董其昌在《画禅室随笔》论用笔中提出“作书之法,在能放纵,又能攒(音cuán)捉。每一字中失此两窍,便如昼夜独行,全是魔道矣。”翻译过来就是:“作书之法在于既能放得开,又能收得住。书写中如果做不到这两点,就象把白天黑夜截然分开,全是歪门邪道。”首先,董其昌将“放纵”与“攒捉”视为书法的“两窍”。而“窍”用来比喻事物的关键。其次,“两窍”之中,“攒捉”重于“放纵”。这是因为书写中的放纵要比收束容易得多,在具体书写实践中,主动控制毛笔而 Dong Qichang in the “painting Zen essay” on the pen proposed “as the book of law, indulgence, but also save (sound cuán) to catch .Each word lost the two orifices, as the day and night, all Magic ”Translation is: “ The book of law is that both can let go, but also to retain .If you can not do these two writing, as the day and night completely separate, all crooked. ” First of all, Dong Qichang regards “indulgence” and “saving and catching” as calligraphy “two witches”. And “awkward ” is used to describe the key to things. Second, “two awesome ”, “save catch ” is more important than “indulgence ”. This is because the indulgence in writing is much easier than in the bundle, and in the concrete writing practice, the brush is actively controlled