Fang Yun felt a sense of familiarity when he saw this large lecture hall and immediately imagined the scene of tens of thousands of people listening to the old gentleman's lecture.
The biggest reason why the sixth pavilion, Mo Jian Pavilion, is difficult to pass is the forced elimination method, because the first test of Mo Jian Pavilion is a competition between two people using brushes and ink swords.
Only those who win in the Mo Sword Competition can accept the second test.
If the calligraphy work of the winner of the ink sword competition is extremely outstanding, he or she can be directly evaluated and enter the final seventh pavilion.
Using the pen as a sword, the ink as a tip, and the writing as a blade is the test content of the Mojian Pavilion.
The students in the Mojian Pavilion are not compared based on their literary rank, but are allocated based on the level of their calligraphy. If the literary ranks of two people are different, the power of the one with the lower literary rank will be enhanced.
Fang Yun walked up to the podium in the lecture hall. On the wall on one side of the podium were hung calligraphy works.
There were no signatures under these calligraphy works, but Fang Yun knew from the books given by Zhao Hongzhuang that every calligraphy work that reached the tenth level would be hung here. Except for a few who died young, most of the people who could reach the tenth level in calligraphy here left their names in history. Fang Yun, who studied calligraphy, naturally recognized their handwriting and style.
Works by Wang Xizhi, Zhu Yizhang, Chen Guanhai and others are included in this list, totaling twenty-seven pieces.
Ranked first is the "Sword and Ink Tie" by Wang Xizhi, who is known as the "Saint of Calligraphy". Although this work is not as good as his great works such as "Lanting Preface", "Sangluan Tie" and "Ping'an Tie", it is also a masterpiece that was created by chance and has been passed down for many years.
In the Mojian Pavilion, as calligraphy improves, different phenomena will be formed. From writing as fast as a fly to writing as fast as a dragon, among the ten students of Lingyan Pavilion, only Wang Xizhi has achieved the level of writing as fast as a dragon.
Fang Yun looked through all 27 pieces of calligraphy that were rated 10-digit. The pressure in his heart doubled. Although these seniors had entered the Lingyan Pavilion dozens of times before their calligraphy works were rated 10-digit, it ultimately proved that they were extremely excellent.
Fang Yun has learned from countless famous calligraphers in the world of Qishu. The combined calligraphy skills of these "teachers" far surpass those of the twenty-seven people in Lingyan Pavilion.
When he was also a juren, Fang Yun had mastered calligraphy techniques better than the twenty-seven others. After all, he had spent a lot of time learning calligraphy and put in countless efforts.
But the problem is that the twenty-seven people in Mo Jianting have worked just as hard as Fang Yun, and they also have elusive inspirations and untraceable discoveries.
Geniuses are not scary. What is scary is perfect geniuses, because they not only work harder than ordinary people, but also have inspiration that others can hardly have.
Fang Yun believed that the ten seniors who could leave their names on the Mojian Pavilion were all perfect geniuses.
This handwritten work of Mo Jianting is different from ordinary calligraphy works.
In the Mojian Pavilion, calligraphy's brushwork, character method, composition method, and ink method all have extraordinary power.
To unleash these powers, talent alone is not enough; it also requires a lot of time and practice.
Among the various parts of calligraphy, there are fourteen commonly used brush strokes, including center stroke, side stroke, slanted stroke, lifting the pen, pressing the pen, starting the pen, moving the pen, etc.
There are nearly a hundred types of writing that are not commonly used, and there are many personal unique writing styles.
Even though Fang Yun has been practicing calligraphy seriously, he is only unique in brushwork and calligraphy, but is slightly lacking in composition and ink techniques.
Once the composition is perfected, combined with the improvement of brushwork, one can at least become a master of the second realm of calligraphy.
Fang Yun had studied Mo Jianting's calligraphy works with the help of Zhao Hongzhuang. However, he had never been able to see the original works of famous masters. Now that he had the opportunity to carefully observe the calligraphy of more than 20 senior masters, Fang Yun was fully focused, hoping to gain more direct and real benefits from them.
Fang Yun re-observed the works of these calligraphy masters when they were young. When he saw the twentieth piece of calligraphy, Fang Yun stared at it for a long time, his eyes lit up, and he fell into deep thought.
I don’t know how long it took, but a familiar voice came from behind.
"Fang Yun, I will no longer look down on you. I admit that you are an almost unbeatable enemy. However, despite all your calculations, you forgot that I, Wei Yu, am also a scholar! Chang Dongyun was willing to sacrifice his future to protect you, and as for me, I am also willing to sacrifice my own ambition to defeat you!"
Fang Yun looked back and saw Wei Yu appear under the desk, walking towards him.
At this time, Wei Yu was neither as arrogant as before nor as depressed as he was later. He was full of energy, his eyes were sharp, his steps were extremely steady, like a brave warrior sacrificing himself to death, showing the demeanor of a former Jinshi.
Wei Yu held a thick brush in his hand.
Fang Yun's heart sank as he realized what Wei Yu was going to do.
Fang Yun showed no fear, his face was calm, and he said slowly, "Come up, I want to see how strong your calligraphy is after giving up everything!"
"As expected, you are worthy of the name of Mad King. You, Fang Yun, are indeed qualified to be so arrogant! I will not chatter on and on like before. I will just tell you in your own words that it is not that I don't want to let you go, but that you chose to fail! The Lei family's Denglong Stone will never lose to you!"
"Come up." Fang Yun looked at Wei Yu calmly.
Wei Yu held a large brush and slowly walked up to the desk.
The two looked at each other, and Wei Yu said, "No matter what, today is the last time I see you. I heard that you are good at regular script, so I will write the word "永". Please give me some advice, Brother Fang!"
