On Zhang Xu, the calligraphy space of "Zhang Xu"
Preface "On Calligraphy Space"
Zhang
Calligraphy is a kind of culture, but it is still a craft. Craft can also be called skill, which sounds better. If it rises higher, it can be called art, and it sounds better. But it must be calligraphy, a successful work of Chinese character art processing, not Chinese characters. Because calligraphy is an art with Chinese characters as the carrier, this nature has been infinitely improved in today's Chinese character culture propaganda.
Chinese characters are great and are the root of China culture. The ancients said that Chinese characters were sacred and mysterious. Huai Nan Zi Ben Jing:
People used to write books, and ghosts cried when it rained at night. That means creating words, not calligraphy. Even so, Wang Chong didn't believe it in his book Lun Heng Xu Shu: it rains every day and ghosts cry at night. It is false to say that it should be a book. Xu Shen's "Shuo Wen Jie Zi" narrates: Shi Wang, the Yellow Emperor, saw the hoof tracks of birds and animals, and he could tell the difference. When I signed the book contract, I did everything. Wei Heng's "Four-body Book Potential" also said so, and there was another love affair after Cang Xie's fame. But they all refer to words, not to art. Sun's Book Score in the Tang Dynasty said: Do you know how to move your words to get coquettish? Yang deficiency and yin misery depend on the heart of heaven and earth. Of course, this is about calligraphy, but Sun Shi didn't leave this craft to speak. He went on to say: although the husband's application method is set by himself, and the scale is also set by himself, it belongs to the present and is a thousand miles away. If you know its skills, you can use it at the same time. Never mind the essence, never forget the familiarity. If they are all used to be familiar with it, the rules are darker than the mind, and they will naturally be tolerant and will wander, which means writing first, then being chic, wandering and flying calmly. It's all a matter of skill. He also put forward the technical concept of "holding, making, turning and using". Another cloud said, "The Party resumed its mathematical method, and it came in the same way. It has compiled many works, which are complicated and colorful. It does not mention the preface, but draws lessons from the rules after the Enlightenment, looking at its roots and analyzing its branches. You make the text reasonable and show your heart; It is obvious when rolling, and there is no lag when writing. The paradox is not detailed. " It shows that only through complex and superb technology can visual art works become the possibility of spiritual communication. Sun Shi's theory is so detailed that it puts forward strict requirements for stippling, which are two sentences that people who study calligraphy must remember: from painting to painting, from peak to peak; At a little bit, this is very frustrating. Another example is: "if you stay late, you won't get sick;" The words "dry and moist, will be thick and dry" are not divorced from the craft, and every sentence points to the writing ontology. Because he believes that only "abnormal condition to the extreme" can "fit the mood on paper". Of course, as Mr. Shen pointed out, "There is something wrong with the book spectrum, that is, it often covers up the most important meaning about writing, so that readers can't notice it and ignore the past." However, it is more than just a book of music. Even if it is absurd to remember that "the prime minister of Qin sighed for seven days when he saw the book, but he was bitter and boneless", there are still "three wonderful things, don't use a pen first" and "skinny people are called strong books and fleshy people are called ink pigs; It is such an incisive saying that strength and strength are sacred, and weakness and muscle deficiency are morbid. In the Ming Dynasty, Xiangmu's Calligraphy Elegant Words was indeed a work with a unique and rigorous theoretical system in the theory of ancient books. Naturally, some cliches are inevitable. For example, at the beginning of the article, it says, "Hippos are negative, turtles are books, and the world is also open. I draw eight diagrams, and the text lists six hexagrams. So is this Saint Wang Qi character. "Also refers to the text. Speaking of calligraphy, it is excellent. Although the theory is too high, for example, the Jin people are the only ones to rule out Su Shi and Mi Fei, they all have their own reasons. Generally speaking, he expressed his experience and wrote a book, and worked hard all his life. There are 17 articles, such as: book system, ancient and modern, distinguishing style, form and quality, character, knowledge, rules, constant change, strange