The aesthetic standards of calligraphy appreciation are the basis for correct calligraphy appreciation; mastering the methods of calligraphy appreciation is the key to calligraphy appreciation.
1. Aesthetic standards of calligraphy
Wang Sengqian, a calligrapher of the Southern Dynasties, said in "Praise for the Intention of Writing": "The beauty of calligraphy lies first in spirit, followed by form and quality, and both. Only then can it be introduced to the ancients.” Here, the emphasis is on using form to describe spirit, and having both form and spirit.
Generally speaking, "shape" includes stipple lines and the resulting calligraphy space structure;
"Shen" mainly refers to the spirit of calligraphy.
(1) Stippled lines of calligraphy
Stippling lines of calligraphy have infinite expressive power. They are abstract in themselves, and the calligraphy image they constitute has no definite meaning, but it must all The quality of beauty is contained within it. In this way, special requirements are put forward for the stipple lines of calligraphy. It is required to have a sense of power, rhythm and three-dimensionality.
1. Sense of power
The sense of power of stippling lines is one of the elements of line beauty. It is a metaphor for the feeling of force that drawing lines evokes in the human heart. As early as the Han Dynasty, Cai Yong's "Nine Movements" made a special study of pointillism lines, pointing out that "hide the head and protect the tail, and the power is in the words", "make the center of the pen always move in the pointillism", "when the pointillism is exhausted, the power is collected" Of". It is required that the pointillism should be deep in the corner, must be taken in as it goes, and have a beginning and an end, so as to show the strength. It should be noted that we emphasize hiding the head and protecting the tail, which does not mean that the middle lines can be ignored. The strokes in the middle must be centered, so that the stipple lines are round and gentle, gentle but not soft, and contain strength. However, the starting and ending points of the stipple lines are not always hidden and sharp (both large seal script and small seal script must hide the sharp edge). In calligraphy, hidden and exposed are often combined according to needs, especially in cursive script, which is ever-changing. When appreciating, you should not only pay attention to the continuity and response of the beginning and end, but also pay attention to whether the middle section is smooth and thin.
2. Rhythm
Rhythm refers to the regular changes in pitch, strength, and length of notes in music. Due to the different force and speed of calligraphy during the creation process, calligraphy produces regular alternating changes in different shapes such as weight, thickness, length, size, etc., which creates a rhythm in the stipple lines of calligraphy. The strokes of Chinese characters vary in length and size, which further enhances the rhythm of dotted lines in calligraphy. Generally speaking, static calligraphy (such as seal script, official script, regular script) has a weak sense of rhythm, while dynamic calligraphy (running script, cursive script) has a strong sense of rhythm and rich changes.
3. Three-dimensional sense
The three-dimensional sense is the result of the center's pen. The strokes written by the center, "viewed against the sun, there is a wisp of thick ink in the center of the painting, right in the middle. As for the folds, there is no deviation in the middle." In this way, the stipple lines can be full, round, thick and round. Therefore, the center's pen has always been valued. However, we cannot find that side-stroke pens can be seen everywhere in calligraphy creation. Except for Xiaozhuan, all other styles of calligraphy are inseparable from side points. Especially in cursive scripts, wingers can be seen everywhere as a complement and foil to the center.
(2) Spatial structure of calligraphy
The stipple lines of calligraphy are intersected and combined to divide the space and form the spatial structure of calligraphy on the premise of following the principles of the shape and stroke order of Chinese characters. The spatial structure includes three parts: the structure of the single character, the movement of the entire line, and the overall layout.
1. The structure of single characters
The structure of single characters requires neatness, length, and balance, and balance of density. In this way, on the basis of caring about righteousness, we can pay attention to the decay and decay of righteousness, its intricate changes, and the natural image. We can see the danger in the righteousness and find the interest in the danger.
2. The movement of the whole line
In calligraphy works, the characters are connected up and down (or front and back) to form a "connection", which requires up and down continuity and coherent echoes. Although the characters in static calligraphy styles such as regular script, official script, and seal script are independent, the strokes are broken and the meaning is connected. Dynamic calligraphy styles such as running script and cursive script can be written in a coherent and coherent manner. In addition, the movement of Qi throughout the line should also pay attention to the changes in size, echoes, contrast between virtual and real, and the resulting sense of rhythm. In this way, the flow of qi can be naturally coherent and the blood vessels can be smooth.
3. Overall layout
In calligraphy works, dots are combined into characters, ligatures are formed into lines, and lines are combined into chapters, which constitutes the cutting of space by dotted lines, and thus constructs the The overall layout of the calligraphy work. It is required that words and words, lines and lines should be sparsely spaced, and white should be used as black; it should be smooth and balanced, and the right and wrong should complement each other; it should be scattered and varied.
Among them, static calligraphy styles such as regular script, official script, and seal script are mainly balanced and balanced; dynamic calligraphy styles such as running script and cursive script have intricate changes and ups and downs.
(3) The meaning of spirit in calligraphy
The spirit originally refers to the look and brilliance of a person’s face. The spirit in calligraphy refers to the spirit, style, temperament, interest and meaning revealed in the stipple lines and their structural combinations. "Appearance is the most important, followed by form and quality. Only those who have both can be introduced to the ancients." It shows that the spirit is higher than the "form and quality" (the shape and appearance of the stipple lines and their structural layout). The form and quality are the premise and foundation for the existence of the spirit; therefore, the essence of the calligraphy art spirit is the overall harmony of the pointillism lines and their spatial combinations. . Pursuing brilliance and expressing one's soul has always been the highest realm that calligraphers strive for.
