Calligrapher temperament

Appreciating calligraphy is not only to experience the ingenuity and skill of stippling, structure and composition, as well as inheritance, genre and style, but more importantly, to feel the temperament, emotion and aesthetic pursuit of calligraphers through works. Calligraphers rely on their hands and thoughts to create, while appreciators rely on their eyesight to explore and discover the life and soul contained in their works, which is a kind of re-creation. The effect of this re-creation depends on the knowledge, cultivation, experience and mood of the viewer. Appreciating calligraphy requires not only a macro grasp of the works, such as momentum, spirit, white cloth, etc., but also a subtle observation, such as using pen, ink, structure, lines, etc. Appreciate the quality of lines, from which we can observe the pen and ink and brushwork of the author when he creates. Secondly, the Chinese character structure combined with line stippling and painting is interesting and philosophical in artistic modeling. The third is white cloth, including knot writing, gas circulation and composition. The fourth is spirit, which refers to the spiritual temperament and style of calligraphy. Spirit is a faithful record of the author's spiritual realm, which is closely related to the author's emotion, personality and cultivation. Excellent calligraphy works must be full of beauty and spirit. Appreciators should grasp the form and capture the spirit. The artistic style of calligraphy is first manifested in the unique overall style of the work and the resulting unique realm, which is most closely related to the calligrapher's aesthetic orientation and artistic temperament. It is the result of calligrapher's publicity of artistic individuality. The artistic style of calligraphy is the artistic characteristics and creative personality of artists in their creation. Because of their different life experiences, artistic accomplishment, personality characteristics, aesthetic taste and personality, calligraphers have their own characteristics in the choice of calligraphy style and expression techniques, thus forming different artistic styles. Style can also best show a person's temperament and mental outlook. This is also a high-energy reflection of thousands of years of history accumulated in the hearts of calligraphers, which reflects the subtleties of lines and gives people infinite reverie. Hegel said: "Style generally means that an individual artist completely shows some characteristics of his personality in terms of expression methods and style twists and turns." Defining the aesthetic standards of calligraphy appreciation is the basis of correct calligraphy appreciation; Mastering the method of calligraphy appreciation is the key to calligraphy appreciation. First, the aesthetic standard of calligraphy Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Ode to Literary Ode": "The wonderful way of calligraphy is that the spirit is the first, followed by the form and quality, and those who have both can be compared with the ancients". Here, it is emphasized to write the spirit in form, with both form and spirit. Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning of calligraphy. (1) The stippling lines in calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image formed by them has no definite meaning, but it should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense. 1. Sense of strength is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous. 2. The sense of rhythm refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes. 3. The stereoscopic impression is the result of using the pen in the center. The strokes written in the center are "reflected in the sun, and there is thick ink in the center of the painting, which is just in it. As for the fold, there is no deviation." In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere. (2) The spatial structure of calligraphy The stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy under the premise of following the principles of Chinese font and stroke order. The spatial structure includes three parts: single word structure, whole line circulation and overall layout. 1. The structure of a word should be neat, straight, appropriate in length and balanced in density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger. 2. In the whole line of popular calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires up and down and coherent response. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked. 3. Overall layout In the calligraphy works, dots become characters, conjunctions are arranged in rows and chapters, which constitutes the cutting of space by dots, thus enriching the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs. (3) The appearance of calligraphy is the appearance of a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. "Spirit comes first, shape comes second, and both can be seen in the ancients." It shows that spirit is higher than "form and quality" (the shape and appearance of stippling lines and their structural layout), and form and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing the spirit and expressing the spirit of nature will always be the highest realm that calligraphers strive to pursue. On the one hand, the acquisition of calligraphy spirit depends on skillful creative skills, which is the premise and foundation; On the other hand, only when the creative mind is calm and comfortable, the creative center is fluent in both hands, and I forget myself, can I write my true feelings and integrate my knowledge and aesthetic taste. Second, the method of calligraphy appreciation Calligraphy appreciation is consistent with other art appreciation and needs to follow the general laws of human cognitive activities. Because of the particularity of calligraphy art, calligraphy appreciation shows uniqueness in methods. Generally speaking, we can start from the following aspects. 1, from whole to part, and then from part to whole. To appreciate calligraphy, we must first look at the overall situation and have a general impression of its expression and artistic style. Then pay attention to whether the pen, knot, composition, Mo Yun and other parts are lively and lively. After the partial appreciation, we should stand at a distance to observe the overall situation, correct the "overall impression" obtained from the first viewing, and grasp it from a rational height again. Pay attention to whether artistic expression and artistic style are coordinated, where the works are wonderful and where there are shortcomings, and fully appreciate them from both macro and micro perspectives. 2. Restore the static image to the process of motion and expand the association. Calligraphy works are relatively static as the result of creation. When appreciating, we should follow the author's creative process, adopt the method of "moving the line of sight", imagine the rhythm and strength of the pen and the different changes of the author's feelings in the creative process according to the order of the works, and restore the static image to the process of movement. That is to imitate the author's creative process and correctly grasp the author's creative intention and emotional changes. 