Appreciate the collection of calligraphy quips
It is generally believed that the evaluation of a book should be considered from the following three aspects, namely, the aesthetic elements of calligraphy art: using a pen, tying words and composing a composition. Of course, from a higher level, the aesthetic elements are qi, spirit, rhyme, emotion, overall style and artistic conception. That is, the so-called "force" and "sex" and "force" refer to skill and skill, that is, the grasp of strokes, structure and composition of a certain statute. "Sex" refers to temperament and style, that is, interest, sentiment, knowledge, cultivation and feelings entrusted to it. Starting from the beauty of the line itself and considering the combination beauty of the line, starting from the point, line and surface. However, the benevolent loves mountains, while the wise enjoy water. I will extract some famous sayings of calligraphy appreciation from ancient and modern calligraphy to entertain friends in the calligraphy field.
Wang Xizhi said, "If you lose a little, if a beauty loses an eye. A lost painting is like a strong man losing an arm. Don't be careless "Emperor Taizong praised Wang Xizhi's words" Smoke is clean and dew, if it is broken, it will pass ",and praised Wang Xianzhi's words:" If you are surprised, if you are graceful, if you are Youlong ","God and light are on and off, and it will be clear at first sight ". Wang Xizhi, who is known as the "sage of books", has beautiful and elegant calligraphy, but some people say that his works are "beautiful but lacking in spirit, without awe, without vivid images" and "talented as a girl, without the spirit of a husband".
Emperor Wu of the Southern Dynasties commented on Zhong Garlic's calligraphy "Like a cloud, a magpie swims in the sky and plays in the sea", and Wang Xizhi's calligraphy "Like Yue Long in the sky, a tiger lies in the wind valve"
Zhang Tang Huaiguan called calligraphy "silent voice, invisible image" in On. "All books can be called books if they want to be ten quick and five urgent, ten curved and five straight, ten hidden and five out, and ten liters and five volts." He also said: "every horizontal painting is like rows of clouds arranged;" Every move is like a crossbow; Everything you do is like a falling rock; Make a discount every time, such as bending steel jun; Every time you pull, you are like a dead vine; Every indulgence is like a sudden interest in walking, and the rhythm is self-evident.
Sun once pointed out in "Book Score": "Bo Ying is not true, it is a little messy, and the yuan is often careless, which makes it vertical and horizontal. At first glance, it is a bit awkward. If you do it, you will hide. " "Grass takes stippling as emotion and transforms it into form."
Mi Fei, one of the four great calligraphers in the Song Dynasty, said: "Although Liu Gongquan is far behind Europe (Yang Xun), he is the ancestor of ugly and strange books, and there have been vulgar books since Liu Shi." He also said: "Liu Heou is the ancestor of ugliness, strangeness and evil …" and "Yan Lu's handwriting can be taught, which is really vulgar"; Mi Fei also said humorously in the Song Dynasty: "Shen Liao typesetting, Cai Xiang having fun, Su Shi painting, Huang Tingjian describing, and he brushing himself."
In the Song Dynasty, Zhu said: "Only the public (that is, Yan Zhenqing) combines the principle of bad seal, carefully divides virtue, lets go without flowing, and catches without being clumsy, which is good." He commented that Europe is "outstanding in the present, famous in the early Tang Dynasty, and inherited from the ruler's calf. People think that's the law, even though Emperor Rong admires it.
The sound of it. "Think about Ou Yangxun's regular script, which is" thick fiber, inflexible, and there are
Honest people enforce the law and welcome the wind of Zheng Ting; For its wonderful stippling, precise meaning, no.
So is Shang Yi. "The evaluation of Liu Gongquan is" extensive classics, books and lines are all wonderful products. "
The most important thing is that grass does not lose energy, and its method is built for beauty, but it is vigorous and rich, hence the name.
Go home. "He also said:" At that time, he didn't write the epitaph of the minister's family, and people regarded their descendants as unfilial.
When foreigners go abroad to pay tribute, they all list the goods as North Japan:' This is a willow book'. "
Su Shi once said: "storytellers also talk about their own life experiences;" If it is not a person, it is not expensive. He also said: "Books must have God, Qi, bone, blood and flesh, not necessarily books." Put God first.
