Calligraphy develops with the development of society. It should be inherited and conform to the times. Calligraphy is constantly developing, technology is constantly enriched, and ideas are constantly novel, which gradually approaches our visual feelings of the real world and is transmitted to our thinking through visual feelings to respond. Besides, what does calligraphy convey? What is it? Simply put, calligraphy, like painting, is a medium, a carrier, carrying information of love and meaning. But what is the message of love and meaning expressed through? Through lines and structures. In calligraphy, it is most important to convey information through structures that arouse people's visual feelings. While we appreciate calligraphy, we are actually thinking. But in calligraphy, there are often two methods used alternately, sometimes focusing on structure and sometimes focusing on lines. Calligrapher Wang Xizhi's calligraphy mainly expresses lines. Each line is exquisite, the structure is perfect, the composition is peaceful, and it is as elegant as carved jade. Wang Duo's calligraphy, on the other hand, is mainly expressive, with peculiar structure, pungent lines, full of confrontation and strong flavor of life.
Line and structure are the two most basic elements in calligraphy. The language of calligraphy is line and structure, as Gorky said, "The first element of literature is language". Then, the first elements of calligraphy are lines and structures, which are the objects of expression. Through the lines and structure of calligraphy, we can see its shape, expression, mentality and so on. When we look at Wang Xizhi's Preface to the Lanting Pavilion and Yan Zhenqing's Sacrifice to the Nephew together, it is not difficult to find that Wang Xizhi's Preface to the Lanting Pavilion is a masterpiece in a peaceful and festive situation, while Yan Zhenqing's Sacrifice to the Nephew is an outlet in a situation of grief and indignation. From this, we can clearly see the purpose, desire and motivation of these two works, and see their emotional changes. On the other hand, it is not enough to have an object without expression. The performance of the object tells us what the purpose of creating calligraphy is, that is, to perceive the connotation of calligraphy through lines and structures and know what it wants to tell us. Therefore, how to express this object has become a very important issue, that is, it is necessary to cultivate people with numerous performances, such as Wang Xizhi and Yan Zhenqing, so that the art of calligraphy can last forever.
From the aesthetic point of view, how should calligraphy be expressed? By looking for and studying calligraphy works, we can find its laws, methods and skills, and we can better interpret the connotation of the works, so as to enjoy beauty.
In calligraphy, you can appreciate the combination of lines into a structure, convey some ideas, show kung fu and express artistic conception; Delicate performance, rough performance; Performance cohesion, performance ethereal; Simple performance and complex performance; Show radiation and show convergence; Simple and modern performance; Intelligent performance and heavy performance; The performance is hazy, implicit and far-reaching, and the performance is perfect, clear, bright and fresh; Performance rhythm and performance weight; The performance is shifting gears, and the performance is interspersed; Display size, display width; Performance duration and performance level; Separation of performances and merger of performances; Bottom line: As long as it is in all the calligraphy in nature, it is in all the calligraphy in life. Through calligraphy, we can understand and enjoy nature, and we can know and feel life. This may be the charm of calligraphy.
When we appreciate Wang Xizhi's calligraphy, whether you know calligraphy or not, the first thing that catches our eye is beauty. This kind of beauty tells us through lines, structures and pictures. Beautiful and smooth lines, rigorous and philosophical structure, walk through the black and white world, just like the stars in the sky, the position is so reasonable and natural, showing a far-reaching and quiet time and space, a deep and beautiful artistic conception of Austria. Appreciating Mi Fei's works is another scene. He inherited the two kings, but the difference is that he emphasized the "eight sides" of the pen, with strong contrast in line thickness, posture in structure and italics to enhance the sense of movement. Such as "Spring Breeze Blows Willow", the puppet troops are even more colorful. Look at Wang Duo's works, also from the king's system. The difference is that on the basis of their predecessors, they changed their gentle and feminine style with the opposite way of thinking. The works use provocative lines and antagonistic structures, showing the momentum of rivers flowing endlessly and thousands of miles.
