Zhaogou of the Song Dynasty said in "Han Mo Zhi": "At the beginning, it is like eating the mouth, and the taste is less sweet in the throat. At the end, it is like eating olives. The true taste will become more and more with time, so it should not be forgotten in the heart and hand." Ming Xiang Mu in "Calligraphy" "Yayan" said: "Proclaim Ni's virtuous nature, his temperament is pure, and his atmosphere is neutralized. Stick to it to observe people, taste it to learn by yourself, be good at books and lessons, and you will get it." Chen Jieqi of the Qing Dynasty said in his "Yuzhai" "The love of calligraphy and painting is not as good as it used to be. The bronze rubbings are the first, and the flavor is the deepest, followed by the Stone Drum, Qin engravings, and ancient Han li rubbings." What they mean here is "flavor" , all discuss the calligrapher’s emotional issues. The gist of it is: on the one hand, calligraphers' emotions are inspired and emitted by one moment and one thing, which is their feelings and insights in many aspects such as understanding of life and thinking about life. On the one hand, calligraphers' emotions are not simply expressed in expressions of ecstasy or sadness, but in the ups and downs, slow and steady strokes. Emotion is the source of the calligrapher's motivation for creation and the calligrapher's specific state of mind, but it is not the final expression of calligraphy. On the other hand, calligraphers' emotions are hidden and complex. Calligraphers use their works to relieve and purify their emotions, which is a manifestation of inner activities. This kind of performance will also radiate different emotions depending on the appreciators. To express the "integration" essence of calligraphy, Tang Doumeng said in "Shu Shu Fu Yu Example Character Grid": "All kinds of tastes are wonderful." Xiang Mu said in "Elegant Words on Calligraphy": "There are old and young books, and they are different in depth. Although the power is different, the principles are the same. ... The so-called young ones are full of energy, elegant and elegant, with various flavors and thousands of styles." . Kang Youwei said in "Guang Yi Zhou Shuang Ji": "I love Han calligraphy very much because it is between seal script and official script. It is simple, majestic and majestic, and the ancient spirit is not yet vivid. After the death of Huan and Ling, it has become more ancient. "The taste is very thin." What they emphasize here is that the art of calligraphy must achieve the integration of multiple elements. "Integration" is impregnated with traditional philosophy and artistic aesthetic wisdom; the highest pursuit of traditional humanistic spirit is the harmony between heaven and man, highlighting the integration and inseparability of man and nature, emotion and scenery, subject and object, mind and nature. As far as the art of calligraphy is concerned, we should learn from others and absorb a variety of nutrients to continuously enrich, enrich and achieve ourselves. Calligraphy in the Wei and Jin Dynasties was good at integrating models. At that time, various calligraphy styles were complete and mature, and the interaction between calligraphy styles greatly enhanced artistic expression and appeal. Aesthetic consciousness also tends to be independent and perfect, consciously integrating temperament, magnanimity and style into creation, emphasizing the unity of emotion and reason in creation, advocating the balance between hardness and softness, and the richness of bones and flesh. In order to oppose the soft and weak calligraphy style, calligraphers also consciously introduced aesthetic styles such as "bone" and "strength" to highlight the complementarity and integration of "masculine" and "feminine". Of course, this kind of "integration" is harmonious but different. It has both integration and independence. There are differences among the same and similarities among the differences. This is the essential connotation of "integration".
"Taste", which expresses the key point of "enlightenment" in calligraphy, can also express the realm of "enlightenment" in calligraphy. Zhang Huaiguan said in "The Theory of Pingshu Medicine and Stone": "Therefore, great skill is like clumsiness, understanding is like ignorance, and general reading is like Mixed with ignorance and wisdom, the taste will frighten the mind. Hundreds of spirits are as before, and all phenomena are in sight. "He also said: "The emperor must follow the virtuous and noble way, and he also invites false reputations to cover himself up, and the sound is half true. It is enough to be called a virtuous king. Those who know the taste will enjoy it." Kang Youwei said in his "Guang Yi Zhou Shuang Ji": "There are many kinds of writing, endless changes, and the integration of the surroundings will create a unique style." Scholars can be proud of themselves.” Among them, “sense of study”, “tao flavor” and “charming flavor” emphasize that calligraphy must “experience Tao” and “understand Tao”. "Tao" is the core category of calligraphy aesthetics. Although its value orientation is complicated and profound, it is in line with the laws of the movement of heaven and earth and the changing characteristics of things. It follows the flow of nature and is suitable for the people. It is not enslaved to things or restricted by things, so as to realize the realization of human beings. of spiritual freedom. To this end, calligraphers should use a clear and emptied state of mind to appreciate the endless life and cycle of the universe; appreciate the principle of the endless movement of things and the mutual transformation of opposites, use the great nature to transform the divine into the subtle, cultivate and temper their own souls, and free themselves from everything. External restraints, freedom and freedom, without utilitarianism, can transform everything in the mind into pages with vivid pen and ink, vivid colors and fragrance.