academy during the Song Dynasty, Cai Zhonghui, Marquis of Zhonghui.

26. 用笔之势，特须藏锋，锋若不藏，字则有病，病且未去，能何有焉。唐徐浩《论书》

26. In the use of the pen's strength, it is particularly necessary to conceal the tip of the brush. If the tip is not concealed, the character will have a defect. If the defect is not yet removed, what can one have? From Tang Dynasty's Xu Hao's "On Calligraphy."

27. 八分为富于波磔之字体，汉人八分书，笔锋中出。清范公勉《书法述要》

27. The character with eight strokes is rich in waves and zigzags, and the Chinese eight-stroke calligraphy has the brush strokes emerging in the middle. Qing Dynasty scholar Fan Gongmian's "Essentials of Calligraphy."

28. 北魏字有定法，而出之自在，故多变态，唐人书无定势，而出之矜持，故形板刻。清包世臣《艺舟双楫》

28. The characters of the Northern Wei Dynasty have a fixed method, yet they are produced with ease, hence they often exhibit variations. The calligraphy of the Tang Dynasty has no fixed style, yet it is produced with self-importance, thus appearing rigid and unyielding. From Bao Shichen's "Yi Zhou Shuang Ji" (Two Oars of the Art Boat) in the Qing Dynasty.

29. 现在不努力拼搏进取，将来你该拿什么跟别人比。

29. If you don't strive and fight for progress now, what will you have to compare with others in the future?

30. 书籍是巨大的力量。

30. Books are a great power.

31. 学篆博览古器真款识中古字，神气散朴，可以助人，亦知象形，指事，会意等未变之妙也。清范公勉《书法述要》

31. By studying ancient seals and examining the genuine inscriptions on ancient artifacts, one can appreciate the ancient characters with a spirit that is simple and unadorned. This can be beneficial to others, and it also demonstrates the unaltered charm of pictographic, ideographic, and conceptual characters. As written in Qing Dynasty scholar Fan Gong's "Essentials of Calligraphy."

32. 得时不如得器，得器不如得志。孙过庭《书谱》

32. It is better to acquire a tool than to wait for the right time, and it is better to fulfill one's aspirations than to merely possess a tool. — Sun Guoting, "The Handbook of Calligraphy"

33. 书之大要，可一言而尽之。曰：笔方势圆。方者，折法也，点画波撇起止处是也，方出指，字之骨也;圆者，用笔盘旋空中，作势是也，圆出臂腕，字之筋也。清朱履贞《学书捷要》

33. The essence of calligraphy can be summarized in one sentence: "The pen is square but the strokes are round." Square refers to the method of turning, which is found in the starting and ending points of strokes, where the squareness is expressed by the fingers, representing the bones of the character; round refers to the pen's spiraling movement in the air, creating a dynamic force, where the roundness is expressed by the arm and wrist, representing the sinews of the character. (From Qing Dynasty author Zhu Lu Zhen's "Practical Techniques for Learning Calligraphy")

34. 老夫之书，本无法也。北宋诗人词人书法家黄庭坚《山谷文集》

34. The works of the old man, originally, have no law. Song Dynasty poet, lyricist, and calligrapher Huang Tingjian's "Collections from the Valley of the Mountain."

35. 隶书运笔有致，章法严明，学者应平心静气，痛下功夫，一笔不可偷苛。肉浮血露，方能势伟气壮。清范公勉《书法述要》

35. The writing style of the Lishu script is deliberate and the structure is strict. Scholars should maintain a calm and composed mind, put in great effort, and not skimp on a single stroke. Only when the flesh is exposed and the blood is visible can the strength and vigor of the style be grand. Qing Fan Gong's "Essentials of Calligraphy."

36. 学必求其心得，业必贵其专精。

36. Seek the essence in your learning, and value expertise in your profession.

37. 何取于生且拙生则无莽气，故文人所谓文人之笔也;拙则无作气，故雅人所谓雅人深致也。明顾凝远

37. What is taken from the living and unpolished? If it is unpolished, it lacks the brashness; thus, it is what scholars call the "scholar's pen." If it is unpolished, it lacks the pretentiousness; thus, it is what refined people call the "refined depth." Ming Gu Ningyuan.

38. 用笔之法，见于画之两端，而古人雄厚恣肆令人断不可企及者，则在画之中截。盖两端出入操纵之故，尚有迹象可寻;其中截之所以丰而不怯，实而不空者，非骨势洞达，不能悻致。清包世臣《艺舟双辑》

38. The technique of using a brush is evident at both ends of a painting, but what ancient artists achieved with robust and unrestrained brushwork, which is something we can never aspire to, lies in the middle section of the painting. The reason why the middle section is rich and not timid, substantial and not empty, is that without a deep understanding of the structure and power of the brush strokes, one cannot achieve such a result. From Qing Dynasty scholar Bao Shishen's "Yi Zhou Shuang Ji" (The Two Collections of Artship).

