1. 疾风吹劲草，烈火炼真金;不经寒霜苦，安能香袭人。锋自磨砺出，玉乃雕琢成;人而不苦练，焉能艺精深。李铎

1. Strong winds reveal the toughness of grass, fierce fires refine genuine gold; without enduring the bitterness of frost and snow, how can one's fragrance reach others?锋s are honed through abrasion, jade is carved to perfection; without rigorous training, how can one's skills be refined? Li Zhuo

2. 曾经沧海难为水，除却巫山不是云。

2. Having seen the vast ocean, what else is there to see in water? Having passed through the Wushan Mountains, what else can be considered as clouds?

3. 引笔奋力，若鸿鹄高飞，邈邈翩翩。

3. The brush strokes are vigorous and energetic, as if a wild goose is soaring high, graceful and distant.

4. 枝上柳绵吹又少，天涯何处无芳草。

4. The willow catkins on the branches are being blown away again, and where else in the world is there no fragrant grass?

5. 笔落惊风雨，诗成泣鬼神。

5. The pen moves and the wind and rain are startled, the poem is completed and ghosts and gods weep.

6. 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》

6. Books should be both clear and profound, with clarity and profundity fundamentally rooted in one's moral conduct. Otherwise, even if one's writing manages to avoid being shallow and murky, it can only be a portrait of someone else.—Liu Xizai, "Essays on the Art of Writing"

7. 笔性墨情，皆以其人之性情为本。是则理性情者，书之首务也。

7. The character and emotion of the brush and ink are all based on the person's temperament. Therefore, understanding and expressing one's temperament is the primary task of calligraphy.

8. 千里莺啼绿映红，水村山郭酒旗风。

8. A thousand miles away, orioles sing amidst green and red, the wind flutters the banners of wine at the riverside and mountain villages.

9. 忍看朋辈成新鬼，怒向刀丛觅小诗。

9. Cannot bear to see my companions become new ghosts, in anger I seek tiny poems amidst the knives.

10. 会当凌绝顶，一览众山小。

10. I will rise to the pinnacle and survey the multitude of mountains from above.

11. 或寄以骋纵横之志，或托以散郁结之怀。虽至贵不能抑其高，虽妙算不能量其力。张怀谨

11. Or entrust it with the ambition of wandering freely, or delegate to it the task of dispersing pent-up emotions. Even the most noble cannot suppress its grandeur, and even the most ingenious strategies cannot measure its power. Zhang Huijin.

12. 星垂平野阔，月涌大江流。

12. The stars hang low over the vast plain, the moon surges down the great river's flow.

13. 得时不如得器，得器不如得志。?>

13. It's better to have the right time than to have the right tools, and it's better to have the right will than to have the right tools. ?>

14. 欲寄彩笺兼尺素，山长水阔知何处。

14. Wanting to send colored papers and strips of silk, but the mountains are long and the waters are wide, where could they be?

15. 心正则笔正。——北宋文学家苏轼《书唐氏六家书后》

15. If the heart is upright, so is the pen. — From "After the Book of the Six Families of Tang" by Su Shi, a Neo-Tang poet and litterateur.

16. 得时不如得器，得器不如得志。——孙过庭《书谱》

16. It is better to have the right time than to have the right tools, and it is better to have the right tools than to have the right aspirations. — Sun Guoting, "The Book of Calligraphy"

17. 人生自古谁无死，留取丹心照汗青。

17. Since ancient times, who can escape death? Let a steadfast heart illuminate the annals of history.

18. 青山遮不住，毕竟东流去。

18. The green mountains cannot obstruct, for they eventually flow eastward.

19. 书必先生而后熟，亦必先熟而后生。始之生者，学历未到，心手相违也;熟而生者，不露蹊径，不随世俗，新意时出，笔底具化工也。清冯武《书法正传》

19. Books must be studied before they can be mastered, and they must be mastered before they can be truly understood. The "born" knowledge at the beginning is due to the fact that one's education has not reached a sufficient level, and there is a mismatch between mind and hand; the "born" knowledge that comes from mastery is not obvious in its methods, does not follow the conventions of the world, often presents new ideas, and has the essence of artistry in the writer's hand. From Qing Dynasty's Feng Wu's "The Correct Transmission of Calligraphy."

