The idea of "the integration of painting and calligraphy" originated from Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties in Tang Dynasty. In his view, the beauty of calligraphy and painting lies in "bone method" and "pen use": "The image of a husband must be shaped, and the shape must be full of backbone, and the backbone is similar. All this is based on the idea, which depends on the pen use. All shapes and bones are attributed to "using a pen". Zhang Yanyuan said, "Anyone who can't see the trace of a pen can't be called a painting. Splash ink is not a painting, but also because I don't see a pen. Zhang Yanyuan regards "brush strokes" as the most basic element in his paintings.
By the Yuan Dynasty, people's understanding of "the integration of painting and calligraphy" was very common, which was specially used to discuss ink bamboo and extended to other flowers. Painting bamboo strokes is nothing more than skimming, vertical, horizontal and hook. These strokes are all calligraphy methods. At the end of Yuan Dynasty, Yang Weizhen also put forward the view that "book and painting are one ear" in the preface to Painting Treasure: "Book flourished in Jin Dynasty, and painting flourished in Tang and Song Dynasties. Books and paintings are the same. A scholar-bureaucrat painter must write a book, and his painting method is where calligraphy lies. But can paintings be obtained by others? "
People in the Ming Dynasty had a clearer understanding of the integration of painting and calligraphy. At the end of Ming Dynasty, Dong Qichang pointed out in "Painting Meaning": "Literati should use cursive calligraphy as the method when painting. Trees are like bending iron, mountains are like painting sand, and it is for morale to get rid of the sweet and vulgar way. " Dong Qichang's good friend Chen Jiru also said in Gu Ni Record: "The painter is one of the six images, so the ancient stones in Zhong Ding are often picturesque, while the painter writes water, orchids, bamboos, plums and grapes mostly in calligraphy. It is the Zen family's harmony. " These discussions describe painting with the characteristics of different calligraphy styles, highlighting the internal relationship of "painting and calligraphy as a whole"
Since the Qing Dynasty, people have paid more and more attention to inscriptions because of scholars' research on epigraphy. After the rise of epigraphy, people's concept of calligraphy gradually changed, which led to the decline and prosperity of epigraphy. In the late Ming and early Qing dynasties, calligraphers broke the pure face of calligraphy by absorbing the meaning of stone tablets, which became the beginning of the calligraphy style of stone tablet school. The calligraphy style of the tablet school has an influence on painting with its unique brushwork method. The most representative artists in this period are Ba Da, Cheng Xiang and Shi Tao.
The calligraphy of the Eighth National Congress of the Communist Party of China takes spirit from appearance, essence from Chinese people and expression from ancient times. In his later years, the calligraphy in the bald pen center was strange and elegant. His paintings have a strong sense of shaping, and he can often use "blank space", pay attention to contrast, and apply static "blank space" to his works, forming an ethereal and dangerous artistic situation. Cheng Xiang was good at official script and rose in Gu Zhuo. His pursuit of epigraphy is endless, broken and fragmented interest. His painting style is related to his calligraphy and seal cutting, which comes from his epigraphy. Shi Tao often uses official script in his poems with pictures. His pen is lively, cohesive and coherent, and he shows a state of wearing no shirt and shoes as a whole, which is similar to painting. In the "Part-time Character" in Painting Quotations, he said: "A character and a painter have their two ends, and their functions are integrated." Words and paintings have different images, and "their functions are integrated" is of great significance. Calligraphy and painting originated from "one painting", and one painting became calligraphy and painting.
In the rich atmosphere of the early Qing Dynasty, the "Eight Eccentrics of Yangzhou", represented by Jin Nong and Zheng Banqiao, did not stick to the rules and paid special attention to the individuality of painting with books, which created a new atmosphere of painting and calligraphy. Jin Nong's paintings are rich in themes, but they all incorporate the brushwork in his calligraphy into the paintings, which is clumsy outside and beautiful inside. He also used the method of "hanging upside down" in regular script, official script and lacquer book to inscribe in the painting, and found another way. The combination of Zheng Banqiao's seal script and cursive script shows both simplicity and elegance. His bamboo stone paintings, blue bamboo paintings, etc. , not only uses the calligraphy method, but also directly integrates a large number of poems and inscriptions into painting, making calligraphy an important part of painting, expanding the expressive force of Chinese painting, and truly combining poetry and calligraphy, bringing out the best in each other.