The acquisition of spirit in calligraphy, on the one hand, depends on the proficiency of creative skills, which is the premise and foundation; on the other hand, only the creative mentality is calm and comfortable, the hands in the center of creation are smooth, and the things and myself are forgotten. Only then can you write true feelings and incorporate your own knowledge and aesthetic taste.
2. Methods of appreciating calligraphy
Appreciation of calligraphy is consistent with the appreciation of other arts and needs to follow the general laws of human cognitive activities. Due to the particularity of the art of calligraphy, the method of appreciating calligraphy is unique. 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, you should first look at the overall situation and have a general impression of its expression techniques and artistic style. Then pay attention to whether the pen, word knotting, composition, ink rhyme and other parts are both dharma and meaning, vivid and lively. After partially appreciating the work, stand back and look at the overall situation from a distance, correct the "rough impression" gained from the first viewing, and grasp it from a rational perspective again. Pay attention to whether the artistic expression technique and artistic style are consistent, what are the highlights and where there are shortcomings in the work, and fully appreciate it from both macro and micro perspectives.
2. Restore the static image to the process of movement and develop associations.
As a creative result, calligraphy works are relatively static. When appreciating, you should follow the author's creative process, use the method of "moving your eyes", follow the order of the work (language, time), imagine the rhythm and intensity of the author's pen during the creative process, and the different changes in the author's emotions, and transform the still image into a static image. Reduction to the process of movement. That is to imitate the author's creative process and correctly grasp the author's creative intentions, emotional changes, etc.
3. From calligraphy images to specific images, start associations and correctly understand the artistic conception of the work.
In the process of appreciating calligraphy, you should fully develop associations and compare the calligraphy image with similar things in real life to make the calligraphy image concrete. Then, based on the aesthetic characteristics of things similar to calligraphy images, we can further associate with the aesthetic value of the work, thereby understanding the artistic conception of the work. For example, if you appreciate Yan Zhenqing's regular script, you can compare the image of his calligraphy with specific images such as "Jing Qing presses his sword, Fan Kuai holds his shield, King Kong dazzles, and a strong man shakes his fist". From this, we can draw the following conclusions: Physically strong - masculine - It is full of heroic qualities - the characteristics of being dignified and inviolable, which reminds us of the dignified and majestic artistic style of Yan Zhenqing's regular script.
4. Understand the creation background of the work and correctly grasp the mood of the work.
Any calligraphy work is the accumulation of a certain culture and history, and is the product of a specific historical and cultural background. Therefore, understanding the creative background of the work (including the creative environment), clarifying the unique cultural atmosphere contained in the work and the author's personality, aesthetic taste, creative mood, creative purpose, etc. are essential for correctly understanding the author's creative intention. It is very helpful to grasp the mood of the work. Wang Shu of the Qing Dynasty's "Xuzhou Inscription and Postscript: Tang Yan Zhenqing's Report to Uncle Haozhou" says: "The heart and liver of "Ji Ming Manu" are split and unbearable, so the book is full of frustration and frustration, and it is uncontrollable. This "Gao Bowen" is full of heart and soul. Peaceful, so guest Yi Wanchang, no longer the strange spirit of "Sacrifice to My Nephew". The so-called "laughing when you are involved in music", the words are sad, the situation is different, and the calligraphy is also different. "It can be seen that no matter the author. Personality cultivation, creative mood, or creative environment all have a considerable impact on the mood of the work. Towards. In addition, calligraphy works are influenced by calligraphy styles and aesthetic trends of a specific era, making calligraphy works reflect diverse cultural atmospheres. This undoubtedly increases the difficulty of calligraphy appreciation, and at the same time makes it more interesting.
The representative figure of the rational beauty of Chinese calligraphy art is Jin Wang Xizhi's "Huang Ting Jing". "Thirteen Lines of Luo Shen Fu" presented by the King of Jin Dynasty, "Jiucheng Palace Liquan Ming" by Tang Ouyang Xun, "Qinli Stele" by Tang Yan Zhenqing, "Shence Army Stele" and "Xuanmi Pagoda Stele" by Liu Gongquan of Tang Dynasty.
In short, the process of appreciating calligraphy is affected by personality psychology, so there is no fixed model for the appreciation method. The above is only one method for appreciating calligraphy. Several methods can be used alternately during the appreciation process. In addition, during the appreciation process, you must comprehensively use various calligraphy skills, techniques and calligraphy theoretical knowledge, maximize your own aesthetic evaluation ability, and try your best to appreciate the artistic conception of the work according to the author's creative intention. Efforts should be made to achieve appreciation within the appreciation and appreciation within the appraisal, and to examine the works in a specific historical environment to make correct appreciation and fair and objective evaluation of the works. Of course, after mastering the correct appreciation method, doing more appreciation is an important way to improve the ability of appreciation. Yang Xiong said, "Be able to observe a thousand swords, and then be able to sword; be able to read a thousand poems, and then be able to write them." This is exactly what Yang Xiong said This means. For your reference, I hope the questioner will adopt it.