20. 野火烧不尽，春风吹又生。

20. The wild fire cannot be extinguished, the spring breeze blows and it grows again.

21. 自古贤哲，勤乎学而立其名，不学即没代而无闻矣。唐虞世南《笔髓论》

21. Since ancient times, virtuous philosophers have diligently studied and established their names; without learning, they would vanish and be unknown for generations. Tang Yu Shinan's "On the Essence of Writing."

22. 玄妙之意，出于物类之表;幽深之理，伏于杳冥之间;岂常情之所能言，世智之所能测。张怀谨

22. The mysterious meaning transcends the categories of things; the profound principle lies hidden in the dark and distant realm; can it be expressed by common feelings or measured by worldly wisdom? Zhang Huijin

23. 文采是一枝魔杖，它可以点石成金。——史密斯

23. Eloquence is a magic wand that can turn stones into gold. — Smith

24. 谓学书有三要：天分第一，多见次之，多写又次之。清杨守敬《学书迩言》

24. It is said that there are three essentials for learning calligraphy: talent comes first, followed by seeing a lot, and then writing a lot. Qing Dynasty's Yang Shouqing wrote in his book "Near Words on Learning Calligraphy".

25. 高韵深情，坚质浩气，缺一不可以为书。

25. High taste, deep feeling, firm substance, and grand spirit; any one of these is indispensable for a book.

26. 正书法，所以正人心也，所以闲圣道也。

26. The practice of regular calligraphy is to rectify the mind, and thereby to keep the path of sainthood unobstructed.

27. 龙威虎振，剑拔弩张。

27. The dragon roars with might, and the sword is drawn, the bow strung.

28. 江流天地外，山色有无中。

28. The river flows beyond the heavens and earth, the color of the mountains exists and does not exist.

29. 古人论书云：一须人品高，二须师法古，是书之法，学者习之，故当熟之于手，必先修诸德以熟之于身。德而熟之于身，书之于手，如是而为书焉。——《书法三味》

29. The ancients discussed calligraphy and said: "First, one must have a noble character; second, one must follow the ancient masters. The method of calligraphy is something scholars should practice. Therefore, one should be proficient with it in hand. It is necessary to cultivate virtues first and then embody them in one's body. When virtues are well ingrained in the body, they are then expressed through the hand in writing. Thus, one becomes a calligrapher." — "The Three Essences of Calligraphy"

30. 词源倒流三峡水，笔阵独扫千人军。——唐代诗人杜甫《醉歌行》

30. The etymology reverses the Three Gorges' waters, while the pen alone sweeps away a thousand soldiers' ranks. — From "The Drunken Song" by the Tang Dynasty poet Du Fu.

31. 人品既殊，性情各异，笔势所运，邪正自形。项穆《书法雅言》

31. People differ in character and temperament, and the style of writing reveals whether it is righteous or evil. Xiang Mu's "Elegant Discourse on Calligraphy."

32. 高韵深情，坚质浩气，缺一不可以为书。——刘熙栽《艺概》

32. High elegance, profound sentiment, firm quality, and grand spirit; any one of these is indispensable for a book. — Liu Xizai, "Gai Gai" (Essays on the Arts)

33. 夫书者，英杰之馀事，文章之急务也。虽其为道，贤不肖皆可学，然贤能之常多，不肖者能之常少也，岂以不肖者能之而贤者遽弃之不事哉!朱文长《续书断》

33. The art of writing is a supplementary pursuit for the heroic, and an essential task for the literati. Although the way of writing can be learned by both the virtuous and the unworthy, the virtuous are often in the majority, while the unworthy are few in number. Should the unworthy forsake the pursuit of writing simply because they are able to do so, while the virtuous immediately abandon it? (This is from Zhu Wenchang's "Continuation of the Book of Calligraphy Cuts.")

34. 或重若崩云，或轻如蝉翼;导之则泉注，顿之则山安;纤纤乎似初月之出天涯，落落乎犹众星之列河汉。唐代书法家孙过庭《书谱》

34. Some are as heavy as collapsing clouds, others as light as the wings of a cicada; guided, they pour like spring water, and when settled, they are as stable as a mountain; delicate as the new moon rising at the edge of the world, scattered like countless stars in the Milky Way. From Sun Guoting's "Calligraphy Treatise" of the Tang Dynasty.