In calligraphy, just as people feel psychological changes in the real world, they are consistent. Nature is divided into yin and yang, from which there are four seasons, spring, summer, autumn and winter. People are divided into men and women, from men and women to youth, youth, middle age and old age. Calligraphy is divided into virtual and real, which is manifested in all aspects. There are four forms of using a pen: fast, slow, light and heavy. There are four forms of ink color: wet, moist, dry and dry; From the structural point of view, there are four virtual and real forms, namely, receiving, releasing, opening and closing; There are four forms of composition: static, dynamic, qi and rhyme; When appreciating a work, we should also know the background of the times in which the author lives, the reasons for the creation of the work, what is the dominant position of the work, what emotions are expressed, what we can learn from it, what kind of scene, atmosphere and artistic conception are formed, what emotions are expressed by this artistic conception, and how to grasp and understand the core of the work. Make this clear, and then analyze the work. The method is from micro to macro, from strokes to structure, from reality to emptiness. It's not hard to be realistic here. The key is emptiness, which you can't see, but it does exist, such as the connection of strokes, which is actually the context and charm, but it is very important and difficult to learn. And those exaggerated, deformed, abstract and incomprehensible things. We must appreciate them by contrast and observe the surrounding environment. Don't exaggerate at will, be subtle, ambush and exaggerate again to cater to the beauty of accidents. For example, Mr. Hou said that when he first bit, he imitated Gong Yunpu's challenge for the first time, which was very bitter. Then he said a few words, walked on the catwalk, and carried vegetables with drums, with cucumbers in them. Then an old lady selling cucumbers came and bought two pieces. He went on to say that old ladies in Beijing have difficulty in shopping, so they should try. If they are not sweet, she doesn't want them. He had to pick the cucumber burden and let the old lady buy it. Such a pick, the shoulder hurts when touched, and he thinks of the challenge, which is bitter. The old lady said, bitter, no, the business I took was ruined with a bang. One is bitter, the other is sweet, and I lay there from the beginning. By this time, two foreshadowing works. Calligraphy pays attention to "white as black", that is, it pays attention to emptiness. It can be said that the beauty of "real easy to get, virtual hard to find" lies in virtual.
Exercise is the core of the beauty of calligraphy, and exercise is very important. The generation of calligraphy works depends on the movement of the author's brushwork. The pen movement produces speed and rhythm, which can be said to appreciate the works written by calligraphers. You can see the speed and rhythm changes brought by the line movement mode, and you can also see the solidified rhythm beauty in the work, and you can also feel its movement through the context of the text.
Calligraphy is still a plastic art, and the shape should be three-dimensional. This is to create a three-dimensional form on a plane. What does it depend on? It is ups and downs, thick accumulation and thin hair. Plastic arts mainly express the time and space of objects. In the existing time and space, how to express it, including many techniques, visual effects, the treatment of reality and falsehood, the cultivation of emotions and the creation of atmosphere, plays a very important role in the production of works.
Calligraphy language is simply a stroke; Two kinds of ink; Three papers; Four words; The process of combining five seals by manual operation.
The characteristics of official script language are the basis of calligraphy learning, and it has always been advocated to learn calligraphy from seal script, official script or regular script. Zhu Hezhang said in Linchi New Street: "If the book is based on fairness, the structure is deep and stable." When we appreciate official script, we must admit an important aesthetic principle in art form, that is, neatness and balance are the traditional aesthetic feeling of calligraphy language. In Ou Yangxun's Book Theory, this point is clearly stated: "Four sides are even, there are eight sides, the length is appropriate, and the thickness is compromised." European books have practiced this theory, showing consistency in symmetrical parts, which makes the language of official books present a kind of beauty of human expression, and the quantity, size, thickness and weight are all proportional. A formal book has an obvious central axis, or an implied central axis. Divide the shape of a square into up and down or left and right, left, middle, right, upper, middle and lower parts, so that it can be organically matched and organized, and the complexity can be suppressed and the simplicity can be supplemented, making harmony the main theme of the book. The official book language is the content developed in the designated space. The so-called "Lan", "Jiu Gong Ge" are all designed to standardize official books. In the Qing Dynasty, several calligraphers were able to copy a poem together, and then merged it flawless, because they grasped the realistic standard of language quite accurately-the rhythm was consistent and the style was consistent, which was unimaginable in cursive script.
