The specific introduction of the natural school of calligraphy is as follows:
The natural here is the "human being follows the earth, the earth follows the sky, the heaven follows the Tao, and the Tao follows nature" in "Laozi" That means. According to Taoism, artistic creation does not express the beauty of form, nor does it express the "goodness" of personality, but rather the natural beauty without artificial modification. It means that in the process of writing, you need your emotions to become natural, your language to become natural, and your aesthetics to become natural. The creator does not have a hard-and-fast purpose in mind when creating, which is a state of "non-heart".
Zhong Yao and Wang Xizhi are good representatives. People in the Wei and Jin Dynasties were influenced by Taoism, metaphysics and other thoughts. They began to believe in Lao-Zhuang's theory. The pleasure of enjoying the mountains and rivers has become an important part of the cultural life of the Wei and Jin Dynasties. Therefore, their works have become extremely "non-spiritual". The appearance of "Lanting Preface" fully embodies this natural beauty.
In calligraphy theory, there are similar words such as "like a cone drawing sand," "like breaking hairpin strands," "like a roof leaking horizontally," "like sealing mud," etc. to compare the characteristics of the brush. Such The metaphor does not mean the appearance of every stroke of the calligraphy, but allows everyone to understand the breath of life contained in the strokes, as well as the state of writing or the way of exerting force.
In addition, calligraphers will also know. Use natural objects to compare a certain calligraphy style. For example, Emperor Wu of Liang commented on 32 calligraphers from Han Dynasty to Liang Dynasty. Basically, they all used the metaphor of "someone's calligraphy is like XXX", such as "Zhong Yao's calligraphy is like clouds and swans flying in the sky." "A group of heroes playing in the sea" and so on.