Zhao and Wu Changshuo are representatives of the practice of "painting and calligraphy in one" in the late Qing Dynasty. Zhao made the greatest efforts in the sculpture and seal script of the Northern Wei Dynasty, combining seal script, seal script, seal script, northern tablet, seal script with characters, lines and grass, creating a new look. Both seal script and official script have a rare new atmosphere, which is changeable and elegant, different from the simple and clumsy taste. In painting, Zhao fully embodies the characteristics of his pen, with smooth pen and ink, rich colors and open painting style. Wu Changshuo's seal script "Shigu" is free from vulgarity and vigorous with a pen, vigorous and unrestrained, simple and spicy, his flowers are wet with a pen, rich in ink and heavy in color, chic and elegant, and his coarse cloth does not lose its purity and rigidity, adding an antique style to the delicate show, just as his poem said, "Painting seals can be combined" and "It is said that seal cutting is not Dan"
Among the modern painters and calligraphers, Qi Baishi and Huang studied the ancient seal of the Han tablet, pursued the interest of epigraphy and created a new style of calligraphy and painting. Qi Baishi's calligraphy is based on the "Sangong Mountain Monument" and the imperial edicts of Qin Quan and Qin Dynasty. The structure is densely staggered and the contrast is strong. His writing is vigorous, simple and bold, with great tolerance and a tendency of thirst and anger. Qi Baishi's painting creation is closely combined with calligraphy, creating a new way of combining painting and calligraphy. Since the Ming and Qing Dynasties, the performance of literati painters on the aesthetic character of pen and ink itself has been fully refined and excavated by Qi Baishi. Huang's landscape benefits from his calligraphy and seal cutting. Good at hiding stone seals, good at stone seals. He used pen and ink to express the changes of epigraphy, which is calm and simple, clear and healthy, and applied this kind of pen interest to painting, which is full of realism, shade, density and dryness. Most of his flowers come from calligraphy rubbings, which are natural, brilliant and handy, and embody the theory that calligraphy and painting are interlinked in practice.
The core of "the unity of painting and calligraphy" lies in the use of pens. China's paintings and calligraphy pay attention to the rhyme of pen and ink, which is exactly what Zhang Yanyuan said: "A pulse is connected and a pulse is staggered." Among them, the center pen is the most important and basic method in painting and calligraphy. The ancients divided it into "broken hairpin" and "leakage mark" "Broken hairpin" pen is faster, its lines are smooth and smooth, graceful and vigorous, beautiful and even; "Leak Mark" is a little slow, its lines are rough and vigorous, and it is frustrated and vigorous. Both of these lines can express the strength of calligraphy, but the emphasis in practical application is different: "broken hairpin" emphasizes "strength" and "missing mark" emphasizes "tendon" and "cotton". Calligraphy cursive script mostly uses "broken hairpin" and painting mostly uses "leakage mark". Calligraphy and painting artists in all previous dynasties advocated that the middle brush should be the main part, supplemented by the side brush, that is, the middle is the side and returns to the middle.
Ink is also an important part of painting and calligraphy. Bao in Qing Dynasty said: "The method of drawing Chinese characters is based on the pen and becomes ink." China's brush and ink painting comes from calligraphy. Chinese painting follows the ink line to shape, using the shade, thickness and pen change of ink line to shape the image, expressing the change of object image through the treatment of ink, and expressing the rhythm and rhythm of the picture through the change of ink line thickness and density, and gradually forming a picture with ink color as the keynote.
