The methods of commenting on calligraphy and painting include comparison, analysis, metaphor, narrative, etc. The comparative method refers to a method of refining the artistic level and other characteristics of the currently reviewed work by comparing it with other works. The comparative method is divided into horizontal comparison method, vertical comparison method, comprehensive comparison method, etc.
1. Horizontal comparison method. That is to select works of similar styles from the same era for horizontal comparison, such as comparing Liu Wanming's figure paintings with Fan Zeng's figure paintings, etc.
2. Vertical comparison method. Select works of similar styles from different eras for comparison, such as comparing Shen Peng's running script works with calligraphy works by ancient masters such as Wang Xizhi.
3. Comprehensive comparison method. That is to compare current works with works from different periods of ancient and modern times, and then point out the advantages and disadvantages of current works. Analysis method refers to the use of sociology, psychology, logic, aesthetics and other theoretical knowledge methods to directly understand and evaluate the content of the work. The knowledge level of the reviewer has a crucial impact on the results of the analysis. It is often said that "the benevolent sees benevolence and the wise see wisdom." Analysis methods specifically include social analysis, psychological analysis, aesthetic analysis, etc.
1. Sociological analysis method. Criticize the work by analyzing the historical background of the creation of the work or the social background reflected in the content. The current analytical method used in mainstream reviews of "Along the River During the Qingming Festival" belongs to the sociological analysis method.
2. Psychological analysis method. Also known as psychoanalysis, it refers to analyzing and commenting on the spiritual realm of the work by analyzing the spiritual background of the author of the calligraphy and painting works or the spiritual connotation embodied in the content of the work.
3. Aesthetic analysis method. Directly from an aesthetic perspective, analyze the aesthetic level of calligraphy and painting works. 1. Wang Xizhi: "A loss of one point is like a beauty losing an eye. A loss of a painting is like a strong man losing an arm. Don't be careless." Emperor Taizong of the Tang Dynasty praised Wang Xizhi's calligraphy as "smoke and clear dew, as if broken and connected", and Wang Xianzhi's calligraphy: "as graceful as a startling giant, as graceful as a wandering dragon", "the divine light separates and combines, and alternates between yin and yang".
2. Zhang Huaiguan called calligraphy "a silent sound and an invisible image" in his calligraphy theory. "Each calligraphy has ten rapid movements and five urgent movements, ten bends and five straight lines, ten hidden areas and five outgoing areas, and ten ups and downs." , can be called calligraphy." He also said: "Every horizontal stroke is like a formation of clouds; every strike is like the hair of a hundred jun crossbows; every point is like a falling stone from a peak; every fold is like an inflection. Steel Jun; every pull is like a long-lived withered vine; every indulgence is like a foot's interesting steps, and the rhythm is self-evident." 1. Mi Fu: "Ou (Yang Xun), the powerful master of Liu Gong, is not as good as Yuan Yuan, but he is the ancestor of ugly and evil books. There are vulgar books since the Liu Dynasty." He also said: "Liu and Ou are the ancestors of ugly and evil books... ...", "Yan Lugong's calligraphy can be taught, and it will become popular"; Mi Fu also said: "Shen Liao typesetting, Cai Xiangle typesetting, Su Shi painting calligraphy, Huang Tingjian tracing calligraphy, I am a brush calligrapher."
2. Zhu Changwen said: "Wei Gong (i.e. Yan Zhenqing) combines the principles of seal writing, is rigorous in scoring, free but not sloppy, restrained but not clumsy, which is the ultimate good thing." Ping Ou is "outstanding" At that time, when he was famous in the early Tang Dynasty, it was passed down by Chidu, and people regarded it as law. Even soldiers and emperors admired his voice. He believed that Ouyang Xun's regular script was "delicate and dense, strong and unyielding, with a gentleman enforcing the law, and his face was dignified." His style of painting and calligraphy are unrivalled. Liu Gongquan commented that he was "extremely good at penetrating the classics, both in writing and writing, and his skills were not lost." And add strength and richness to it, and it becomes a family name." He also said: "The inscriptions on the ministers' family tablets at that time were not written by him, and people regarded their descendants as unfilial. When foreign barbarians paid tribute, they all signed the goods and said: 'This is the purchase of Liu Shu.'"
3. Su Shi said : "Those who discussed books in ancient times also discussed their lives. Even if they are not his people, the work is not expensive. He also said: "A book must have spirit, energy, bones, blood, and flesh. If the five are determined, it will not be a book. . " Put God first. 1. Kang Youwei, as a representative of the stele school, praised the beauty of Wei stele, saying, "There are no bad stele in the Northern Wei Dynasty." " .
2. Bao Shichen said: "You can walk horses in sparse places of calligraphy and painting, but do not allow ventilation in dense places." "Always think of white as black, and surprises will come out." Liu Xizai said: "The rules of calligraphy are as follows: Size, as small as one word to a number, as large as one line to several lines. One or several paintings must avoid each other, form each other, and respond to each other.
All calligraphy strokes should be firm and clear, the posture should be strange and dangerous, and the composition should be varied and consistent. ”