Sun Ke's Discussion on Ten Methods of Using the Brush - Quick Copy in Cursive Style

Author: Compiled by the Editorial Committee of "Classic Calligraphy of China"
Publisher:
Publication Date: 2002-06-01
Features: "The Ten Methods of Using the Brush in Song Ke's Calligraphy Theory" is one of the works in the "Classic Calligraphy of China" series. The content of this series focuses on representative works of influential calligraphers throughout China's history, whose calligraphic styles hold a significant position in the history of Chinese calligraphy and continue to serve as exemplary and models. This book aims to enhance learners' interest in copying inscriptions and steles, guiding them quickly into the practical realm through a combination of study and application. It is a valuable reference for learners and enthusiasts of calligraphy. This book is a collection of works by Song Ke. This type of practice format, along with the strengths of various practice formats and avoiding their shortcomings, selects integrated sentences and couplets based on practical requirements, thereby increasing learners' interest in copying inscriptions and steles. It enables learners to quickly grasp the structural principles and writing methods of Chinese characters, making it a currently practical and valuable practice method. His calligraphy played a pivotal role in the history of Chinese calligraphic development, greatly influencing later generations. This calligraphic style exudes a grand and majestic demeanor. His brushwork is light in the horizontal strokes and heavy in the vertical ones, with strong and thick force. In terms of structure, it is upright and dense, with a balance between square and round. The vertical strokes slightly curve inward, combining firmness with suppleness and elasticity. The heavy strokes and centered force further enhance the beauty of his calligraphy, which is, , and . This book enhances learners' interest in copying inscriptions and steles, enabling them to quickly master the structural principles and writing methods of Chinese characters, making it a currently practical and valuable practice method. It is worth learning from for learners. This book enhances learners' interest in copying inscriptions and steles, guiding them quickly into the practical realm through a combination of study and application, achieving twice the result with half the effort.
Zhangcao originated during the Jianchu period of Emperor Zhang of the Eastern Han Dynasty. Tang Dynasty Zhang Huaiquan's "Book of Calligraphy" said: "Zhangcao is a shortcut of clerical script, and cursive script is the extreme of Zhangcao." Song Dynasty Gong BoSi's "Discussions from the Eastern View" said: "Zhangcao should be in the first place in cursive script." In fact, Zhangcao is a quick and simplified form of ancient clerical script from the Qin and Han Dynasties, which first became popular among the people and gradually evolved into modern cursive and. The features of Zhangcao are independent characters, slightly flattened shapes, containing square and round turns, with each character ending in a wave-like or flying brushstroke. This calligraphic style, rich in clerical script influence, is concise yet ancient in nature and is a must for learning cursive script. Calligraphers such as Du Cao, Cui Yuan, and Zhang Zhi of the Han Dynasty, and Huang Xiang of the Three Kingdoms, as well as Su Jing, Lu Ji, and the two Wangs of the Jin Dynasty, were all skilled in Zhangcao. Between the Tang and Song Dynasties, fewer calligraphers wrote Zhangcao, until the Yuan Dynasty, when Zhao Mengfu and Yang Weizheng paid attention to it, but it was only a hobby and did not achieve prominence. Those who truly excelled in Zhangcao can be attributed to the famous calligrapher Song Ke of the early Ming Dynasty. Song Ke was born in the fourth year of the Taiding era of the Yuan Dynasty (1327) and died in the 20th year of the Hongwu era of the Ming Dynasty (1387). His courtesy name was Zhongwen, also known as Kewen, and he was known as the Palace Prince. He was from Changzhou (Wuxian), Jiangsu. He came from a very wealthy family. His person "was a hero, fond of swordsmanship and cockfighting," and in his youth, he often drank and gambled with guests, losing all his family wealth. When the Yuan Dynasty faced war and chaos, he thought of achieving something great and decided to study military skills, intending to go north to the Central Plains to raise a banner and start a rebellion. Unexpectedly, he was blocked midway and then traveled along the Yangtze River to Jinling. He then entered the famous mountains of Kuaiji and Jinhu. His horizons broadened. After returning home, Zhang Shicheng, hearing of his integrity, repeatedly sent people to invite him to become a guest in his cabinet, but he declined. Instead, he set up a room at home, filled with ancient calligraphic works and Zhou and Han inkstones, and practiced calligraphy in solitude. The "Ming History·Literati" said: "Song Ke secluded himself, practicing calligraphy every day, using ten sheets of paper, and thus became famous for his calligraphy across the country." In the early Hongwu era, he once served as the Assistant Magistrate of Fengxiang, Shaanxi, but soon resigned and returned to his hometown, where he lived until the age of 61.