meaning, neutralization, deification, mind, choice, process, use and knowledge. Dialectical, eloquent, eloquent, figurative and fascinating are closely related to calligraphy itself. If we talk about the "shape" cloud: between the dome and the earth, there are teeth, horns, claws and wings, and everything is incomplete because of the nature of qi. There are many forms of books, and people's attainments are different. They must want to be both wonderful and wonderful, and there is no complete book in ancient and modern times. There is another cloud: people are comfortable with books, but they are neutral, fat and thin. If the book is also short, the degree of coordination should be balanced, yin and yang should be appropriate, and rigidity and softness should be combined. People who talk about the world are neither fat nor thin, neither long nor short. For the sake of beauty, so is the book Bank of China. Strong is thin. If you lose weight, your spine will be strong and your posture will be barren. I am rich and gorgeous, but I am fat, fat is always beautiful, and my spine is weak. Those who say that Jews are thin and fat are not explicit are still the same sentence. It makes bones thin and steep, dense and elegant, dignified and smooth, though thin and solid. Fat, convenient and energetic. It is beautiful and clean, although it is fat and beautiful. Thin and fat people call it clear and wonderful, and it is not good to be unclear. Fat and beautiful are called rich and beautiful, and unattractive and unattractive. For example, he talks about the "righteousness" cloud: the essence of calligraphy is positive and strange. Do the right thing, suppress setbacks and reveal what should be done. People with dignity do have the golden mean. The so-called fantastic, ups and downs, soaring, amorous feelings, gestures, is also unique. Odd numbers are even numbers in positive numbers, and right is right in odd numbers. Not surprisingly, although solemn and solid, unchanged and simple, there are not many words; Strange and upright, though heroic and brilliant, extravagant and elegant. Naif's house of appreciation, every finger is full of skills, he doesn't know the rules. People who are close to the water tower do not seek the beauty of temperament every time they show off their skills. Wait a minute. They are all bright, mellow, elegant, profound and peaceful, and they all know that they flow from the bottom of my heart. They are never praised for their arrogant words, so they are naturally calm and elegant. Although "On Wood" has been in court, it is far more rigorous and meticulous than Sun's, so plagiarism is just as well. Elegant calligraphy is really a masterpiece of calligraphy aesthetics in ancient calligraphy theory. On the perfection of techniques, Da Zhongguang's Book Raft is the first one in the early Qing Dynasty. Only two or three pages can be seen today, so some people suspect that it is not the full text. It is believed that "the depth of Samadha Lun is directly related to Sun's Biography, and" Bi Tan Tu "is not enough". It can be said that it has received rave reviews, but it is not too much. That is, you can see two or three pages of thousands of words today, which can be used for a lifetime. Too refined, precise sentences, precise words. Quote to the end, but always quote a few words to read with colleagues: horizontal painting with pen, vertical painting with word, gas stretching, tendon twisting ... The interests at the hook point are exposed, the light distribution is bright, the lines are dense, and the situation is staggered ... The transfer of several paintings is about to be folded. The outline is white and the towel is even; Scattered white, symmetrical eye cloth ... excellent, not only can't be written by short theorists, but I'm afraid it's even difficult to understand. Following Sun, Xiang Mu, Bao's Two Boats of Art and Liu Xizai's Outline of Books, all of them are profound and profound, and they have a cordial feeling for "craft" from both philosophical and technical perspectives, and "craft" is always inseparable from calligraphy itself. In modern times, Mr. Feng Zikai said that calligraphy is the highest representative of China art, and Mr. Zong Baihua said that calligraphy can express personality, thoughts and feelings. Xiong Bingming, a French Chinese scholar and artist, said that the core of China culture is China's philosophy and calligraphy is the core of China culture. These three people are proficient in Chinese and western cultures, which I admire very much. Especially the latter, because the book "China and calligraphy theory System" analyzes China's traditional calligraphy theory with western methodology, it has injected fresh blood into China's calligraphy circle, which has made the calligraphy