35. 学书者有两观：曰观物，曰观我。观物以类情，观我以通德。刘熙载《艺概》

35. Those who study calligraphy have two perspectives: one is to observe things, the other is to observe oneself. Observing things involves understanding their emotional essence, while observing oneself is to attain moral understanding. (This is from Liu Xizai's "Yi Gai".)

36. 笔性墨情，皆以其人之性情为本。是则理性情者，书之首务也。——刘熙载《艺概》

36. The style and emotion of the brush and ink are all based on the temperament of the person. Therefore, understanding and expressing one's temperament is the primary task of calligraphy. ——Liu Xizai, "Generalities of the Arts"

37. 飘如游云，矫若惊龙。南朝宋文学家刘义庆《世说新语容止》

37. Floating like drifting clouds, agile as a startled dragon. From the "New Words on Character" by Liu Yiqing, a literary figure of the Southern Song Dynasty.

38. 春城无处不飞花，寒食东风御柳斜。

38. In the spring city, flowers fly everywhere; on the Day of Pure Brightness, the east wind bends the willows.

39. 纸上得来终觉浅，绝知此事要躬行。

39. Knowledge gained from books is shallow, and one must experience it personally to truly understand.

40. 资分高下，学别浅深。资学兼长，神融笔畅。资过乎学，每失颠狂;学过乎资，犹存规矩。资不可少，学乃居先。明项穆《书法雅言》

40. The quality of talent varies, as does the depth of learning. When talent and learning are both proficient, the spirit is fluent and the pen flows effortlessly. If talent surpasses learning, it often leads to madness; if learning surpasses talent, there is still adherence to rules and conventions. Talent is indispensable, but learning takes precedence. As stated in Xiang Mu's "Elegant Discourse on Calligraphy":

41. 忽如一夜春风来，千树万树梨花开。

41. All of a sudden, the spring breeze blows overnight, and the pear blossoms bloom like a sea of white.

42. 故书也者，心学也；写字者，写志也。——刘熙载《艺概》

42. Hence, the study of ancient books is the study of the heart; the act of writing characters is the act of expressing one's will. — Liu Xizai, "General Outline of the Arts"

43. 不识庐山真面目，只缘身在此山中。

43. I cannot recognize the true face of Lushan Mountain, for I am merely in the mountains themselves.

44. 但使龙城飞将在，不教胡马度阴山。

44. If the dragon city's flying general were still here, he would not allow the Huns' horses to cross the Yin Mountains.

45. 学书忌浮论而无实功。爱而不学知不真，学而不笃得不深。清梁献《学书论》

45. The pursuit of calligraphy should shun superficial discussions and lack of actual accomplishment. Love for it without learning results in false knowledge, and learning without steadfastness yields shallow understanding. Qing Liang Xian's "On Calligraphy Studies"

46. 立品之人，笔墨外自有一种正大光明之概。——王妤

46. A person of integrity has a certain dignified and open demeanor beyond words and writing. — Wang Yu

47. 言，心声也；书，心画也。声、画形，君子小人见矣。声画者，君子小人之所以动情乎。——扬雄《法言》

47. Speech is the voice of the heart; writing is the painting of the heart. The form of voice and painting reveals the differences between gentlemen and common people. The voice and painting are the reasons why gentlemen and common people are moved emotionally. — Yang Xiong, "Fayang" (The Words of Law)

48. 最难的是开头，也就是第一句。就像在音乐中一样，第一句可以给整篇作品定一个调子，通常要费很长时间去寻找它。——高尔基

48. The hardest part is the beginning, that is, the first sentence. Just like in music, the first sentence can set the tone for the entire piece, and it usually takes a long time to find it. – Gorky

49. 金沙水拍云崖暖，大渡桥横铁索寒。

49. The金沙 River hits the cliff, making the clouds warm; the Daba Bridge spans across with iron chains, feeling cold.

50. 莫道浮云终蔽日，严冬过尽绽春蕾。

50. Do not say that floating clouds will forever obscure the sun, for after the harsh winter has passed, the spring blossoms will bloom.