The authenticity of formal language is also manifested in repetition. The most famous word for dealing with repetition in poetry is the twenty "zhi" in Preface to Lanting, which has become a model for dealing with repetition. Regular books are not necessarily the same. Schools such as tern and Liu Zhao generally deal with recurring words, while Wen Zhiming and Wang Chong basically do not seek novelty and change. There are many things in Wen Zhiming's lower case Li Sao, but there is little change. Invariance makes the same word form appear repeatedly, which moves readers with the unity of its inherent abstraction and subjectivity of content, and makes the repeated language symbols and symbol series come alive instead of monotonous. For example, in the Wei and Jin Dynasties, many scriptures were written in small letters, and the number of words repeated in Buddhist scriptures was amazing, but the words in the Wei and Jin Dynasties still attracted us so much. Compared with the famous calligraphers of the same period, these anonymous writers are particularly poor in change and adjustment, and they are single skills. If we think about it carefully, this unchangeable beauty lies in the childish and pure interest contained in the unchangeable word form, which is a living assimilation. The writer puts his own concentration and persistence into a unified language form, responds to infinite modeling with limited skills, and gains constant interest in unchanging. This realistic calligraphy language is straightforward and logical, and it is not a continuum with chaotic weather and difficult sentences. For example, the "Eight Methods of Yong Zi" runs through the whole writing process of regular script-as long as you master the eight methods, the pure expression of brushwork is not a problem, and you can also extract and analyze them one by one. Therefore, every regular script word is the repeated use of the eight methods. Amin scholar Xie Zhen believes that "calligraphy language is like calligraphy", and calligraphy language is the norm. For example, Su Shi's "Zhuang Yu" is rarely attached and added, and the author's foundation can be clearly seen from the official book language.
The neat beauty of realistic language can be further developed through the symmetry of amplitude, and a strong sense of center can be obtained. For example, a seal script works, its perfection and balance has been very prominent, like Wu Rangzhi's seal script, the arc has paused and extended, and the whole word is wrapped by a long line, showing a fairly symmetrical aesthetic feeling. Then extend this writing method to the symmetrical parts of couplets and four-screen bars, and its stability will be more substantial and as stable as Mount Tai, which will play a positive role in promoting peaceful aesthetics. China's appreciation tradition tends to be calm and stable, which reflects his inner yearning for order. Therefore, we arrange formal books in an orderly way, and accordingly take quatrains and metrical poems as the creative content, because the number of words in this kind of writing content is clear and fixed, and the parts of speech are symmetrical and neat. For example, Du Fu's "Two orioles sing green willows, and a row of egrets rise to the sky. The window contains the autumn snow in Xiling, and the Wu Dong Wan Li boat is parked at the door. " It is written widely, which is related to the stable antithesis in the poem. The care of part of speech has reached the extreme of balance, and even a poem contains two couplets. If a writer understands poetry, it is natural to reach an agreement to make it pure and impartial. On the contrary, we haven't seen the form of article 357, because it breaks the stability of even numbers. Odd numbers, due to the lack of opposition constraints and contrast, have a high degree of freedom. As an expression, they should be more flexible. In contemporary calligraphy creation, some writers make the words with different artistic conception appear correct and elegant in order to make the language effect innovative, thus making the languages with different artistic conception confused, conflicting and contradictory, and unable to achieve a unified aesthetic feeling. Obviously, they lack an understanding of the nature of language.