Psychological process of calligraphy appreciation
Art appreciation is an aesthetic cognitive activity, and calligraphy art appreciation is an aesthetic cognitive activity with calligraphy works as the object. The subject he knows is people who are the sum of social relations. All their activities are subject to his social status, world outlook and cultural accomplishment, as well as his cognitive ability, emotion and will. The object of calligraphy appreciation is the work. It is an artistic work formed by the author's subjective feelings combined with the processing of Chinese characters.
Calligraphy art appreciation is a dynamic cognitive process, and its operating mechanism is complex. In order to facilitate discussion, it can be divided into the following stages:
First, the preparation stage.
To appreciate the art of calligraphy, we must first have an aesthetic attitude. Emotion refers to a weak and persistent emotional state, which is often associated with the needs of the subject. Therefore, if the subject wants to enter the aesthetic process, he must get rid of the complicated affairs and look at the works with aesthetic eyes. At this time, the work is no longer a simple physical factor (the combination of paper and ink), but the carrier of the author's emotion. Appreciating a work is an emotional exchange, which is not utilitarian.
Second, the perception stage.
The perceptual stage is the viewer's feeling and perception of the work, and the form is the work? Shape? At the stage of grasping work. Mainly to understand the author's performance skills and feel the modeling space of the work.
Calligraphy is called plastic arts, and its plastic space is different from the space in life. It needs the intervention of imagination. Three points of character, seven points of framing? It means that mounting can make the modeling space of the work independent and make it easier for the viewer to enter the imagination.
Appreciating the modeling space of a work requires us to look at the work in a three-dimensional way. Specifically, a work, pen and ink solid, cloth empty. It is not flat, but three-dimensional and hierarchical. Calligraphy pays attention to centering the pen in order to obtain a round and thick three-dimensional sense of brushwork. Pay attention to the use of ink, in order to get the level change. Vanity is not empty, is it? Silence is better than sound? Artistic means. For example, in Qi Baishi's paintings, several delicate shrimps are active in the picture, with a blank background, but full of imagination, as if the blue waves are rippling and crystal clear. Calligraphy pays attention to the use of white cloth, that is, the use of emptiness. An excellent calligraphy work is often thought-provoking, as if it were an illusory background in a photographic work. Although you can't see the specific content, it can make you feel rich and colorful. Prospects? More prominent. Only understanding? Virtual? For a better understanding? Real? . ? Know white and keep black? That's the truth.
Knowing the virtual and the real, we can feel the modeling space of the work, and the modeling space we feel will change with the different attention range of the subject. A good work, cut in any range, has a beautiful shape. Take a line, a word or even a stippling from the work. Huang Tingjian said in On Books:? There is a pen in the word, just as there is an eye in the Zen sentence. ?
Third, the understanding stage.
Calligraphy art works are the result of the author's refining life, obtaining images and materializing by using calligraphy art expression skills. The subject can trace the author's image according to the trace of materialization and grasp the content of the work. Zhu Zhishan of the Ming Dynasty said:
Emotions and sorrows, each with its own score, happiness and harmony, and comfortable writing; Anger is rude and dangerous;
Sadness leads to depression, and words converge; The music is plain and beautiful. Love is light and heavy, so the words are comfortable and beautiful, and there are also
Depth, endless change?
Author? Hi? Angry?
Sad? Le? Do his works have corresponding feelings? Shu? Risk? Convergence? Lee? And other different forms. To understand a work is to imagine the dynamic process created by the author through the external static form of the work. ? Put yourself in the shoes? Only by carefully understanding the author's emotions can we deeply understand the works. What you get through understanding is not abstract concepts or scientific data, but concrete images related to the viewer's memory performance. There is a passage in Sun Zai's book Music:
See the difference between my husband hanging a needle and dew, the spectacle of running thunder and falling rocks, the scary posture of flying animals, and the snake dance.
The state on the shore is offshore, and the peak is in danger.
When you see the form of the work-hanging needles and dew, you will get images-rushing thunder, falling stones, Hong Fei, terrible animals and so on. Because of the rich connotation of calligraphy works, the subject can form many impressions on the works, but they are not primary or secondary, and they are not clear enough, but they can stimulate curiosity and thirst for knowledge and understand the works in depth.
Fourth, the re-creation stage.
Re-creation is a process in which the subject uses imagination to synthesize the content of the work and form a new image in his own mind on the basis of multiple perceptions and full understanding of the work.
When the subject perceives the work, he obtains the representation of the form of the work, and when he understands the work, he obtains the representation of the content of the work. These representations are temporarily stored in the subject's mind, which is irregular and unsystematic. Re-creation is to organize the representations in the mind into organisms according to certain rules.
At this time, the memory representation flashes repeatedly and is constantly being screened.
Keep the main expressions that are close to the essence of the object. These images constantly conflict and penetrate each other, and finally merge into a new whole-the image in the subject's mind.
The new image is created by the subject in his own way on the basis of appreciation. Therefore, it can't be exactly the same as the author's image, it is creative, and it often goes beyond the author himself, even something that the author didn't realize when he created it or didn't exist in real life. Zhu commented on Zhang Xu's cursive script in "Continued Book Break":? If the gods fly high, Xia Yun will give birth to a pine. The situation of escape is strange and unpredictable. ? Zhang Xu cursive Zhu image soaring? God? On Mount Songshan and Huashan? Xia Yun? He created an image according to his own life experience and imagination.
The new image is the result of the subject's recreation. Different subjects, because of their different psychological stereotypes, will get different images even in the same work. So-called? Different people have different opinions, and wise people have different opinions? . As mentioned in Zhang Xu's cursive script, what image did Zhu get? God? Xia Yun? . What if modern people understand? Rockets in the air, missiles in flight? Images, even hearing, such as disco music, are normal.
Five, * * Ming stage
* * * Ming refers to the psychological phenomenon that the thoughts and feelings of aesthetic subject and object blend.
In calligraphy art appreciation activities, once the image in the subject's mind is formed, the subject will grasp the author's thoughts and feelings from the image, and the two are partly the same or similar. This part will continue to strengthen and expand in the mind, while the rest will continue to weaken, disappear or even disappear. When entering the peak state, the subject and object will be completely integrated to achieve the unity of things and me. At this time, the subject's mind is full of the author's thoughts and emotions, and the same thoughts and emotions as the author will be rapidly improved and developed. When the subject is in this state, it will be accompanied by a strong aesthetic pleasure. This feeling will be transformed into aesthetic experience, which will play a guiding role in future appreciation and creation. There is such a short story in Volume 14 of Xuanhe Pu Shu:
Europe (referring to Ou Yangxun) (referring to) the monument, which was first passed on without asking, and Xu Shi won it.
I can't bear to go under the tablet.
Ou Yangxun handed over the inscription written by Suo Jing. Didn't ask for the first time? , has not yet entered the aesthetic mood; ? Did he get Xu Shi? Under the influence of Suo Jing's fame, he forced himself into a state of mind to understand his works; ? Can't bear the tablet? It was Ou Yangxun and Suo Jing's calligraphy that produced the * * * sound, and he devoted himself to it, reaching the realm of the unity of things and me. What is the emotion that accompanies pleasure? Reluctant to leave? Reason. At this time, he will gain aesthetic experience from Suo Jing's calligraphy to guide his later creation.
Marx said: Works of art make people who understand art and appreciate beauty-the same is true of any other product. Therefore, production is not only the main body of production, but also the main body of production. ? The same is true of the artistic creation of calligraphy, which not only creates artistic works, but also cultivates appreciators. In this way, strengthening the study of calligraphy appreciation will be beneficial to the vigorous development of calligraphy.
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