39. 人臣若无学业，不能识前言往行，岂堪大任。

39. If a subject does not possess scholarly learning, he cannot recognize the previous words and actions, how can he be fit for great responsibilities?

40. 存意学者，两月可见其成;天性灵者，百日即知其本。东晋王羲之《笔势论》

40. For scholars with intent, their accomplishments can be seen in two months; for those with a natural talent, their essence is known in a hundred days. This is from Wang Xizhi's "On the Pen's Posture" from the Eastern Jin Dynasty.

41. 小楷难，小草犹难。楷以法胜，草以神胜。法可勉强合，神非绝迹无行地，不能超脱八法之外，游行九宫之中。清朱和羹《临池心解》

41. Writing in small seal script is difficult, and writing in small grass script is even more so. Seal script triumphs through adherence to the rules, while grass script triumphs through its spirit. The rules can be勉强 (勉强) followed, but the spirit does not leave a trace without a path, and cannot transcend the boundaries of the eight methods, nor wander freely within the nine palaces. Qing Zhu He Geng's "Heart Insights on the Pool"

42. 执笔低则沉着，执笔高则飘逸。清梁献《执笔论》

42. Holding the pen low exudes composure, while holding the pen high conveys elegance. Qing Liang Xian's "On Penholding"

43. 勿令有死点死画，方尽书之道也。唐李世民《笔意》

43. Do not allow there to be any fixed points or static strokes; this is the way to fully grasp the essence of calligraphy. Tang Dynasty Emperor Li Shimin, "On the Pen's Intentions"

44. 理想的书籍，是智慧的钥匙。

44. The ideal book is the key to wisdom.

45. 吾士行曰：隶书人谓宜扁，殊不知妙在不扁。挑拨平硬，如折刀头，方为汉隶。所谓方劲古拙，斩钉截铁备矣。清梁章钜《学字》

45. Wu Shi Xing said: People who practice隶书 think it should be flat, but they do not realize that the beauty lies in not being flat. The stroke should be flat and hard, like the blade of a knife, which is the essence of Han-style隶书. What is meant by "square, strong, ancient, and naive" is fully demonstrated. From Liang Zhangju's "Xue Zi" (On Learning Calligraphy) in the Qing Dynasty.

46. 勿为今日不学有来日，勿为今年不学有来年。?>

46. Do not think that there will be another day to study if you do not study today, and do not think that there will be another year to study if you do not study this year.

47. 少壮不努力，老大徒伤悲。

47. If you don't strive while young, you'll only regret in your old age.

48. 书亦须用圆转，顺其天理;若辄成棱角，是乃病也。唐张怀灌《评书药石论》

48. Books also need to be written in a smooth and round manner, following the natural principles; if they are abrupt and angular, that is a defect. Tang Zhang Huai Pan's "On the Art of Writing Books: A Critique of Medicinal Stones."

49. 结字须令整齐中有参差，方免字如算子之病，逐字排比，千体一同，便不成书。

49. The arrangement of characters should allow for a harmonious blend of regularity and irregularity, thus avoiding the fault of characters resembling counters, with each character being lined up in a row, all of them looking the same, which would make the writing look like mere symbols and not like written characters.

50. 将能此笔正用，侧用，顺用，重用，轻用，虚用，实用，擒得定，纵得出，遒得紧，拓得开，浑身都是解数，全仗笔尖笔毫末锋芒指使，乃为合拍。清周星莲《临池管见》

50. To be able to use this pen properly, both horizontally and vertically, smoothly and heavily, lightly and virtually, practically, and to control it firmly and let it go freely, to be strict and expansive, to have all sorts of techniques at one's disposal, relying solely on the tip, bristles, and the delicate edge of the pen, is to be in harmony. From Qing Zhou Xinglian's "Observations on Calligraphy Practice."

51. 治之已精，益求其精，一旦豁然贯通焉，忘情笔墨之间，和调心乎之用，不知物我之有间，体合造化而生成也，而后为能学书之至尔。《书学详论》

51. Having refined the treatment, one seeks further refinement, and upon a sudden enlightenment, one forgets oneself in the midst of ink and brush, harmonizing the heart with its function, unaware of the separation between self and object, embodying the essence of creation and coming into being. It is then that one truly reaches the pinnacle of learning calligraphy. "A Detailed Discussion on Calligraphy"

52. 人非圣贤，孰能无过。

52. No one is perfect, who can avoid making mistakes.

53. 章草源本隶分，而下开楷法，用笔使转流速，较隶分省便，为汉代戕启章奏一种简易通行之字体也。清范公勉《书法述要》

53. The style of Zhang Caو (a style of Chinese calligraphy) originally stems from official scripts, and then developed into regular script, with the use of strokes that flow and turn with speed, making it more convenient than the official scripts. It was a simple and widely used font for drafting and submitting documents in the Han Dynasty. Quoted from Fan Gongmian's "Essentials of Calligraphy" (Qing Dynasty).

