Bishilun shi'er zhang 筆勢論十二章

Bishilun 筆勢論, full title Bishilun shi'er zhang 筆勢論十二章, is a text on calligraphy written during the Eastern Jin period 東晉 (317-420) by the famous master Wang Xizhi 王羲之 (321-397). The text of 12 short paragraphs was written as an instruction to the author's son Wang Xianzhi 王獻之 (344–386). He urges him to study carefully the ancient seal scripts (zhuan-zhou 篆籀) and to learn with clear objectives (cun yi xue 存意學). However, people without talent (wu ling xing zhe 無靈性者) will fail.

The first chapter (Chuanglin 創臨) compares the workplace of a calligrapher with a battlefield, on which the artist's command (ben ling 本領) is like that of a general. The second part (Qixin 啟心) stresses that the artist had first to concentrate and calm his thoughts, visualise the character's form, and could then achieve a seamless connection of strokes. Chapter three (Shixing 視形) lays stress on the right balance of single strokes, with horizontal strokes resembling boats on a river and vertical ones appearing like bamboo stalks. Dots (ch. Shuodian 説點) should be like rocks and slanted strokes (ch. Chuge 處戈) like bows, hooks and halberds. For all curved strokes, stability (ch. Jianzhuang 健壯) in the wrist was necessary to allow the brush to capture its momentum and maintain a sense of interest and meaning. The "instructions" (Jiaowu 教悟) of ch. 7 addresses the technique of the central strokes in characters. The spacing and arrangement of blank areas must be balanced, with appropriate distances. The upper and lower parts should complement and cover each other harmoniously. In ch. 8 "Observing Forms" (Guanxing 觀形) the discussion focuses on various brush techniques, specifying the requirements for different brush strokes. Each of these techniques is essential for achieving different effects and precision in calligraphy:

The "Essentials of Brushwork" (9 Kaiyao 開要) discuss the principles of the brush's sharpness and movements and the methods of repetition and returning strokes. It emphasizes that the stroke's momentum should be carefully examined before putting the brush ion before placing the brush on paper. For various brush strokes—whether slow, gentle, swift, urgent, slanted, abrupt, wide, long, small, large, dense, or sparse—each must be executed with precision and rigor. "Rhythm and regulations" (10 Jiezhi 節制) focus on the proper form and discipline in learning calligraphy. The chapter emphasizes that one must adhere to established techniques and avoid damaging the character's integrity. For example, a character that is too dense may appear as if "afflicted with illness or disease" (si ke ji jianshen 似疴瘵纏身) while a character that is too sparse may resemble a "bird stranded in water" (si ruo shuo zhi qin 似溺水之禽). The "Observations and discussions" (Chalun 察論) recommend constant study, training and perseverance.

The text closes with "Analogies and accomplishments" (12 Picheng 譬成) highlighting various approaches to learning calligraphy, stating that the initial practice of calligraphy should closely follow the fundamentals. The text advises not to rush the brushwork because the characters are small; nor should one delay in refining the brushwork because the characters are large. A single misplaced dot was "like a beauty with a blemish" and a single stroke lacking proper form was like a "strong warrior with a broken arm." The final sentence strongly admonishes not to become complacent due to the difficulty of learning calligraphy.

The text is found in the series Siku quanshu 四庫全書, Chizaotang siku quanshu huiyao 摛藻堂四庫全書薈要, Shugu congchao 述古叢鈔, Cangxiutang congshu 藏修堂叢書, Cuilangganguan congshu 翠琅玕堂館叢書, Yishu congshu 藝術叢書 and Lidai shufa lunwen xuan 歷代書法論文選 and is quoted in the books Shuyuan jinghua 書苑精華, Mochibian 墨池編 and Peiwenzhai shuhua pu 佩文齋書畫譜.