Once a calligraphy work is produced, its artistic value already exists objectively, and its artistic value depends entirely on the aesthetic level of the appreciator. The artistic value of the same work remains unchanged, but only changes because of the change of the appreciator. The appreciation of professional calligraphers is one level, and the appreciation of non-professional lovers is another. As the saying goes, different people have different opinions. This shows that the degree of appreciation of beauty is different due to the influence of many factors such as different aesthetic knowledge and changes in the environment of the times. There are many reasons for this, so the author has been talking about some feelings about appreciation by studying books and classics for many years.
First, the art of calligraphy is different from natural science.
Calligraphy appreciation cannot be analyzed and proved by formulas or definitions like science. For example, there is only one answer to the question 1+ 1. No matter how many people count, the result is the same, but calligraphy is not. The same calligraphy work is appreciated by countless appreciators, but the artistic feeling obtained is countless aesthetic results, with uneven height.
Second, the audience's aesthetics are different.
When enjoying every book at the book fair, I often hear such words: this one is not good, that one is ok; This one is good and that one is not. Just like eating fried stinky tofu in the night market, people who like to eat it feel fragrant, and people who don't like to eat it feel stinky and feel completely different. This is a typical aesthetic choice made by personal hobbies and interests.
Simply put, the appreciation of calligraphy art is nothing more than a question of good or bad, beauty and ugliness. If two people hold their own opinions and appreciate the same calligraphy work, they can even argue for three days and three nights because of their different hobbies. No one can convince anyone. The difference between hobbies and interests is directly related to knowledge, cultivation, temperament, environment, status and times.
Third, there are many places in the aesthetic field of calligraphy art that are difficult to distinguish.
In the process of appreciation, it is difficult to define aesthetic expression and its tendency. For example, bold and unconstrained, thick and clumsy, broad and generous, simple and plain, nervous and bold, smooth and smooth, and so on. These words all mean appreciation, which leads to the disparity between the advantages and disadvantages of appreciation, and it is difficult to have an accurate boundary between appreciation and reading.
Fourthly, because the appreciators have different interpretations of calligraphy art, their appreciation depth is also different.
This is very important for the interactive communication of the audience. We often say, "experts watch the doorway, amateurs watch the excitement." Another example is watching a chess game. The audience may not understand the appearance of "wonderful". When the level is high, it will be amazing immediately. If the degree is slightly lower, you must think clearly before you can understand; And the poor, you have to look at a few steps to gradually understand; No matter how bad the audience is, I'm afraid I won't understand it in the end. Another example: Su Dongpo once joked in the Song Dynasty: "Calligraphy in the Yellow Valley is like a dead snake hanging a winter tree"; The yellow valley is called Su Dongpo's word: "It's called stone breaking toad". The real meaning of the calligraphy drama between them is impossible for ordinary people to understand. In addition, I recently went to an oil painting teacher's house. In the conversation about painting, my husband said something very intriguing: "I am almost seventy years old, and I still know how to use colors." This sentence also made me think for a while. Imagine that from the day he began to learn oil painting, he was constantly exposed to color. Is it true that he can't use color until now? Therefore, the understanding of calligraphy art determines the aesthetic level of the appreciator.
From the above analysis, we can see that the appreciation of calligraphy art is absolutely different because of various factors. Apart from the above factors, is there a relative but not absolute unified appreciation standard and principle? I think there is, just like the pendulum of a clock, there is a relatively stable space value between the maximum left and right swings, which is a relatively recognized standard.
Wang Sengqian, a calligrapher in the Southern Qi Dynasty, once said, "The wonderful way of calligraphy is that spirit comes first, followed by form and quality, and those who have both can beat the ancients ..." This passage actually reveals the dialectical relationship between form and spirit in calligraphy creation. Both form and quality are aesthetic activities on paper, which are material and superficial. It includes form, composition, structure, stippling, ink color, weight, urgency, signature and seal. Spirit is the author's expression of his temperament beauty through form and quality, which is spiritual and conscious. It includes the knowledge accomplishment, psychological emotion, aesthetic tendency and vivid charm that calligraphers pour into their creation.
The following author makes a detailed analysis from two parts: form, quality and spirit, so as to facilitate the elderly students to appreciate calligraphy.
First, form and quality reflect the spirit.
We appreciate calligraphy not only to appreciate the artistic beauty, but also to appreciate the natural expression of the author's creative mentality and temperament. The actual creation of calligraphy provides an interactive platform for the appreciator to exchange calligraphy skills.
1, the formal scale should be created and used appropriately.
When you appreciate a calligraphy work, the first thing you see is the form of the work. Whether the ruler is used correctly will directly reflect to the viewer whether the appreciation will continue. For example, a four-foot long vertical strip is very suitable for making vertical banners. If it is used to create seven-character couplets, it will appear that the paper width is small, and there are more blanks on both sides of the main content of the upper and lower couplets, which is not commensurate with the size of the main content words; If you create five-character couplets in this way, the aesthetic effect will be different, the main content and overall scale will be more suitable, and the ratio between the width of paper and the size of words will not be out of balance; If you want to create a seven-character couplet, the width of the upper and lower couplets should be reduced by 5 cm, or the width should not be reduced, or the length of the couplet with the same width should be increased, that is, 1 foot or 2 feet should be extended on the basis of the length of four feet, so that the creation aesthetics of the two lengths are completely different from the original. If more attention is paid to the use of color propaganda and gold propaganda, the effect will be better.