After saying this, Wei Yu held the big brush, pointed the tip of the pen at Fang Yun, and wrote in the air.
There was no ink on the pen tip and no paper in the air, but as Wei Yu's wrist and brush moved, a black character "Yong" was formed with the strokes of the brush.
The character "永" has a special status in the calligraphy world. Even calligraphy masters at the third or fourth level must practice writing this character frequently.
The character "Yong" is full of the basic brush strokes of regular script, including eight brush strokes, namely side, restrain, crossbow, kick, whip, sweep, pecking and slashing. These are called the Eight Strokes of Character "Yong" and were first created by the calligrapher Wang Xizhi. "Eight Strokes" can even refer to the entire calligraphy, which shows how important the Eight Strokes of Character "Yong" are.
The character "永" not only contains various brush strokes, but also contains basic calligraphy and composition methods. Some calligraphers even believe that if one practices the character "永" to the extreme, one will understand everything about calligraphy.
If many beginners want to learn calligraphy from a master, they often start by copying the master's character "永".
The word "永" is the foundation of the foundation.
Fang Yun narrowed his eyes slightly, with a serious look, and carefully observed Wei Yu's "永".
Wei Yu deliberately wrote Yong on the sword, not to show respect or courtesy, but to completely overwhelm Fang Yun with his solid basic skills!
Once you completely defeat Fang Yun on the basis of Zhengkai, it will have a strong impact on Fang Yun's state of mind, thereby gaining an absolute advantage and winning step by step.
When Wei Yu was halfway through writing the character "永", Fang Yun's expression became even more serious, because Wei Yu actually learned calligraphy from Chen Guanhai!
Chen Guanhai's calligraphy is firmly in the top three among all calligraphers today. He is not the third, but there are three people who are equally ranked in the top three.
In Jingguo, a large number of scholars' calligraphy is said to be a disciple of Chen Guanhai. The biggest reason is that Chen Sheng's original works are very common in Jingguo. Especially in Jingguo Academy and the capital, Chen Guanhai's calligraphy can be found everywhere.
Chen Guanhai's calligraphy works range from his childhood to his sainthood, and can be said to be the most complete calligraphy path in the world. The brushwork, brush intentions, brush strokes, etc. are all laid out in front of us like a textbook.
Although it is said that to enter the fourth realm of calligraphy, one must create one's own font and style of writing. But that is too difficult. It is better to quickly enter the third realm by learning Chen Guanhai's calligraphy.
Chen Guanhai's name contains the character "hai" (sea), and he also likes water very much. When he became a Jinshi, he looked at the Yangtze River and wrote the immortal masterpiece "The Great River Flows". He successfully entered the second realm of calligraphy, created his own style of "running", and laid a solid foundation for entering the fourth realm of calligraphy in the future.
Chen Sheng's "running brushwork" is well-known as the dominant force in Mojianting, because this kind of brushwork is endless. It is continuous and exciting at the beginning. It is stable in the middle and has strong stamina. When Chen Sheng traveled to the Nine Kingdoms and Confucius Academy, he never lost in Mojianting, relying on the running brushwork.
His peers even joked that the reason Chen Guanhai created such a style of writing was to surpass all the other masters in Mo Jian Ting.
And now, the character "Yong" written by Wei Yu actually contains the shadow of "rushing" of Chen Sheng's brushwork. The whole character "Yong" seems to be alive. The big black characters seem to be rolling slightly in the air, and are about to turn into a "forever" endless Yangtze River, rushing to the sea.
Soon, after Wei Yu finished writing the entire character "永", he saw that the character suddenly split into many small dots, which were flying in the air like flies. This was a level of calligraphy that a master of the first realm could easily achieve in the Mo Jian Pavilion.
However, these shattered ink marks soon merged again, and then the text trembled like water waves, and the eight strokes that made up the character "永" (eight strokes including dot, horizontal, vertical, hook, lifting, left stroke, short left stroke and right stroke) suddenly split apart and turned into eight crooked ink marks shaking in the air like eight black earthworms.
This is the rare word-shaped earthworm in Mo Jian Ting. It is dozens of times stronger than the word-shaped earthworm that appears as if it were a fly. Every earthworm in Mo Jian Ting has great power.
What’s different from the ordinary word “earthworm” is that the surface of these eight-stroke earthworm has a faint watery sheen.
The power contained in this word "永" is at least twice that of the light without water!
At the same time as the word "永" was formed, six pieces of white paper, each one foot square, appeared on the ground, one under each of their feet, and two behind each of them.
This is the well-known "paper retreat". During the ink sword competition, the winner can leave words on the white paper under the opponent's feet and force the opponent to retreat.
Whoever has words written on the three returned papers will lose the competition in Mo Jian Ting.
And returning the paper is also the key to evaluating the number of chips.
"Fang Yun, please step back!" Wei Yu looked at Fang Yun and said, "I don't know how you drove away the young Duke and the people from Kangshe and Liufengshe at Danbo Pavilion, but calligraphy is ultimately a matter of skill and experience. If you follow my character '永' with '永', you will definitely fail; if you follow it with other characters, you will be afraid, and fear will cause confusion."
Fang Yun held the brush in his hand, pointed the tip of the brush at Wei Yu, and said, "Your character '永' is indeed good, but unfortunately, you only got Chen Sheng's handwriting, but not Chen Sheng's meaning. If Chen Sheng wrote this character when he was young, I would definitely lose, but you are different! I like to sit by the Wudao River, and often see wooden sticks beating clothes, breaking water and cleaning clothes; I also see boatmen paddling and dividing the water to move forward, so I understand a kind of writing method, although it is not mature yet, but it can beat you! Just watch!"
After Fang Yun finished speaking, he held the brush and slowly wrote the word "永" in regular script in the air. (To be continued...)