51. 夫书者，英杰之馀事，文章之急务也。虽其为道，贤不肖皆可学，然贤能之常多，不肖者能之常少也，岂以不肖者能之而贤者遽弃之不事哉！——朱文长《续书断》

51. Writing is a secondary matter for the heroic, a pressing necessity for the literati. Although it is a path that both the virtuous and the unworthy can learn, it is often the case that the virtuous are more numerous, while the unworthy are fewer in their ability to master it. Is it because the unworthy can do it that the virtuous should suddenly abandon it and not pursue it? —— Zhu Wenchang, "Continuation of Book Division"

52. 平生不解藏人善，到处逢人说项斯。

52. Throughout my life, I've never been adept at concealing others' virtues; wherever I go, I can't help but praise others' excellence.

53. 书法是一种艺术，是世界上独一无二的瑰宝，书法作品当中的名言警句具有深刻的哲理，值得人们赏析。今天我为你分享的是书法作品的名言警句赏析的内容，希望你会喜欢!

53. Calligraphy is an art, a unique treasure in the world, and the famous sayings and proverbs in calligraphy works contain profound philosophy, worthy of people's appreciation. Today, I am sharing with you the content of appreciating famous sayings and proverbs in calligraphy works, hoping you will like it!

54. 大要笔圆字方，傍密间豁，血浓骨老，筋藏内洁，笔笔造古意，字字有来历，日临名书，无吝纸笔，工夫精熟，久自得之。元陈绎曾《翰林要诀》

54. The strokes are round and the characters are square, dense on the sides and open in the middle, the blood is thick and the bones are old, the tendons are hidden within and clean, each stroke creates an ancient feeling, each character has a historical origin. Every day, copy famous books without sparing paper and ink, work diligently and become skilled, and over time, mastery will naturally come. Yuan Chen Yizeng's "Essentials of the Hanlin Academy."

55. 玄妙之意，出于物类之表;幽深之理，伏于杳冥之间;岂常情之所能言，世智之所能测。——张怀谨

55. The mysterious meaning transcends the categories of things; the profound principle lies hidden in the obscure and dim; can it be expressed by ordinary sentiment or measured by worldly wisdom? — Zhang Huijin

56. 夜阑卧听风吹雨。铁马冰河入梦来。

56. At midnight, lying in bed, I listen to the wind and rain. The image of iron horses and ice rivers enters my dreams.

57. 书之要，统于骨气二字。清代文学家刘熙载《艺概书概》

57. The essence of writing is summed up in the two characters: 'qi' (spirit) and 'gut'. From Liu Xizai, a Qing Dynasty literary figure, in his work "Art and Painting Overview."

58. 打怕的人是假的，敬怕的人是真的。

58. The people who are scared because they are afraid are fake, while the people who are scared because they are respected are real.

59. 我自横刀向天笑，去留肝胆两昆仑。

59. I laugh at the sky with a sword in hand, my liver and gall are both as firm as Kunlun mountains, whether I stay or leave.

60. 书，如也，如其学，如其才，如其志，总之曰如其人而已。

60. Books, like people, reflect their learning, their talents, their aspirations, in short, they are a reflection of the person themselves.

61. 体象卓然，殊今异古。落落珠玉，飘飘缨组。仓颉之嗣。小篆之祖。以名称书，遗迹石鼓。唐代书法家张怀瓘《书断》

61. The body image is outstanding, unlike the present and the ancient. Like scattered pearls and jade, or fluttering silks and ribbons. Descendant of Cang Jie, the ancestor of small seal script. Named after writing, the traces are on the stone drums. In the Tang Dynasty, the calligrapher Zhang Huan's "Book of Calligraphy"

62. 春宵一刻值千金，花有清香月有阴。

62. A moment in the spring night is worth a thousand in gold, flowers have a faint fragrance and the moon casts a shadow.

63. 身无彩凤双飞翼，心有灵犀一点通。

63. Without colorful phoenix wings to fly in pairs, there is an intuitive connection at the point of spiritual resonance.

64. 书画清高，首重人品，品节既优，不但人人重其笔墨，更钦仰其人。——松年《颐园画论》

64. Literati painting and calligraphy emphasize moral integrity first, for once one's character is excellent, not only is everyone respected for their brushwork and calligraphy, but they also admire the person themselves. — Song Nian, "Essays on the Painting in Yi Yuan Garden"

65. 无意苦争春，一任群芳妒。

65. Unintentionally vying for the spring's favor, I let a crowd of flowers envy me.

66. 山不厌高，水不厌深。周公吐哺，天下归心。

66. The mountains are never too high, and the waters are never too deep. Zhougong offers his nourishment, and the hearts of the people return to him.