54. 规矩入巧，乃明神化，出没不穷。本领精熟，则心意自能变化。清冯班《钝书吟要》

54. When rules are mastered with skill, it becomes a manifestation of divine wisdom, appearing and disappearing without end. When one's abilities are proficient, the mind and intention can naturally change. From Qing Dynasty, Feng Ban's "Dun Shu Yin Yao" (Essays on the Art of Being Dull).

55. 士于书法必先学正书者，以八法皆备，不相附丽。若楷法既到，则肆笔行草间，自然于二法臻极，焕手妙体，了无阙轶。反是则流于尘俗，不入识者指目矣。北宋赵构《翰墨志》

55. In the study of calligraphy, one must first learn regular script, as it contains all eight methods and does not depend on others. If one masters regular script, then when they freely write in running or semi-cursive scripts, they naturally reach the peak of these two methods, their writing becomes a wonder, and there is no deficiency or mistake. Otherwise, their work will be trivial and coarse, and it will not be recognized by connoisseurs. (This is from Zhao Gou's "The Mind of Calligraphy" during the Northern Song Dynasty.)

56. 把笔深浅，在于去纸远近，远者浮泛虚薄，近则瘟锋体重。唐卢携《临池诀》

56. The depth and thinness of the pen strokes depend on the distance from the paper. Strokes made from a greater distance are superficial and thin, while those made closer are more robust and heavy. (Tang Dynasty, Lu Xi, "The Rules of Writing at the Pool").

57. 书法在用笔，用笔在用锋。清周星莲〈临池管见〉

57. Calligraphy lies in the handling of the brush, and the handling of the brush lies in the use of the tip. Qing Zhou Xinglian (On Observations by the Pool)

58. 真书以平正为善，此世俗之论，唐人之失也。古今真书之神妙，无出钟元常，其次则王逸少。今观二家之书，皆萧洒纵横，何拘平正南宋姜夔《续书谱》

58. Regular script is considered good for its evenness and regularity, but this is a common misconception, a mistake of the Tang people. The elegance and subtlety of regular script throughout history cannot be surpassed by Zhong Yuanchang, followed by Wang Xizao. Looking at the calligraphy of these two masters today, both are characterized by their elegance and boldness, without being confined to evenness and regularity. (This is from the continuation of the "Book of Calligraphy" by Jiang Kui of the Southern Song Dynasty.)

59. 作法书多失体，布置匀直少势。点不变谓之有棋，画不变谓之布算，最是大忌。清冯班《钝书吟要》

59. The methods in the book often lack elegance, and the arrangement being even and straight is lacking in vigor. Points that do not change are called having pieces, and lines that do not change are called setting up plans, which is the greatest taboo. From Qing Dynasty's Feng Ban's "Instructive Rhymes on Dullness."

60. 学术经论，皆由心起，其心不正，所动悉邪，柳公权曰：心正则笔正。

60. Academic treatises all arise from the mind; if the mind is not upright, then everything it moves is evil. Liu Gongquan said: If the mind is upright, then the pen will be straight.

61. 中国之画与书法为缘,而多含文学之趣味。那么常见的书法名言有哪些呢？下面我给你带来的是书法常见名言的内容，希望你喜欢!

61. Chinese painting and calligraphy are closely related and often imbued with literary charm. What are some common sayings in calligraphy? Below, I will bring you the content of some common calligraphy sayings, hoping you will like them!

62. 大字虽大而小，小字虽小而大，正书须有草意，草书须有正笔。郝经《原古录》

62. The characters may be large in size but carry a sense of smallness, and the small characters may be small in size but convey a sense of largeness. Regular script should have an element of grassiness, and grass script should have an element of regularity. From Hao Jing's "Origin of Ancient Records."

63. 真书以平和为上，而骏宕次之;草书以简净为上，而雄肆次之。清包世臣《艺舟双楫》

63. In true script, peace and harmony are the most valued, followed by elegance and grace; in cursive script, simplicity and cleanliness are the most valued, followed by boldness and exuberance. From Qing Dynasty scholar Bao Shichen's "Yi Zhou Shuang Ji" (Double Oars of the Art Boat).

64. 锋既着纸，即宜转换：于画下行者，管转向上;画上行者，管转向下;画左行者，管转向右。清包世臣《艺舟双辑》

64. Once the edge touches the paper, it is advisable to change the direction: for those flowing downwards in the painting, the tube should be turned upwards; for those flowing upwards in the painting, the tube should be turned downwards; for those flowing to the left in the painting, the tube should be turned to the right. Quoted from Qing Bao Shimen's "Yi Zhou Shuang Ji" (Two Series of Artship).

