Calligraphy is an art that reflects life.
People's inner feelings such as emotions and sorrows can also be expressed in China's calligraphy, just like in poetry and music. Calligraphy appreciation means to appreciate the beauty contained in excellent calligraphy works by evaluating them. If writing is likened to the literacy stage of primary school, and it is required to write words accurately and honestly, then calligraphy is a writer's way of composing words into a pleasing article or poem. Of course, writing an article has its own methods and rules, so calligraphy works also have their own methods and rules. In short, we can use the words of Mr. Bai Jiao, a contemporary calligrapher, as "the standard of learning can be used as the standard of appreciation".
Aesthetic standard:
Generally speaking, "shape" includes stippling lines and the resulting spatial structure of calligraphy; "God" mainly refers to the expressive meaning of calligraphy.
stippling lines:
The stippling lines of calligraphy have infinite expressive force, and they are abstract in themselves, and the calligraphy image they form has no definite meaning, but all the characteristics of beauty should be included. In this way, special requirements are put forward for the stippling lines of calligraphy. Require a sense of strength, rhythm and three-dimensional sense.
1. Sense of strength
The sense of strength of stippling lines is one of the elements of line beauty. It is a metaphor, pointing out the feeling of power evoked by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in "Nine Potential", pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen mind always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in Guijiao, and what is done must be collected, and it is easy to show its strength. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the middle line. The middle line pen must take the center of astringency, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. However, the beginning and end of stippling lines are not all hidden in the corner (both the big seal and the small seal must hide the front). Calligraphy is often combined with hiding and revealing according to needs, especially in cursive script, which is ever-changing When appreciating, we should not only pay attention to the acceptance and echo of the beginning and end, but also pay attention to whether the middle part is slick and frivolous.
2. Sense of rhythm
Rhythm refers to the regular changes in the height, strength and length of notes in music. Because of the different force and speed of calligraphy in the process of creation, there are regular alternating changes in different forms such as weight, thickness, length and size, which makes the stippling lines of calligraphy have a rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, the static script (such as seal script, official script, regular script, etc.) has a weak sense of rhythm, while the dynamic script (such as Yan script, running script and cursive script) has a strong sense of rhythm and rich changes, and the pictographic script (such as Yan script).
3. Stereoscopic sense
Stereoscopic sense is the result of the pen used by the center. The strokes written by the center, "reflected in the sun, there is a thick ink in the center of the painting, just in it, and as for the fold, there is no deviation." In this way, stippling lines can be full, round and round. Therefore, the pen used by the center has always been highly valued. However, we can't find that side strokes can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side front. Especially in cursive script, as the supplement and foil of the center, the winger can be seen everywhere.
Spatial structure:
On the premise of following the principles of Chinese characters' shape and stroke order, the stippling lines of calligraphy cross and combine to divide the space and form the spatial structure of calligraphy. The spatial structure includes three parts: the structure of single words, the circulation of the whole line and the overall layout.
1. The structure of a single word
The structure of a single word should be neat, straight, long and short, and balanced in density. In this way, on the basis of caring about the truth, we can pay attention to the decay of the truth, the intricate changes, the natural image, the danger in the middle of the flat, and the interest in the danger.
2. The popularity of the whole line
In calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires continuity from top to bottom and coherence in response. Although the static scripts such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic scripts can be word-by-word, with hairspring traction. In addition, we should also pay attention to the change of size, the positive response, the contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be naturally coherent and the blood vessels can be unblocked.
3, the overall layout
In calligraphy works, the dots are grouped into words, the hyphens are arranged in rows, and the lines are grouped into chapters, which constitutes the cutting of space by stippling lines, and thus the overall layout of calligraphy works is salted. Require proper density between words and lines, and count white as black; Flat and balanced, mutually positive; Uneven level is full of changes. Among them, regular script, official script, seal script and other static scripts are mainly fair and balanced; Running script, cursive script and other dynamic scripts change intricately, with ups and downs.
look means:
look originally refers to the air and brilliance of human face. The expression in calligraphy refers to the spirit, style, temperament, interest and meaning revealed in the lines and their structural combinations. "the spirit is the best, the shape is the second, and those who are both can be seen in the ancients." It shows that the spirit is higher than the "shape and quality" (the shape and appearance of stippling lines and their structural layout), and the shape and quality are the premise and foundation for the existence of the spirit; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing spirits and expressing the spirit of nature is always the highest realm that calligraphers are striving for.