3. From the image of calligraphy to the specific image, expand the association and correctly understand the artistic conception of the work. In the process of calligraphy appreciation, we should fully develop the association, compare the calligraphy image with similar things in real life, and make the calligraphy image concrete. Then, starting from the aesthetic characteristics of things similar to calligraphy images, we further associate the aesthetic value of the works, so as to understand the artistic conception of the works. Appreciating Yan Zhenqing's regular script, we can associate his calligraphy image with specific images such as "Jing Qing presses the sword, Fan Kuai holds the shield, King Kong dazzles, and Lux punches", from which we can draw the following conclusions: strong physique-masculine-full of heroic temperament-neat and inviolable characteristics, and Yan Zhenqing's regular script is linked with dignified and majestic artistic style. 4. Understand the creative background of the work and correctly grasp the emotional appeal of the work. Any calligraphy work is the accumulation of a certain cultural history and the product of a specific historical and cultural background. Therefore, it is of great benefit to know the creative background (including the creative environment), the unique cultural atmosphere contained in the work, the author's personality cultivation, aesthetic taste, creative mood and creative purpose. In order to correctly understand the author's creative intention and correctly grasp the emotional appeal of the work. In the Qing Dynasty, Wang Shu wrote in the inscription and postscript of "Virtual Boat Tang Yan Zhenqing to Uncle Haozhou": "The manuscript dedicated to Ji Ming was torn to pieces, and his book was frustrated and out of control. This "Gao" is calm, easy to make a guest appearance, and there is no strange promotion like "offering sacrifices to nephews". The so-called music-related party laugh has been sighed. Things are different, so is calligraphy. It should be reasonable. " It can be seen that both the author's personality cultivation, creative mood and creative environment have a considerable impact on the mood of the work. To. In addition, calligraphy works are influenced by the book style and aesthetic fashion of a specific era, which makes calligraphy works reflect a diverse cultural atmosphere. This undoubtedly increases the difficulty of calligraphy appreciation, but also makes calligraphy appreciation interesting. In short, there is no fixed pattern in the process of calligraphy appreciation due to the influence of personality psychology. The above is just one method of calligraphy appreciation, and several methods can be used alternately in the process of appreciation. In addition, in the process of appreciation, we must comprehensively use all kinds of calligraphy skills, techniques and calligraphy theory knowledge to maximize our aesthetic evaluation ability and try our best to appreciate the artistic conception of the works according to the author's creative intention. We should strive to appreciate and comment, evaluate and reward the work, and put it in a specific historical environment to make a correct appreciation and fair and objective evaluation of the work. Of course, mastering the correct appreciation method is an important way to improve appreciation ability. Yang Xiong said: "You can see a thousand swords before you can see a thousand swords; It is this meaning that/html/09/121909-57901.html The general law of calligraphy appreciation is a special cognitive activity with its own laws. By studying and mastering these laws, we can find a way to appreciate calligraphy. First, calligraphy appreciation needs to be watched and pondered repeatedly. Calligraphy appreciation is not only a cognitive activity, but also a general law of human cognitive activities. There is a process from the outside to the inside, from the superficial to the deep. This cognitive process is not completed at one time, but endless. Although calligraphy is composed of stippling, structure and composition, as a work of art, we must appreciate its beauty of strength, emotion, rhyme and form. Through these phenomena, the art of calligraphy is quite abstract, which requires a long period of silence and repeated thinking. Sometimes, in the face of a work, it seems dull at first glance, but it is amazing when you look closely, so that the more you want to see it, the more you like it. According to legend, Ou Yangxun, a calligrapher in the Tang Dynasty, once found that the inscription written by Suo Jing, a calligrapher in the Jin Dynasty, could not be left alone. First he stood and watched, then he sat and watched, and finally he simply slept under the monument and watched carefully for three days before leaving. In the process of appreciating the art of calligraphy, it is also required to compare and analyze the works of different calligraphers and study their similarities and differences, so as to deeply understand the artistic characteristics of the works of famous calligraphers, including this book, summarized by predecessors; In order to make their own appropriate judgments; Only in this way can we raise our appreciation level to a higher stage. These all need to be pondered over and over again to get. Second, the initiative of calligraphy appreciation Calligraphy is known as "sentimental pictures, silent music". Calligraphy appreciation, like art and music appreciation, is inseparable from association and imagination. Yuan Ang's Book Review of Ancient and Modern Times said: "Stone books, like feathers that have not stopped, have died"; "Wei Shengchen's book is like a tiger, and his sword is tight"; "Suo Jing's books are like the wind, and birds fly as soon as they see them"; "The emperor's book is like a song, and the Qin people's emblem". The description of these images is obviously the result of using association and imagination. If the appreciator only regards calligraphy works as some rigid and abstract symbols such as literacy, there is no appreciation of the beauty of calligraphy at all. Furthermore, "whether it is stone carving or ink painting, it is explicit." The dynamic situation, now just a quiet situation, now only stays in a quiet shape. To make a still person move again, you have to indulge in the activities imagined and experienced by the players, so you can expect it to reappear in front of you, so you will see the dynamic situation in the given shape. At this moment, you can not only get in touch with colorful elves, but also feel the rhythm of music. "(Shen" On Calligraphy ") This shows that calligraphy appreciation is positive and dynamic. Only in this way can visual image be combined with kinesthetic control, so that visual control can be transformed into kinesthetic control. If you want to write through calligraphy appreciation, you can only rely on this positive and dynamic appreciation to achieve it. Third, calligraphy appreciation is subjective. Since calligraphy appreciation is an artistic re-creation, it is bound to have the subjective color of the re-creator. The so-called "benevolent Leshan, wise people enjoy water" is a vivid expression of this aesthetic subjectivity. Calligraphy appreciation varies from person to person, with different tastes: some like the bold beauty of European style, some like the simple beauty of Yan style, some like the beautiful beauty of Liu style, and some like the beautiful beauty of Zhao Ti. Even the same person, with the changes of age, cultural accomplishment, practical experience and even mood, will have different aesthetic feelings for the same calligraphy work. This is a normal phenomenon in calligraphy appreciation. But this does not mean that there is no standard for calligraphy aesthetics; However, any art has certain aesthetic standards, so we can't unilaterally emphasize the subjectivity of calligraphy aesthetics and deny the universal objective standards of calligraphy beauty.