65. 执笔欲紧，运笔欲活，不可以指运笔，当以腕运之，执笔在手，手不主运;运之在腕，腕不知执。孙过庭有执使转用之法：执谓长短深浅;使谓纵横牵挚;转谓钩环盘纡;用谓点画向背;岂偶然哉!宋姜夔《续书普》

65. When holding a brush, one should hold it tightly yet wield it with agility; one should not move the brush with the fingers but rather with the wrist. When holding the brush in hand, the hand does not control the movement; when moving the brush, the wrist is unaware of the hold. Sun Guoting had a method for holding and using the brush: 'holding' refers to the length, depth, and shallowness; 'using' refers to the horizontal, vertical, pulling, and pushing; 'turning' refers to the hooking, looping, and winding; 'using' refers to the pointing and backing of strokes; is this all accidental? In Song Dynasty, Jiang Kui's "Continuation of Book普"

66. 书擎于自然，自然既立，阴阳生焉，阴阳既生，行气立矣。蔡邕《石市神授笔势》

66. The book holds to nature; once nature is established, the yin and yang are born. Once yin and yang are born, the practice of cultivating qi takes form. Cai Yong's "Shi Shi Shen Shou Bi Shi" (The Pen Posture Granted by the God at the Stone Market).

67. 决定一个人的一生，以及整个命运的，只是一瞬之间。

67. It is just a moment that determines a person's entire life and destiny.

68. 只有永远躺在泥坑里的人，才不会再掉进坑里。

68. Only those who forever lie in the mud pit will never fall into the pit again.

69. 一字之法，贵在结构：一笔之法妙在起止。结构之道，尤在乎笔法之精妙也。佚名《永字八法》

69. The essence of a single character lies in its structure: the beauty of a single stroke lies in its beginning and end. The way of structure is particularly concerned with the exquisite craftsmanship of the brush strokes. (Anonymous) "The Eight Methods of the Yong Character"

70. 虫篆既繁，草藁近伪，适之中庸，莫尚于隶。规矩有则，用之简易。随便适宜，亦有施张，操笔假墨，抵押毫芒。彪焕缧硌，形体抑扬，芬葩连属，分间罗行。烂若天文之布曜，蔚若锦绣之有章。西晋成公绥《隶书体》

70. Once the intricate patterns of bug seals are overly elaborate and the strokes of grass and straw appear almost artificial, the correct choice is the official style of calligraphy. It adheres to the rules and is simple to use. When applied arbitrarily, it is also capable of making a display. In writing with the brush, using ink as a pledge, it holds the delicate tip steady. It soars and flourishes like a tiger, with its figure rising and falling, its delicate blossoms intertwined, spacing out evenly, and arranging in an intricate pattern. It shines as brightly as the celestial patterns of the stars, and is as resplendent as the intricate designs of embroidery and brocade. (This is a quote from the Western Jin Dynasty, Cheng Gong Sui's "On the Style of Official Calligraphy.")

71. 用笔需要活泼泼地，随形取象，在有意无意间，画成自然，机趣天然。方是功夫到境。秦祖永《桐阴画诀》

71. The brush should be used energetically, following the shape to create imagery, and in a blend of conscious and unconscious efforts, the painting should appear natural and full of spontaneous charm. This is when one has truly reached the level of mastery. -- Qin Zu Yong's "Painting Maxims under the Poplar Shade"

72. 书山有路勤为径，学海无崖苦作舟。

72. There are paths up the mountain of books, diligence is the way; the sea of knowledge has no shore, and hard work is the boat.

73. 草书之体，如人坐卧行立，揖逊忿争，乘舟跃马，歌舞跸蛹，一切变态，非苟然者。南宋姜夔《续书谱》

73. The style of cursive script is like a person sitting, lying, walking, bowing, retreating, arguing, sailing a boat, galloping on a horse, singing and dancing, or even crawling like a worm; all these transformations are not trivial. This is from Jiang Kui's "Continuation of the Book of Calligraphy" during the Southern Song Dynasty.

74. 腕竖则锋正，锋正则四面势权全。次实指，制实则筋力平均。次虚掌，掌虚则运用便宜。唐李世民《笔法诀》

74. When the wrist is upright, the pen tip is aligned correctly, and when the pen tip is aligned correctly, the full power of all four directions is achieved. The next is to have a solid grip, which means having an even distribution of strength. The next is a light掌, as a light palm makes it easy to apply the technique. From Tang Li Shimin's "Pen Technique Secret."

75. 上如阶尽管费力，却一步比一步高。不经过琢磨，宝石也不会发光。

75. Although climbing higher step by step is tiring, each step is higher than the last. Without polishing, a gemstone will not shine.

76. 大丈夫宁可玉碎，不能瓦全。

76. A true man would rather break like jade than be whole like a potsherd.