On the one hand, the acquisition of spirits in calligraphy depends on be adept at's creative skills, which is the premise and foundation; On the other hand, only when the creative mind is calm and comfortable, the creative center is fluent in both hands, and the things and me are forgotten, can we write the true feelings and blend into our own knowledge and aesthetic taste.
appreciation method:
how to evaluate, read and appreciate a calligraphy work before us [1]
is a problem that everyone who is a beginner in calligraphy, even readers, are puzzled and want to know. Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Praise for the Writing Style": "The wonderful way of a book is that the spirit is the best, the form and quality are the second, and only those who have both can be praised by the ancients". What he emphasized was to write God in form, with both form and spirit. As a reader, I think that before reading a work, we should first make clear the aesthetic standards of calligraphy appreciation, which is the basis of correct calligraphy appreciation. Secondly, we should master the methods of calligraphy appreciation, which is the key to calligraphy appreciation. To appreciate calligraphy, we should appreciate it according to the styles of six different calligraphy styles, the running script should appreciate its rhythm and movement, the regular script should appreciate its tranquility and elegance, and Yan Shu should appreciate its artistic conception and beauty.
Calligraphy appreciation is consistent with other art appreciation, and it needs to follow the general law of human cognitive activities. Because of the particularity of calligraphy art, calligraphy appreciation shows uniqueness in methods. Generally speaking, we can proceed from the following aspects.
1. From the whole to the part, and then from the part to the whole.
When appreciating calligraphy, we should first look at the overall situation and have a general impression of its expression and artistic style. Then pay attention to whether the pen, the knot, the composition, the Mo Yun and other parts have both law and meaning and are lively. After the partial appreciation, we should stand back from the distance to observe the overall situation, correct the "general impression" obtained from the first viewing, and grasp it from a rational height again. Pay attention to whether the artistic expression and artistic style are in harmony, where the works are wonderful and where there are still shortcomings, and fully appreciate them from the macro and micro perspectives.
2. Restore the static image to the process of movement, association.
Calligraphy works are relatively static as a result of creation. When appreciating, we should follow the author's creative process, adopt the method of "moving the line of sight", and imagine the rhythm and strength of the pen and the different changes of the author's feelings in the creative process according to the sequence of the works, so as to restore the static image to the process of movement. That is to imitate the author's creative process and correctly grasp the author's creative intention and emotional changes.
3, from the calligraphy image to the concrete image, associate and correctly understand the artistic conception of the work.
In the process of calligraphy appreciation, we should fully associate and compare the calligraphy image with similar things in real life, so as to make the calligraphy image concrete. Then, from the aesthetic characteristics of things similar to calligraphy images, we can further associate the aesthetic value of the works, so as to understand the artistic conception of the works. If you appreciate Yan Zhenqing's regular script, you can associate its calligraphy image with specific images such as "Jing Qing presses the sword, Fan Kuai holds the shield, King Kong dazzles, and Lux punches", so you can draw the following conclusions: strong physique-masculine-full of heroic qualities-strict and inviolable characteristics, which is associated with the dignified and majestic artistic style of Yan Zhenqing's regular script.
4. Understand the creative background of the work and correctly grasp the emotional appeal of the work.
any calligraphy work is the accumulation of a certain culture and history, and it is the product of a specific historical and cultural background. Therefore, it is of great benefit to understand the creative background (including the creative environment), the unique cultural atmosphere contained in the work, the author's personality cultivation, aesthetic taste, creative mood and creative purpose, etc. for correctly understanding the author's creative intention and correctly grasping the emotional appeal of the work. Wang Shu of Qing Dynasty wrote in The Inscription and Postscript of the Virtual Boat Tang Yan Zhenqing to Uncle Haozhou: "The Draft of Sacrificing Ji Ming is torn and unbearable, so its book is frustrated and out of control. This "Gao Bo Wen" has a peaceful heart, so it is easy to be a guest, and there is no strange rise like "Sacrificing a Nephew". The so-called music-related party laughs, and the words have been sighed. The situation is different, and the calligraphy is also different. It should be reasonable. " It can be seen that both the author's personality cultivation, creative mood and creative environment have a considerable impact on the mood of the works. In addition, calligraphy works are influenced by the book style and aesthetic fashion of a specific era, which makes calligraphy works reflect a diverse cultural atmosphere. This undoubtedly increases the difficulty of calligraphy appreciation, and at the same time makes calligraphy appreciation interesting.
In short, there is no fixed pattern in the method of calligraphy appreciation due to the influence of personality psychology. The above is only one method of calligraphy appreciation, and several methods can be used alternately in the process of appreciation. In addition, in the process of appreciation, we must comprehensively use all kinds of calligraphy skills, techniques and calligraphy theory knowledge, tap our own aesthetic evaluation ability to the maximum extent, and try our best to appreciate the artistic conception of the works according to the author's creative intention. Efforts should be made to have a comment in appreciation and a reward in evaluation, and the works should be inspected in a specific historical environment, so as to make a correct appreciation and a fair and objective evaluation of the works.