In the long historical period before the Tang Dynasty, Chinese painting has always adopted the modeling method based on ink color, emphasizing the five colors of ink. The ancients said that "ink is divided into five colors", which generally refers to thick ink, light ink, dry pen, rising ink and thirsty pen. In addition to the skill of changing ink, the rhythm change from thick to dry formed by the number of times of dipping ink and the number of times of dipping ink at a time is also one of the very important ink using skills. If a painting and calligraphy has dry, wet and dark changes at the same time, it can enhance the rhythmic beauty of the work, which is a skillful performance. You can't change for the sake of change, and you can't pursue a certain ink effect rigidly, otherwise it will appear pretentious and tacky.
The integration of painting and calligraphy is rich in connotation, because pen and ink have a certain style, which can bring us a lot of creative inspiration. Generally speaking, I think there are at least five points. First, the integration of calligraphy and painting emphasizes the connection with the pen. How to hold a pen, how to put pen to paper, how to raise a pen, Ji Xu, and the turning point of using pen and ink are all consistent in the creation of calligraphy and painting. The center and flank of the pen depend on the artistic effect of the object, which can be used flexibly in Chinese painting. The technique of Chinese painting is actually a unique method of using pen and ink. The brush method is the basic rule of Chinese painting. To achieve the ideal artistic effect, we must exercise for a long time, practice constantly, master the basic methods of using pen and ink skillfully, and achieve the realm of blending mind and matter, both form and spirit. Secondly, since the Qing Dynasty, influenced by the study of steles, the pen of steles has been widely used by painters, and many masters who are good at calligraphy and painting have appeared. Since the Qing Dynasty, the development of stele science has provided a new way for the development of Chinese painting, and the method of stele science has enriched the interest of pen and ink. For example, the practice of "Yangzhou Eight Eccentrics", on the one hand, actively explored official script and seal script, and formed various styles. They entered the cursive script with the method of seal script, changed the brushwork of cursive script, and actively expressed "seal script" in painting. Their exploration in the practice of calligraphy and painting exchange has enriched the connotation of China's literati painting, and truly pinned the literati spirit on the works combining calligraphy and painting. Third, brushwork and brushwork are inseparable and become an integral part of "the integration of painting and calligraphy". The use of ink varies from pen to pen, resulting in different ink color effects. Use ink to master the changes of dryness, wetness, consistency and lightness. By skillfully using the pen, the water on the pen is combined with the ink, which reflects the visual effect obtained on the paper. The ink color changes slightly, which fully shows the interest of pen and ink, and should be used flexibly in painting and calligraphy creation. Fourth, calligraphy and painting are "original" but "shaped", such as landscapes, flowers and birds, figures, seal script, official script, cursive script and running script. Only when there is "original" and "shape" can there be rich artistic content and transcendental artistic forms. Fifthly, the integration of painting and calligraphy should be extended to the integration of painting and calligraphy (a word from Shi Tao), that is to say, the pursuit of "stone spirit" should also be included in the integration of painting and calligraphy to enrich painting and calligraphy, which is illustrated by the practice of painters and calligraphers in the late Qing Dynasty and modern times.
-the original "China Calligraphy and Painting" 20 13 No.4 Professor Tianshu Zhu talks about the national characteristics and international spread of China's calligraphy.
Calligraphy is the traditional art of the Chinese nation and one of the oriental art categories with world significance, which embodies the collective wisdom, creativity and imagination of the Chinese nation. Calligraphy is the unity of pictographs and abstractions, with rich and flexible brushwork, permeated with China's traditional cultural thoughts and distinctive national characteristics.
The pictographic and abstract nature of Chinese characters is the source of China's creativity in calligraphy. In the process of strengthening pictographs, breaking through pictographs, and from pictographs to abstractions, the artistic style of China's calligraphy is constantly enriched. The unity of pictograph and abstraction in China's calligraphy constitutes the unique charm of China's calligraphy language which is different from other national languages and arts. In Xu Shen's Shuo Wen Jie Zi Xu in Han Dynasty, it is pointed out that "pictographic characters are classified as" Wen ",and then" the combination of form and sound "is called" Zi ",and the structure of characters and shapes is mostly based on pictographic characters. Mr. Chen Yuan also said in the fifth volume of "A Study on the Chinese Culture of the Western Regions in Yuan Dynasty": "Calligraphy is one of the arts in China, which has hieroglyphics, but it is different from seal script, official script, model script and grass. For thousands of years, it has become a great sight in the history of art. However, it is extremely difficult for China's book to get a pen in the phonetic alphabet competition. What a good work! " Calligraphy, developed from hieroglyphics, is rich in pictographs and abstractness, which brings infinite artistic space to calligraphers.