In Zhao Mengfu's Thirteen Postscripts of Lanting in Yuan Dynasty, it is said: "It is not easy to use a pen through the ages."
As a representative of the tablet school, Kang Youwei strongly advocated the northern tablet and praised the beauty of Weibei, saying that "it is better to have no tablet in the northern Wei Dynasty". However, the calligraphy of Dong Qichang, a calligrapher who is famous for his beauty, has been strongly criticized and belittled. "The bureau is like a pony, and it is as timid as a three-day bride." Mr. Deng Shiru said: "It's wonderful to count white as black without pen and ink." Bao in Qing Dynasty also said: "The sparse place can be used for painting and calligraphy, but the secret place can't be used." "Always regard white as black, and curiosity comes out." Liu Xizai said: "The composition of a book is big and small, as small as a word to a number, as big as a line to a few lines. From one picture to several pictures, there must be a wonderful way to avoid each other and correspond to each other. Every stroke of the book must be firm, the body must be dangerous, and the composition must be changed and consistent. "
The ancients said: "Active asexual, lifeless, reactive and untrue". "Poetry is expensive, painting is expensive, books are expensive, and learning is expensive."
Guo Moruo commented that his calligraphy "has its own style,' melting in one furnace, making the heart and wrist meet, simple but informal, free and easy, far surpassing the Song and Tang Dynasties and climbing the Wei and Jin Dynasties". Mr. Guo Moruo also said: "Forming rhythm" is always inseparable from two very important relationships, one is the relationship between time and the other is the relationship between strength. "
Mr. Zhang Zongxiang described: "Based on who you belong to, anyone who disagrees will be abolished, which is also a shortcoming of narrowness. If you talk about it, you can talk about it in secret. " "Those who study steles talk about it, those who study steles are ill and detained, and those who study steles are debauched in the south."
Shen, a great calligrapher in modern times, said in On Calligraphy: "Whether it is stone carving or ink painting, it is always a static situation, but it is the result of action. The original gesture, now only the static form is left through the work. If you want to make the still people move again, you must indulge in the activities imagined by the players in order to expect it to reappear. Therefore, in the established form, you will see the uncertain trends communicate vividly. At this moment, you can not only find colorful elves, but also feel the rhythm of music. This shows that calligraphy appreciation is active. Only by spreading the wings of imagination and association can the visual image be combined with the dynamic image and the appreciation of calligraphy be realized. Mr. Yin, a modern calligrapher, said: "The world recognizes that China's calligraphy is the highest art, because it can show amazing miracles, colorless and colorful, silent and harmonious with music, attracting people's appreciation and refreshing. "
Best friend Ma Zonghuo's Chronicle of the Book Forest says, "Ask about the ancient tablet, gold and works. I stayed in Ma Guanzhi for a long time and then left. After hundreds of steps, I got off my horse and stood, tired of sitting and watching. I went for three days because I lived next door. "
Mr. Lin Yutang put it well: "China's calligraphy is the foundation of China's aesthetics. Studying China's architecture will further show all its significance".
Mr. Qi Gong has an incisive explanation for this: "There is a kind of abnormality in brushwork, which is beyond the reach of temporary writing. In other words, there is often a setback between oblique strokes, such as a knot in bamboo. Moreover, in a line, the frustration of each word is often in the same position as a straight line. For example, every line draws a line through it on its setbacks, and its line is very straight. And between the lines, the distance between the lines is quite even. On one side of this line, the paper color is often stained, while on the other side, the paper color is clean. When Gai writes, the paper is folded into a line, and the previous paragraph is still written in the grid. After that, the strokes are gradually released and the words are gradually enlarged. He often writes on creases. For example, when he wrote a fan, the convex edge blocked the pen, and it became a bamboo knot, which was also an unintentional setback at first. If it is not worth a trip to the convex edge, it is fair, and there is no such setback. When the back is not installed, it will also rub the stains on the paper. There are still traces of broken lines in the Tang Dynasty white linen cursive "On the Law to Jing Zong" unearthed in Dunhuang today. Knowing this, you will be frustrated by the different shapes of bamboo joints. "
Mr Zong Baihua said: "China's calligraphy is written by the center. The sun shines on the back, and there is a black line in the middle, which is slightly light around. It is called' cotton-covered iron' and has a three-dimensional effect. "