The basic rules of calligraphy art, taking brushwork as an example.
China's brushwork emphasizes the beauty of stippling lines, while his special writing tool, the brush, emphasizes "roundness, uniformity, pointedness and health". The writing method generally adopts the five-character method of "Yi, Head, Hook, Gege and Arrive" from Lu Xisheng in Tang Dynasty. Holding a pen is pointing, and holding a pen depends on your wrist. There are four ways to lift wrist: holding wrist, pillow wrist, lifting wrist and hanging wrist. Xu Ming Wei said, "If the wrist can stand upright, it will feel upright. If the wrist is vertical, the front will be straight. The front is four sides. " Wrist movement requires that the palm is empty, the palm is vertical and the wrist is flat, and the wrist and elbow are suspended. This kind of writing is straightforward, easy to operate, perfect in handwriting, and easy to write flesh-and-blood and open-ended characters.
Using a pen is the main content of brushwork. The beauty of using a pen is a reflection of the formal beauty of objective reality. Exquisiteness comes from strokes. Every stroke of China's calligraphy begins with a stroke, and ends with a stroke. The image at the beginning and end of the pen is the key part of the beauty of pointillism image. The predecessors summed up many effective laws: if you want to be left first, you should be right first, and if you want to be right, you should be left first; Want to go up first, want to go down first; Whatever you do, you will receive it, whatever you do, and so on. Writing is being late. In the late stage, it can reflect the thick and powerful beauty; Speed can show the beauty of chic and fluency. The thickness change of each point has a Teton and a turning point. Teton makes stippling have a sense of rhythm, showing rich thickness changes and various expressions, and conveying the spirit and charm of words. Turn over, so that the point is square and round, the effect of turning over is round, and the effect of folding is square. Round pens are mostly used for lifting pens and twisting pens. The strokes are round and vigorous, and they are not explicit. They are suitable for seal script and cursive script, and can show smooth and natural beauty. On the other hand, Fang Bi used a pen, turned it upside down and folded it, with edges and corners all around. When he uses a pen, his strength expands outward, which is suitable for official script and regular script, and can show the beauty of cohesion and rigidity. Generally speaking, strokes should be rounded and folded.
The ways in which pen tips run in stippling include center and tilt, hidden front and exposed front. Writing brush has two meanings: one refers to the tip of the pen, and the other refers to the tip of the word. When lifting a pen, the pen tip stays on the dotted strokes of the word, which is called "center"; Hiding in the middle of the dotted line without edges and corners is called "hidden front"; Exposed edges and corners are called "exposed fronts"; Tilting the pen tip to the stroke side of the word is called "oblique front" Generally speaking, the front can make it have bones, and there are no exposed ribs in the strokes. Through the ink-passing function of the pen tip, the pen tip is assisted to make the ink soak evenly, so that the pointillism shows the power of connotation and gives people a mixed and implicit aesthetic enjoyment.
"Hidden front" and "exposed front" can express the strength and charm of Chinese characters. Zang Feng's strokes with a pen give people a strong, harmonious and heavy aesthetic feeling. Tibetan front is the most taboo without bones, emphasizing the point of penetrating the paper back. Using a pen is a difficult skill, and there has always been an aesthetic requirement, that is, turning the pen to the level and hiding the front. Zang Feng's strokes are sharp and angular, which can show the expression of connecting the preceding with the following. The outer circle of strokes is a high standard to reveal the front, which can make the strokes rough and refined, and steep and solemn. Concealed and round, exposed and square, can create beautiful forms, each with different aesthetic values.
Centering is the basic brushwork of China's calligraphy tradition. Central strokes can enrich stippling, showing the implicit beauty of bones and muscles. Hiding the front of the pen and exposing the front edge of the stroke can increase the sense of vitality, but if it is not used well, it will lead to the dry stroke and become an unsightly pen.
The brushwork requires that the writing of dotted lines should create a real body, so that emotions and pens can first reach the realm of intentional writing and convey interest with pens; The characters portrayed in each painting must be moderately fat and thin; All kinds of dotted writing must show the strength and momentum of the movement. Slippery brushwork will directly destroy the perfection and unity of stippling lines in calligraphy.
In addition to Fang Bi's round pen, folding pen, turning pen, unsmiling, lifting pen, closing pen, hiding the front and revealing the front, and being eccentric, the brushwork also emphasizes the vigorous and soft strokes, which is called "iron painting silver hook". The expression of "iron painting with silver hook" in Ou Yangxun's On the Use of Pen means "iron painting is rigid and charm is like a silver hook", which is an image generalization of two different pen techniques or styles, rigid and soft. "Iron painting and silver hook" emphasizes that calligraphy art should have a clear image and texture like "iron painting" and "silver hook". This aesthetic connection of different textures of "iron" and "silver" is caused by the Fiona Fang, rigidity and flexibility of the pen. Calligraphy embodies the physical beauty of things, and each stroke should give people a real sense of body. At the same time, the body must be moderately thin and fat, and it must have the same three-dimensional sense as iron painting and silver hook, which can reflect the beauty of all kinds of things in reality: tenacity, health (such as iron and bone), softness and charm (such as silver and hairspring).
In calligraphy works, the texture of stroke lines is closely related to the shade and dryness of ink color. Light and moist ink can create a bright and soft beauty similar to a silver hook; Dry ink with rich colors can create a vigorous beauty similar to iron bones. The combination of dry and moist pen and ink can make stippling as firm as a knife and as soft as water, without the disadvantages of "dead wood" and "ink pig", showing a kind of beauty of strength. "Iron Flower Silver Hook" also requires calligraphers to seek the unity of opposites between "iron" and "silver" (that is, "quality" and "literature"). "Iron painting" can hold up the bones of characters, showing a kind of grandeur; "Silver hook" can make the characters lively and charming, showing a kind of beauty. Shen Qing Zong Qian's "Painting Collection of Mustard Boat": "vigorous in graceful and restrained, charming in graceful and restrained. The so-called "all steel has become soft fingers." "Iron painting" and "silver hook" set each other off as an interest, combining rigidity with softness, which can give people different aesthetic enjoyment.
In a word, brushwork is the most basic element of calligraphy composition and the foundation of formal beauty of calligraphy, which needs special attention.