67. 沾衣欲湿杏花雨，吹面不寒杨柳风。

67. The rain on the clothes, wanting to wet them, is like the blossoming peach blossoms; the breeze on the face, not feeling cold, is like the willow branches swaying.

68. 笔下龙蛇似有神。

68. The strokes of the pen seem to resemble the serpentine dragon, imbued with divine essence.

69. 春风得意马蹄疾，一日看尽长安花。

69. With the spring breeze in his favor, his horse gallops swiftly; in a single day, he views the flowers of Chang'an.

70. 春色满园关不住，一枝红杏出墙来。

70. The spring beauty is so abundant in the garden that it can't be confined, a branch of red apricot blooms beyond the wall.

71. 学不可不熟，熟不可不化，化而后有自家之面目。清方薰《山静居论画》

71. One must not only be proficient in learning, but also must master it thoroughly; only after mastering it can one have one's own distinctive character. Qing Fang Xun, "On Painting from the Mountain Quiet Residence."

72. 风萧萧兮易水寒，壮士一去兮不复还。

72. The wind howls and the Yi River is cold, a brave warrior goes forth and does not return.

73. 老夫之书，本无法也。——北宋诗人、词人、书法家黄庭坚《山谷文集》

73. The books of the old man, originally had no rules. — From the Collection of Valley by Huang Tingjian, a poet, lyricist, and calligrapher of the Northern Song Dynasty.

74. 独在异乡为异客，每逢佳节倍思亲。

74. Being alone in a foreign land, I am a stranger; on every festive occasion, I miss my family even more.

75. 读书破万卷，下笔如有神。

75. By reading ten thousand books, one writes as if inspired by a deity.

76. 或寄以骋纵横之志，或托以散郁结之怀。虽至贵不能抑其高，虽妙算不能量其力。——张怀谨

76. Or entrust the ambition of expanding one's horizons to it, or rely on it to release one's pent-up emotions. Even the most noble cannot suppress its height, and even the most ingenious strategies cannot measure its power. ——Zhang Huijin

77. 溪云初起日沉阁，山雨欲来风满楼。

77. The stream clouds rise at the first sign of sunset, the mountain rain is about to come, and the wind fills the tower.

78. 落霞与孤鹜齐飞，秋水共长天一色。

78. The setting sun and the solitary wild duck fly together, the autumn water and the vast sky blend into one color.

79. 凡善书画者，未有不品学兼长，居官更讲政绩声名，所以后世贵重。——松年《颐园论画》

79. All those who excel in calligraphy and painting are not without both talent and learning. When they hold office, they also emphasize their political achievements and reputation, which is why they are highly valued by later generations. — Song Nian, "On Painting in the Garden of Rest"

80. 龙跳天门，虎卧凤阁。

80. The dragon leaps over the heavenly gate, the tiger lies on the phoenix pavilion.

81. 熟则骨力强，步伐齐，心胆大，性灵出。清梁同书《频罗庵论书》

81. When skilled, the bone strength is strong, the steps are uniform, the heart and courage are great, and the spiritual essence emerges. Qing Liang Tongshu's "Fen Luo An on Calligraphy."

82. 学书者有两观：曰观物，曰观我。观物以类情，观我以通德。

82. Those who study calligraphy have two perspectives: one is the perspective of observing things, and the other is the perspective of observing oneself. Observing things involves understanding emotions through categorization, while observing oneself is to comprehend virtues.

83. 一点成一字之规，一字乃终篇之准。

83. A single dot forms the rule of a character, and a character is the standard of the entire passage.

84. 山随平野近，江入大荒流。

84. The mountains come close with the plains, the river flows into the vast wilderness.

85. 书法的重要性名言警句，书法的确可以在某些时候给人传达一种奇异的力量，以下分享书法的重要性名言警句。

85. Famous sayings and proverbs about the importance of calligraphy, indeed, calligraphy can convey a strange power to people at certain times. Here are some shared sayings and proverbs about the importance of calligraphy.

86. 无声之音，无形之相。

86. The sound of silence, the form of formlessness.