Cai Yong on Chinese Calligraphy 蔡邕谈书法

Cai Yong (132–192) was a Chinese scholar of the Eastern Han Dynasty. He was well-versed in literature, music and calligraphy. This is what he said about the nature of Chinese Calligraphy.
‘Calligraphy ventilates heart. Whenever handwriting is desired, shake off all restraint first. If one starts in a hurry, even a hare hair brush will be of no avail. Therefore prior to picking up a brush, sit down in a quiet mood, allow thought wander unchecked, keep breathing at ease and bring out a deferential expression as if in front of someone most venerable.
Calligraphy is formally defined by its implications of brushstroke, which may suggest sitting or walking, flying or wriggling, going or coming, lying or rising, sorrow or joy, leaf nibbled by worm, sharp sword or long-handled dagger-axe, strong bow or hard arrow, water or fire, cloud or mist, the sun or the moon. Only those which suggest images can be called calligraphy.’
Note: Brush made by hare hair is supposed to be the best brush.
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蔡邕（132-192）是东汉的著名学者。他精通文学、音乐、书法。这是他对书法本质的看法：
‘书者，散也。欲书先散怀抱，任情姿性，然后书之；若迫于事，虽中山兔毫不能佳也。夫书，先默坐静思，随意所适，言不口出，气不盈息，沉密神采，若对至尊，则无不善矣。
为书之体，须入其形，若坐若行，若飞若动，若往若来，若卧若起，若愁若喜，若虫食木叶，若利剑长戈，若强弓硬矢，若水火，若云雾，若日月，纵横有可象者，方得谓之书矣。’