(b) Local analysis
Composition is to see the impression and effect of calligraphy works as a whole. Including the relationship between the text of calligraphy works and inscriptions, branches and cloth, inscriptions and seals. But on the whole, the effect is composed of local and single words and lines. If the words and lines of a single part are not beautiful, then the beauty of the whole cannot be discussed. It should be said that "a single line is beautiful, and if it is well combined, it will achieve higher beauty." This paper discusses "local analysis" from three aspects: character division, brushwork, ink method: 1 and word method. The Chinese character method is the structural arrangement of Chinese characters, that is, it is an ideal Chinese character method to "draw dots to form Chinese characters" through the processing of violating harmony, orthography, density, increase and decrease, front and back, tightness, smoothness and avoidance. Calligraphers have always listed the structure of words as the most important factor in calligraphy skills. Because no matter how beautiful the composition is, it is only a matter of form. If the text structure is not good, it is difficult to call it a good work. Sun in the Tang Dynasty said: "Several paintings are painted at the same time, and all the points with different shapes are listed as good figures and good children together. A little bit becomes a rule of a word, and a word is the final rule. If you violate it, you won't make it again, and it will be different. Its subtlety lies in pointing out that every word should follow a law: violation and harmony. We should seek the unity of the whole in complex changes. China's Chinese characters have changed several times, and all kinds of calligraphy styles have their own structural rules. Previous calligraphers have discussed the structure. As calligraphy appreciators, we should learn and master these laws. Only by applying these laws can we make a correct evaluation of calligraphy works. For example, regular script, including Ou Yangxun's Thirty-six Chinese Characters Method in Tang Dynasty, Li Chunjin's Eighty-four Chinese Characters Method in Ming Dynasty, and Huang Ziyuan's Ninety-two Regular Script Frame Structure Method in Qing Dynasty, are all good reference materials for study. Wang Xizhi's Preface to Lanting is an excellent model for studying the structure of running script. Song of Grass Rhyme written by Song people is also widely circulated by later generations. Generally speaking, there are more elements of "violation" in cursive script and more elements of "harmony" in Kaili seal script. However, we cannot generalize. In modern times, some people emphasized "expressing feelings and aspirations" with grass method, which greatly reduced the composition of "harmony" and had the characteristics of the times. The so-called "it is not easy to use a pen through the ages, and a thousand words are handed down from generation to generation." The so-called "ugly book" in the modern "popular book style" also pursues a word-formation skill of "seeking unity from various contradictions and creating certain contradictions from unity", with various artistic forms and rich word-formation changes, which makes the works present new visual effects. Although there has been endless debate so far, as an attempt, we might as well let the appreciator make a choice in the debate instead of killing him with a stick. When we appreciate it, we should examine and evaluate it from many angles, so as to enrich and improve our appreciation skills. 2. brushwork. Literally, it is a kind of brushwork. From the perspective of calligraphy appreciation, it should be to write standard stippling with the right pen. Stippling naturally changes with the style of the book. However, all the book reviews through the ages believe that "any pen (line or stippling) that can give people aesthetic feeling should be powerful". This power is called "brushwork" in traditional calligraphy. Judging whether stippling has "pen power"-that is, the aesthetic conditions of calligraphy lines-is mainly based on "roundness" and "astringency". A circle is a three-dimensional concept, not a plane. The rounded lines are full and powerful, with a sense of relief, which can show the power of full and rounded power. Round lines are the result of using a pen in the center, that is, the strokes written by the ancients that "make the pen center move in stippling and make the pen center emerge from stippling." Looking at the sun, there is a thick ink in it. "That is, the ancient metaphor of" broken hairpin ","painting sand with a cone "and" Yin Yinni ". If the pen is tilted to one side (pointing to the end), the lines (stippling) written are flat and thin, floating and light, and there is no beauty at all. Let's talk about "astringency". It's not slippery or slippery. The pen for writing is an artistic effect that lines break through the resistance of paper and strive for progress. The pen tip encountered obstacles and resistance on paper, but the pen moved slowly. The more fully obstacles and counter-obstacles are displayed, the more lines can show their sense of strength. As the predecessors said, "leak mark" is not only round, but also astringent. Because the water leaked from the house flows down the wall (earth wall), it is not like there is no resistance on the flat and smooth glass, but there is resistance of sand and ash on the rough wall, which makes the downstream waterline produce water marks that are left or right and straight in the middle, which seems to be stagnant, just in line with the performance of calligraphy lines. " "Round" and "astringent" are also intrinsically related. The circle is the pen used in the center, and the astringency also requires the nib to stand upright, artificially creating a contrarian astringency. The ancients said that "horizontal scales are vertical", which means that writing horizontal scales should produce certain resistance like scraping fish scales in turn; It is an advantage to write a portrait of riding a horse and struggling forward, but controlled by reins. Liu Xizai said, "You have to do something. If you refuse, you will try your best to argue with it, and you will be unexpectedly unhappy. "Such lines are not slippery or light, but have a calm, dignified, vigorous and old-fashioned effect. In addition, the rhythm of calligraphy lines is also one of the important conditions for evaluating and appreciating works. The rhythm of calligraphy lines, like the length and speed of notes in music, cannot be directly described. It is reflected in calligraphy, not only in the length and thickness of lines, but also in the speed of strokes. No matter what kind of writing style, raising the pen is not a "uniform" action, but the speed of raising the pen is adjusted according to the writer's mood and the requirements of the composition, so that the appreciator can be infected by the writer's mood from the work. Of course, all kinds of books have their own specific rules and standards. As "Book Score" said, "True stippling is a form that makes it emotional; Grass takes stippling as its emotion and turns into shape. "Whether you study or appreciate calligraphy, you should learn and master these standards and laws. You should not only distinguish between priorities, but also be able to use them flexibly in order to enter the hall of calligraphy appreciation. 3. ink method. Ink painting is the skill of using ink. It is an important topic in the art form of calligraphy. " Scripts and pens are made of ink ","Meat is made of ink and blood is made of water ". Without the change and coordination of ink color, the effect of using a pen is difficult to achieve. Words lack flesh and blood and have no life. Therefore, Bao in Qing Dynasty said: "Calligraphy is based on pen and ink, and ink is a key to calligraphy. "Tang Sun said to him," If it is dry, it will be dry. " He also pointed out the main points of using ink. Dry, moist, thick and dry are contradictory laws. Don't use too dry ink, too many dry pens will dry; Don't have too much water, too much humidity will make you fat and muddy. In Du Fu's poems, it is said that "dripping ink" is an ideal ink. Even after many years, it seems that it has just been written, and its vitality is indelible. "If you don't use ink well, it's easy to dry when it's thick, and it's nearly thin when it's light. They were flooded and lifeless in a few years. "Ink can be roughly divided into five types: thick, light, dry, wet and burnt, but the difference cannot be too big. It is the ideal ink to write the characteristics that make people feel extremely rich and keep "moist" in the seemingly unchanged ink color.