Due to the particularity of Chinese characters and brush, China's unique artistic form and brushwork system have emerged, and on this basis, the calligrapher's spiritual world and aesthetic significance have been expressed. China's calligraphy has a relatively stable system and high flexibility. The richness of stippling forms leads calligraphy techniques to a vivid world, which makes stippling in calligraphy have a kind of vitality and interest. This kind of stippling starts from human's natural posture and general sentiment, and takes "law" as the starting point, which lays the basic criteria for the beauty that the technique should create. At the same time, it is not limited to law, and it contains law in the impossibility. The content that embodies the core of China's calligraphy art is "brushwork", which is the essential feature of China's calligraphy art and embodies the unique charm of Chinese character art. As an art, calligraphy can exist for thousands of years and become an excellent culture, which is also related to the use of Chinese characters by China people, among which brushwork is very important. The brushwork of China's calligraphy was primitive in the early days, and it became a law after the Jin Dynasty. For example, the rise and fall of running script, the center, the flank, the pen used in the center of seal script, the waves of official script and so on. This requires us to interpret it in specific works and understand its ins and outs.
From China's calligraphy, we can learn more about our ancestors' ideas about everything in the world, appreciate the philosophy of changing yin and yang, combining rigidity and softness, appreciate the penetration of Confucianism, Buddhism and Taoism into calligraphy, and appreciate the continuation and development of traditional customs in China. In China's calligraphy, black and white, size, length, thickness, stiffness, shade, dryness, backward, pitching, upright, oblique, vertical and horizontal, dense, skillful and clumsy and other opposing factors are skillfully handled by calligraphers. They are vivid and changeable, harmonious and unified, and full of weather. The characters in calligraphy are limited and meaningful, with far-reaching realm. The painter's "striking", the poet's "endless words and endless meanings" and the musician's "silence speaks louder than sound" can all be reflected in calligraphy.
China's calligraphy also comes from nature, emphasizing the harmony and unity of "nature" and "effort". Cai Yong in the Han Dynasty said in "Nine Potential": "The number of volts comes from nature, stands naturally, is born of yin and yang, and the situation comes out." China's calligraphy is full of artistic dialectics, showing a rich, vivid and harmonious artistic image. People who appreciate calligraphy mostly focus on its abstract form, enter the perception of rhythm, rhythm and interest, and have a psychological induction of artistic beauty. The artistic image created by calligraphy makes the association, imagination and thinking of the appreciator active and deepened.
Sun Shu Pu in Tang Dynasty and Shu Yao by Liu Xizai in Qing Dynasty put forward many opposing and unified calligraphy artistic ideas, but different calligraphers all reflected their own features with their unique artistic images. Mr. Liang Qichao once said in the Calligraphy Guide: "An element of art is to show individuality; And the most real way to develop personality is writing. If you can express your personality, it is the highest art, then all kinds of arts, writing is the highest. " On the one hand, calligraphers should pursue the superior realm of art, and at the same time, they should show their personal character in calligraphy. The emphasis on individuality in China's calligraphy art is an artistic wealth with China characteristics. Calligraphy appreciation is from perceptual appreciation to rational thinking, and people are edified on the moral level, all of which constitute the content of China's national characteristics of calligraphy.