2, the composition layout should be dense
Appreciating calligraphy works, apart from the formal scale, the layout of the composition is the most impressive. Take the composition of six-foot banner as an example to create cursive script. First, the number of lines, spacing and length of inscriptions should be determined according to the number of words. Write eight five-character poems, with 40 words divided into three lines, the third line is reserved for the position of signature and seal, and then the 40 words are divided into two and a half lines as the scale of creation. It is necessary to give consideration to both blank space and density. The ancients said: "Horse racing is airtight, sparse and not leaking." This blank space is the "ventilation hole" of the whole work, just like building a house, there must be windows outside the door, and blank space is the "window".
3. The change of writing style should be rich and focused.
The beauty and ugliness of a calligraphy work is directly related to the fineness of its pointillism. The strokes should be put in place and collected, and there should be no unfinished feeling. The lead between them should be natural, the lines should be healthy and round, and the thickness should be moderate, so that the nuances of strokes can better reflect the richness of strokes, promote the whole line to be scattered and orderly, and make the changes of structural strokes have their own characteristics. Strewn at random, such as helping the old and carrying the young; Strewn at random, if the scenery is flying; Magnificent as the halberd of a strong man; If you are peaceful and loyal to the elderly; Xiongqiang Feilong leaps into the sky, and the tiger lies in Fengge; Wu Qingli is elegant, like a beautiful girl who scatters flowers and golden flowers everywhere. Such a knot can fascinate the viewer.
4. The overall ink color change should be natural.
Dong Qichang, a painter in Ming Dynasty, should be the first person to introduce the change of ink color into the field of calligraphy art and use it freely. He successfully applied the concepts of shade, dryness and shade in painting to calligraphy, and changed the habit of using ink in the previous dynasty. The thick part is very thick, the light part is full of ink, and the white part is dry but not dry, which makes the whole work memorable. After Dong Qichang, the change of ink usage reached its peak. As Wang Duo in Qing Dynasty, the biggest difference between him and Dong Shi is that he used ink color changes in conjoined characters. He used skillful cursive brushwork to express his personal temperament, from rough brushwork to Bai Mo, as well as brushwork with bones and flesh, which made the appreciator follow Wang Duo's brushwork and the pen follow the dragon and snake. Wan Ru entered the poetic color of ink and wash.
Second, spirit determines form and quality.
The creation of each calligraphy work exhausts the aesthetic tendency of the calligrapher's best mentality at that time, allowing the appreciator to appreciate the calligrapher's knowledge, aesthetic charm and inner feelings through the pen and ink between the lines, which is the charm of the work. Let's talk about the appreciation of spirit and charm from three aspects.
1, knowledge literacy
The accumulation of knowledge and self-cultivation is necessary for every calligrapher, especially the knowledge of calligraphy, such as calligraphy philology, calligraphy philosophy, calligraphy theory, and the use of pen and ink. , directly affect the development of calligraphy level. For example, when appreciating a work, if there are "hard-hurt" typos, white characters or simplified characters and traditional characters, its artistic content will be greatly reduced, even if it is done well in other aspects. Not to mention the sense of beauty, so generally speaking, the creation of calligraphy works must use traditional Chinese characters, and must not use white characters, let alone simplified Chinese characters, because this rule is established and recognized by the calligraphy circle. The reasons for this result are ignorance of philology and nonstandard writing, and the elegance of content selection also directly affects the emotional interaction of the audience.
2. Aesthetic trend
To appreciate calligraphy works, we should not only pay attention to the appreciation of knowledge and accomplishment, but also appreciate the aesthetic consciousness between the lines of the author, such as elegance, simplicity, boldness and beauty. Through the natural expression of its stippling style, the aesthetic feeling is all presented, such as falling rocks, falling clouds, turning opposite, turning the same side, folding the hairpin and so on. Give people room for imagination, enjoy beauty and create aesthetics.
3. Vivid charm
The vivid artistic expression of artistic charm comes from the richness of brush strokes, the change of structure, the use of ink and shade, especially the relationship between words and lines. On the basis of skillful brushwork, the spirit follows the pen and the rhyme comes from the meaning, plus the use of shade and dryness, the rhythm of priorities and the rhythm of ups and downs. For example, there are three words "Shen, Zhong and Qian" in a work, and each word has a long and vertical main stroke, which can be used to write long. But in a work, long lines can only be used in two places, one is long and the other is short, the other is straight and oblique, and the other is thick and light. There are already two highlights (wonderful parts or wonderful strokes) that can be used in front. It would be nice to use the long vertical lines of the characters again. Can not bring beauty to the whole work, but also reduce the original artistic content of the work. If the word "thousand" is exchanged with the word "thousand" in the first two places, the word "zhong" will be grassed and changed to the performance display of "thousand" In this way, with the strengthening of the relationship between the upper and lower parts of the whole work, the aesthetic charm also reflects the flowing aesthetic feeling of "small bridge and flowing water" and the strength aesthetic feeling of "getting into the wood and bending over", giving people the perfect embodiment of "essence, spirit and qi" in order to achieve the lofty realm of eternal charm.