Several specific problems in calligraphy appreciation when editing this paragraph
As a calligraphy connoisseur, in addition to the above points, we should also pay attention to several specific issues, which are summarized as follows:
(A), stable attention
Calligraphy appreciation should give full play to the role of "attention". "Attention" is to put the will on a certain aspect, and it is the direction and focus of psychological activities on certain things. When people concentrate, they can clearly observe and reflect what they are pursuing and stay away from other things, which is a positive state of psychological activity. It is restricted by people's personality, interests and beliefs. When appreciating calligraphy, a series of psychological activities, such as feeling, thinking, understanding and imagination, must be concentrated on the work in order to maintain the stability of attention. We can glance at any work and even comment on it, but this is not real appreciation. Art appreciation needs a period of feeling, thinking and understanding, so as to speed up the operation of psychological activities, especially works with great artistic capacity, which need to be watched and pondered repeatedly to gain something. It is recorded in the Song Dynasty's "Continued Book Break" that once Ou Yangxun traveled to read the inscription written by Suo Jing, the first time he read it roughly, and the second time it was out of date. First of all, he sat down and tasted it carefully, and the more he looked, the more delicious he felt. He simply settled down and stayed by the monument for three days and nights before he was willing to leave. This is enough to show that a good work can only appreciate its profound artistic connotation if it is carefully watched and tasted. This story is also an excellent example of "stabilizing attention".
(2) Appreciate the original works.
To explore the beauty of calligraphy and improve the level of appreciation, we must read more original works, because printed works are mostly reduced from large original works, and works of one meter or several meters are reduced to only a dozen centimeters or several centimeters, which is often distorted. Just like the comparison of photos of real scenes and landscapes, it is impossible to experience the feeling of walking into real mountains and rivers from a photo of landscapes. In the face of the original calligraphy, we can not only observe it from a distance, but also appreciate it carefully, and the changes of ink color in brushwork can be clearly displayed in front of us.
(3) Read more books
The improvement of calligraphy appreciation is inseparable from the improvement of knowledge and experience. If you want to improve the level and level of appreciation, you must have the support of learning in many aspects, such as philosophy, literature, history, aesthetics, music, dance, painting and so on. Because calligraphy is not only profound in content, but also interlinked with the aesthetic principles of other art categories. The so-called "external work", "external work in painting" and "kung fu is outside the book", among which reading more is very important.
(4) Calligraphy creation practice
To appreciate calligraphy, we should not only learn calligraphy, but also practice calligraphy creation by ourselves. Only calligraphers can keenly feel the implicit beauty in calligraphy works, just as only poets can feel the unspeakable and shocking subtlety in poetry. Without profound creative experience, it is difficult to get the most profound meaning in the book. The above is just about the basic laws and methods of several main aspects in calligraphy appreciation, aiming at providing some reference for the elderly students who study calligraphy. These so-called method laws are very specific, but they are abstract principles in essence. It doesn't have specific tools and means like the quality inspection standard of industrial products, which is also determined by the characteristics of calligraphy art. Therefore, the understanding and mastery of this evaluation and appreciation standard is related to the depth of the viewer's contact and understanding of calligraphy, to his calligraphy attainments, and to his knowledge cultivation and personality temperament outside the words. As for the deeper appreciation of calligraphy, further discussion and research are needed. In the teaching of calligraphy in universities for the aged, students often ask such questions: "So-and-so is a master of calligraphy, how can his handwriting be so good?" There is a person in our unit who has never graduated from primary school, and his handwriting is better than that of a calligrapher. Of course, problems like this will not be without special circumstances, but generally speaking, the handwriting of a calligrapher will never be worse than that of a person who has not graduated from primary school. There is a relationship between "writing" and "calligraphy", which also shows the deviation of old students' ability to understand and appreciate calligraphy works. In order to improve the appreciation ability of calligraphy for the elderly college students, the author talks about how to appreciate calligraphy works without superficial, and looks forward to your advice. Many calligraphy lovers often talk about or evaluate a calligraphy work or exhibition. Whether this discussion and evaluation is pertinent or not represents a person's level of understanding and depth of understanding of calligraphy, and reflects a person's cultivation of calligraphy art.