China's calligraphy not only stands in the world art forest with its distinctive national characteristics, but also plays an important role in international cultural exchanges. As close neighbors of China, Japan and South Korea have a long history of cultural exchanges and frequent exchanges. From the Southern and Northern Dynasties, China's writing and calligraphy gradually spread to Japan through the Korean Peninsula. In various periods since Sui and Tang Dynasties, China's calligraphy has influenced both countries to varying degrees. In the Tang Dynasty, the Japanese sent "envoys in the Tang Dynasty" to study China culture, and appointed full-time historians who were good at books, including Orange Yi Shi (? -842) After living in the Tang Dynasty for two years, he made friends with Confucianism and Buddhism in the Tang Dynasty, and became famous for his calligraphy after returning to China. He and Xie were also called "three strokes". Zuicheng (767-822) and Konghai (773-835) contributed the most to the spread of calligraphy in the Tang Dynasty. When I returned home, I brought calligraphy posts from famous artists such as Wang Xizhi, Wang Xianzhi, Ou Yangxun and Chu Suiliang, as well as Mo Bao. Konghai attached great importance to Tang Dynasty poetry volumes and collected a large number of famous ink. In the Tang Dynasty, Jian Zhen traveled eastward with monks and introduced the calligraphy of Wang Xizhi and Wang Xianzhi for the first time. The spread of famous calligraphy relics and rubbings in the Tang Dynasty in Japan greatly promoted the development of Japanese calligraphy, and tang style permeated the Japanese calligraphy circle in the early years of Heian. China's calligraphy is not only deeply appreciated by the Japanese nation, but also learned from it. On the basis of China's regular script and cursive script, Japan has integrated its own cultural spirit, aesthetic taste and creative techniques, and achieved the art of katakana and hiragana calligraphy with Japanese national characteristics. Japan also copied scriptures from the Tang Dynasty, and set up the subject of "calligraphy and seal" and the positions of "calligrapher" and "decorator". During the Ming and Qing Dynasties, Yuan Yin, Mu An and other Fujian Zen monks had a great influence on Japanese calligraphy, which opened the prosperity of Japanese official script. Yang Shoujing, Zhao, Wu Changshuo and other calligraphers in the Qing Dynasty had a great influence on Japanese calligraphers and calligraphy styles.
In the process of introducing and drawing lessons from China's calligraphy, Japan has enriched calligraphy in form, style and even techniques, and developed many schools such as Shaozi calligraphy, avant-garde calligraphy, modern poetry calligraphy and pseudonym calligraphy. The strong image expression of Shaoyan calligraphy, which is called "neoclassicism" or "expressionism" by the Japanese, the washing and emptiness of pen-name calligraphy, and the modeling meaning of avant-garde calligraphy without words all give people a reference for creation.
China's calligraphy is also widely circulated on the Korean peninsula. As early as the Tang Dynasty, Cui Zhiyuan (857-? ) When he entered the Tang Dynasty at the age of twelve, he wrote a book for Gao Taizu Wang Jian. There is a poem in Calligraphy: "I also know that foreigners are eager to learn, but I hate to ask for nothing in return", which expresses his admiration for Xiao Ziyun, a calligrapher in the Southern Dynasties. Zhao Mengfu, a calligrapher in Yuan Dynasty, influenced Korea for 300 years from the last years to the middle of Korea. In the Qing Dynasty, Kim Jong-hui, a Korean calligrapher, devoted himself to the study of ancient inscriptions in China and Korea with Weng Fanggang and Ruan Yuan as his teachers, and published Handed Down Records, On Seeking Truth from Facts and other works. He used official script to make creative changes and was honored as their "book saint" by Koreans. Wu Changshuo kept close contact with Korean calligrapher Yong-ik Min (1860- 19 14) and created many works for him.