circle accustomed to traditional thinking and generally low in cultural literacy respect and become famous for a while. Luoyang paper is expensive and influential, far exceeding his works. Therefore, its theory of "the core of the earth" is also regarded as a classic. At that time, Feng Zong's remarks had little influence on calligraphy, because there was no so-called "calligraphy circle" at that time. However, after the establishment of the book circle, it was greatly influenced by the two-time theory. As soon as Xiong's statement came out, the status of calligraphy in the book world rose linearly (please pay attention to the word "in the book world"). Calligraphy, as a craft, seems to bear the weight of all China cultures and capture the beauty of all cultures. For example, Wang Meng's speech "For the Great Rejuvenation of Chinese Character Culture" at the Cultural Summit Forum in 2004 (sponsored by the China National Culture Promotion Association) was reprinted in the column "Calligraphy and Culture" of China Calligraphy in 2004. There is no need to reprint the original, but it is considered inappropriate under the name of calligraphy. The improvement of the status of calligraphy is a good thing for my generation who teaches calligraphy as a profession. We should feel happy and excited. The author did have a good life, but soon, he could not go with the flow and became an alarmist. Talking about culture without talking about calligraphy itself is rampant, and the essence of craftsmanship is despised. " No matter how high the skills are, they are all low-level, and the occurrence rate of "staying at the skill level" is very high. There are also many people who say that "skills are simple, once learned". More importantly, he publicly claimed in the media that all skills are no longer a problem for him. This arrogance is actually the language of laymen. Some scholars who don't write calligraphy talk about calligraphy culture, which is inscrutable. Young people were scared at first, but later they were confused. Calligraphy art can't bear the weight of all cultures, and a large number of theorists who are not good at writing have emerged. According to Jin Lu, calligraphy itself is shivering in the corner, and you can wait whether you are happy or sad. In this context, Bai Di Jun's On Calligraphy Space was grandly published by Rong Baozhai Publishing House, which I think is of special significance. Bai Di, whose real name is Zhao Aimin, is famous for his pen name Bai Di. People from Shaoxing, Zhejiang. 65438-0987 entered China Academy of Fine Arts (then called Zhejiang Academy of Fine Arts) to study for a master's degree in calligraphy. He studied under Sha Menghai, Liu Jiang and Zhang, and was a close disciple of Mr. Sha Menghai (excluding Mr. Shu Sha). 1996, admitted to the calligraphy major of China Academy of Fine Arts from Shanghai. On studying for Dr. calligraphy theory, 1999 passed the defense and obtained Dr. calligraphy theory of Fine Arts. He is the first generation doctor of calligraphy in China Academy of Fine Arts. "Calligraphy Space Theory" is his dissertation, which was rated as excellent by the defense committee of our college. It will be published after revision and supplement today. Bai Di's pen is strong, mainly because he studies hard and practices hard; The strong sense of space in calligraphy mainly comes from talent. The topics of his thesis are: first, because of his proximity to sex, his skills are very strong; The second is because of wisdom. Specifically, Bai Di realized that the spatial composition of calligraphy (such as writing, painting and flowing) has a great relationship with the unique characteristics of works; And the ancients left us a lot of space to pursue and explore. I immediately talked about Wei He's calligraphy space consciousness. Bai Di had a strong ability to create calligraphy space during his apprenticeship, which was clearly reflected in his own works, and then he made his mark in the book world. Therefore, all his doctoral dissertations are rare in the ancients, and they all flow from their own practical experience, without generalizing. On Calligraphy Space is the first book devoted to calligraphy space, which has a unique, systematic and detailed exposition. At the end of Wang Meng's speech, when talking about his love for Chinese food, he said that "delicious Chinese food should first appear on the table, not in my speech" and ended with this. Today, imitating Wang Wen's format, I think the conclusion is: "after all, elegant calligraphy culture should first appear in calligraphy masterpieces, not in theorists' articles." "Please allow me to add: How can I make my work a masterpiece? It may be helpful to read Bai Di Jun's On Calligraphy Space. June 5438, 2005+10 month