Wang Xizhi: Postscript of Battle Formation of Brushstroke 王羲之《题笔阵图后》

The Chinese calligraphy is said to be an art of movement, concentrating and timing are of paramount importance. In one of the earliest texts on calligraphy, Wang Xizhi’s postscript to ‘Battle Formation of the Brushstroke’ by his teacher, Lady Wei, Wang illustrated an important point: just like in war or a fight, where every move may result in winning or losing, living or dying, in calligraphy also, every stroke counts.

The following is the text which is said to be written by Wang:

Paper is the battlefield; brush is the sword; ink is the helmet and armour; ink stone is the castle; conception is the commander; skill is his assistant; structure is the strategy. To move a brush is to take a risk; to start a stroke is to issue an order; to draw a turning stroke is to kill.

Before start writing, one must first get ready the ink, be in a calm mood, and then visualize the character size, stroke warp, direction, rhythm and coherence between characters, this would lead to a well-thought-out plan and you are now ready to write. Don't write different strokes the same way, nor trim a character square as an abacus. This is not writing calligraphy, rather, it is only writing strokes. Song Yi used to do so, for which he was once severely criticized by his teacher Zhong You (a calligrapher in Three Kingdoms period). Dare not to see Zhong in next three years, he practiced hard to mend his way.

One must write a waving stroke with three moves, start a stroke with the tip of the brush hidden. Write a horizontal stroke in the shape of cirrus cloud, a curved stroke in the shape of crossbow, a dot stroke in the shape of a falling rock, a turning-stroke in the shape of a steel hook, a vertical stroke in the shape of a ten thousand years old rattan, and a right-falling stroke as a hiker quickens his steps.

Song Yi at first could not master the art of calligraphy. During the Taikang (280-290) period of Jin, someone stole famous essay from Zhong Yao’s grave which was obtained by Song Yi. He studied and followed the methods to practice his calligraphy. He became very famous. The methods could be used for learning regular (kai) and walking (xing) scripts.

Cursive script is governed by other rules. Start a character slow and finish it fast with strokes flowing continuously and twisting in the shape of dragon. In this way, the stroke will be cursive and have uneven thickness. If the character has a dot stroke, do other strokes first, and then place it with a single throw. The way of executing the dot is as though the brush is coming from the sky. This style should consult other styles such as seal and clerical script for techniques. Besides, except occasions like draft-cursive script and urgent official use, do not write too fast, otherwise paper will not suck up enough ink, resulting in a shallow taste.

As a child I was tutored by Lady Wei. When I grew up I travelled famous mountains in the north, where I saw calligraphies by Li Si, Cao Xi, Zhong You, Liang Gu, Cai Yong and Zhang Chang. Realizing that I had frittered away my time in vain by sticking to one teacher, I changed my example to stone inscriptions. Considering that I am already fifty-three like a candle guttering in the wind, it is a relief to me to put these words down to my children.

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书法可以说是运动的艺术，书写时能专注与笔画到位至为关键。在古代书法理论中，王羲之为他的老师卫夫人《笔阵图》所写的后书就说明了一点：就好像作战一样，每一点都会导致输赢、生死的关键。所以，对书法而言，每一笔画都很重要。

以下就是据传是王羲之所写的书论:

夫纸者阵也，笔者刀鞘也，墨者鍪甲也，水砚者城池也，心意者将军也，本领者副将也，结构者谋略也，飏笔者吉凶也，出入者号令也，屈折者杀戮也。

夫欲书者，先乾研黑，凝神静思，预想字形，大小偃仰，平直振动，令筋脉相连，意在笔前，然后作字。若平直相似，状如算子，上不方整，前后齐平，此不是书，但得其点画耳。昔宋翼常作此书，其师钟繇叱之，翼三年不敢见繇，即潜心改迹。

每作一波，常三过折笔，每作一点，常隐锋而为之，每作一横画，如列阵之排云，每作一弋，如百钧之弩发，每作一点，如高峰坠石，每作一勾，屈折如钢钩，每作一牵，如万岁枯藤，每作一放纵，如足行之趣骤。

翼先来书恶，晋太康中，有人于许下破钟繇墓，遂得笔势论，翼读之，依此法学书，名遂大振。欲真书及行书，皆依此法。

若欲学草书，又有别法。须缓前急后，字体形势状如龙蛇，相钩连不断，仍须秷侧起复。用笔亦不得使齐平大小一等。每作一字，须有点处，且作余字总竞，然后安点，其点须空中遥掷笔作之。其草书亦复须篆势八分古隶相杂。亦不得急令墨不入纸。若急作意思浅薄，而笔即直过。

惟有章草及章程行押等不用此势，但用击石波而已，其击石波者缺波也。又八分更有一波谓之隼尾波，即钟公泰山铭及魏文帝受禅碑中已有此体。夫书先须引八分章草入隶字中，发人意气，若直取俗字，则不能先发。

予少学卫夫人书，将谓大能，及渡江北游名山，见李斯、曹喜等书，又之许下见钟繇、梁鹄书，又之洛下，见蔡邕石经，三体书，又于从兄洽处见张昶华岳碑，始知学卫夫人书徒费年月耳。遂改本师，仍于众碑学习焉。