In the west, calligraphy is the last China art that people know and understand. Apart from the lack of in-depth understanding of the cultural characteristics of China's calligraphy, such as pictographs and brushwork, the most important thing is that there is no corresponding art form in the West. Calligraphy is generally regarded as a skill in the west, and it enjoys a high cultural status without China. Since the last century, with the deepening acceptance and understanding of abstract art in the west, many western painters have accepted the influence of China's calligraphy in their works, and China literati and collectors living in the west have continuously introduced China's calligraphy art, which has gradually made calligraphy accepted by people. Especially in 197 1, China Calligraphy Art Exhibition was successfully held in Philadelphia Museum, which made China's calligraphy spread in the west more deeply. At the same time, Gulov, Eliot, An Siyuan, Wang, Weng and other famous collectors have many important classical works of China, many of which have become the research objects of researchers. Collection has become an important theme in their lives, and it has also made them appreciate the charm of China's calligraphy. As Gulov said, "I believe that the various elements of western painting that I have contacted before and their application in art have helped me appreciate the infinite exquisiteness of China's calligraphy. It is natural to collect the sister art of China's paintings and calligraphy, because they are created with the same materials, brush and ink, and their description or writing depends entirely on the unique brushwork. They are the souls of the oldest and continuing China civilization in the world-because they show the essence of China culture. "
Contemporary China's calligraphy is spreading more and more frequently in the world, and international exchanges with Japanese, Korean, Singaporean, American, French and other countries are also becoming more and more frequent. China's calligraphy has become the most vivid and vivid specimen of China culture. It is not only intoxicated by many foreigners who are proficient in, love and collect calligraphy, but also favored by many plastic artists. In particular, painters of the western abstract painting school draw lessons from their lines and elements in composition. John Calvin Ferguson, an American scholar, even thought: "All China's art is an extension of China's calligraphy." Ideas like this have aroused great interest in China's calligraphy among many western plastic artists. At the same time, some contemporary China calligraphers are also inspired by the aesthetic significance of abstract painting, and regard calligraphy as a creative idea. Mr. Liang Qichao said in his speech in Tsinghua University on 1926 that China's calligraphy is a special art with "the beauty of lines, light, strength and personality." With the development of the times, people think more and more about calligraphy, and there are more and more ways to express calligraphy, such as modern calligraphy breaking the composition of Chinese characters, the relationship between strokes and structure in calligraphy, the application of brush and ink method in calligraphy in plane, the relationship between brushwork and personality in calligraphy, the continuation and reform of calligraphy style, and the phenomenon of "decoration" in calligraphy. In international art exchanges, calligraphy, as a unique art and culture in China, has been borrowed and absorbed.
Beijing language and culture university, as the only university in China that features Chinese international education and China cultural communication, undertakes a special historical mission in China calligraphy international education and art communication, and needs to continuously cultivate international art exchange talents. On 20 10, China Calligraphy and Seal Cutting Research Institute was established in Beiyu, and the international education and overseas dissemination of China calligraphy was studied as an important topic. Beijing language and culture university has a major in China calligraphy and painting, and has offered a compulsory course in China calligraphy for four years. Postgraduates have special courses such as China's calligraphy history, calligraphy creation and rubbings research, attracting more and more foreign students to study. Students majoring in Chinese as a foreign language have also added the course "China Talent", taking calligraphy as an important content to study. In the future, strengthening the study of China calligraphy courses by Confucius Institutes around the world will also become an important way for international education and dissemination of calligraphy in China.
The national characteristics and artistic connotation of China's calligraphy are of international aesthetic significance. How to expand the scope and methods of calligraphy international education exchange in the future? In my opinion, we should not only carry out international calligraphy education and academic exchanges with Japanese, Korean, Singaporean and other countries with developed China culture, but also make calligraphy lovers and researchers in these countries realize that calligraphy is rooted in China and originated from China. To understand calligraphy, we can really understand it only in the cultural atmosphere of China. It is also necessary to strengthen the international education of calligraphy in non-Chinese-character countries such as Europe, so that they can gradually love and appreciate Chinese characters in China, and then learn the art of calligraphy in China, understand the humanistic spirit of calligraphy, enrich the connotation of international education and exchange of calligraphy, and expand the "effectiveness" of international education and exchange of calligraphy. In the mode of communication, we can not only display calligraphy works, but also organize calligraphers and students at all levels who love calligraphy, especially college students and graduate students majoring in calligraphy, to go abroad for cross-cultural dialogue and on-site writing creation, exchange ideas, and visualize the creative process of calligraphy and the use of instruments. Undergraduate and graduate students majoring in Chinese international education should also strengthen the cultivation of China's calligraphy and related basic knowledge, such as China seal cutting, Chinese painting, inscription, collection, poetry, mounting, museums, etc., which is conducive to the overseas spread and education of China's calligraphy culture.
-originally published "China Painting and Calligraphy" No.3 20 1 1.