Line: The line of calligraphy can be said to be one of the most important factors of calligraphy. Even in modern times, many people think of calligraphy as "the art of lines" when they mention it. Lines are indeed extremely important to calligraphy. It can even be said that the quality of lines directly determines the quality of calligraphy works. A person with a high level of calligraphy accomplishment can basically judge the level of calligraphy based on the lines of calligraphy. Some connoisseurs and framers can even judge the quality of calligraphy works by looking at the reverse side of the work. High or low, this mainly depends on the quality of calligraphy lines. Generally speaking, the lines of calligraphy should comply with the following basic principles: the lines should be full, strong and powerful. No matter how thick or thin the lines are, they should be felt powerfully. The quality is quite high and the solid basic skills can best be seen. The lines of calligraphy should be smooth but not slippery, slow but not stiff. More advanced lines should have the state of "steel refined over a hundred times and become soft around the fingers", that is, they may seem soft and weak, but their strength is hidden deep inside. They can be both soft and hard without mercy, and their inner qualities are close to what the ancients called "Long live the withered vine", only this can be considered a real, high-quality calligraphy line.
Structure: We have talked about the importance of lines in calligraphy above, but we cannot say that calligraphy is the art of lines, because, in addition to calligraphy, strictly speaking, Chinese painting is also the art of lines, so the minimum requirement of calligraphy The unit should be a structure. Because of the unique structure of calligraphy, there is a unique art of calligraphy. Therefore, the structure of calligraphy should be the smallest unit of calligraphy and one of the most important parts. The general standard of calligraphy structure should be horizontal and vertical, and the structure should be stable and serene. This horizontal and vertical position has a lot to say. We can never understand it as "physical" flatness and straightness. One of its horizontal lines may be straight or "not straight." A line that is not straight is straight if it matches the strokes below and above. It is an overall structural straightness and overall stability. Therefore, the structure of calligraphy, like all things in nature, is an organic whole and dynamic balance. This is something we need to pay special attention to if we want to improve our calligraphy creation and appreciation abilities.
Organization: The organization of calligraphy is the most important factor in the criticism of a calligraphy work. Why? Because although the completion of calligraphy works requires the process of stippling, lines, and structure, the first thing people see when appreciating and criticizing is the overall calligraphy and the composition of calligraphy. Therefore, composition is the most important aspect of calligraphy criticism. The links must be paid attention to. The most basic principle of composition is balance, a kind of harmony, which consists of multiple unbalanced and balanced parts to achieve an overall and large balance. Specifically, it is the relationship between the stippling and structure of Chinese characters and each line of the work, including the signature and seal, that constitute a complete calligraphy work.
Using the pen: The ancients talked a lot about the theory of using the pen, which shows its importance. Ancient documents include Ouyang Xun's "On the Use of the Brush", Zhang Huaiguan's "Ten Methods of Using the Brush", Yan Zhenqing's "Review of Zhang Changshi's Brushwork", Liu Gongquan's "Pair of Brushwork", etc., all of which have relatively detailed discussions on the use of the brush. But no matter how complicated it is, Zhao Mengfu's sentence: "It is difficult to use a pen through the ages, and the knots are passed down from time to time." It can reveal the "secret" and is most useful. Why "using a pen has been difficult through the ages" is because, no matter what font you use, as long as you master the point of using a pen as a center, the problem of using a pen is basically solved. The center's pen will produce the so-called line effects such as tens of thousands of millimeters of force, penetrating through the back of the paper, cone drawing of sand, printing ink mud, and roof leakage marks.
Although the center is extremely important, it is impossible to be an absolute center. It is also necessary to use the side forward. The side forward is the secondary part of the brush. This kind of brush is especially used in Wei Bei's square brush. Therefore, the mutual application of centers and side forwards in different calligraphy styles is also different. Except for the center and side brushes, other methods of using brushes are basically not the proper style of calligraphy brushes.
Using ink: The use of ink seems to be the simplest aspect of calligraphy. Previous studies on this aspect have not been much compared with other aspects. However, the use of ink is actually the most difficult and shows the most skill. of. On the one hand, because Chinese calligraphy aesthetics is influenced by the spirit of traditional philosophy, "simplicity" is its highest external pursuit. Ink, although "ink is divided into five colors", its changes are very subtle, and it is difficult to grasp its subtle changes without considerable calligraphy training. On the other hand, many excellent works in ancient times have not been handed down with ink marks. For example, the classic works of "Er Wang" are all copies and woodcuts. Moreover, a large number of regular script and seal script works are carved on stone cliffs as carriers. Therefore, the ink color changes are often overlooked.
There are generally several types of ink used: thick ink, light ink, moistening ink, thirsty ink, swollen ink, dry ink, and white ink. In short, the ink used should be full of variety and natural without any trace of artificiality. Of course, different fonts also have different ink usage methods to consider. Yongyin: The two biggest functions of Yongyin are "seal" and "filler". The former is mainly used as confirmation of the writer and is part of a complete calligraphy work. The latter is mainly a supplement or remedy for calligraphy works, and is a supplement other than writing to make calligraphy works harmonious and complete (appreciation seals and collection seals are not included here). The basic principle of using seals is that the seal must be placed under the name signed, and the size of the printed surface generally does not exceed the size of the signed name. Idle seals (used as fillers) cannot destroy the overall effect of the work, and cannot be printed too much to overwhelm the work. In short, the use of seals should be simple and the icing on the cake.
The above briefly introduces the "technical layer" of calligraphy criticism from several aspects. Although this can be called the "material" aspect of calligraphy, it actually also contains many "perceptual" factors and cannot be mechanical. , to understand and grasp rigidly. Some people think: "Criticism of calligraphy in the true sense will never be a simple personal affirmation or denial at any time, but includes historical thinking."