Su Shi was a great scholar, a great writer, and a great calligrapher and painter. From the perspective of a literati and artist, he wrote a cautionary poem: "Withdrawal of the pen is like a mountain, but it is not as true as it is. Reading thousands of volumes will lead to magical powers." The people who created it had a huge impact. For literature and art, hard work on basic skills is of course the first priority. Only in this way can we explore the true meaning of art. As far as calligraphy is concerned, can we carry forward this art on the basis of inheriting tradition. But at the same time, we must not ignore the "catalytic" effect of extra-character skills such as "reading thousands of volumes" on calligraphy learning. This word external skill is implicit, that is, it "unknowingly" broadens the author's mind in a subtle way, improves the author's eyesight, knowledge, and aesthetic taste, and then has a positive impact on his learning attitude, method, approach, etc. .
For example, through the acquisition of knowledge in history and philosophy, we can "view the present through the past" and "view the past through the present", develop a dialectical way of thinking, and not be simplistic about the objects of our approach. Affirmation or denial, but an attitude of being good at observing, analyzing, and studying it from multiple sides, angles, and all directions, and then making a choice. Su Shi wrote in his poem "He Zi You Lun Shu": "Although I am not good at calligraphy, there is no one who knows how to calligraphy better than me. If you can only understand the meaning, it is often said that you cannot learn." Although the discourse somewhat reveals a biased attitude towards those who "retreat from writing like mountains" to hone their pen and ink skills, but from another perspective, that is, from "Xiao Shu" and "Understanding its meaning", we can not feel that "reading thousands of volumes" "Did it play an important role in the formation of Su Shi's view of calligraphy and even his calligraphy style?
By absorbing knowledge about literature, language, characters, etc., we can make our poems and couplets meet the basic requirements of rhyme, antithesis, and obliqueness, and there will be less regrets in the exhibition; The inscriptions of articles or short postscripts should be written in an orderly manner, thus being elegant and graceful. Avoid typos in the main text or postscripts, and the misuse of classical Chinese function words such as "zhi, hu, zhe, ye, ye"; when learning seal script, "Shuowen Jiezi" is inseparable from "Shuowen Jiezi", and you must also read "Seal Script Bianjue" familiarly. The former can clarify the principles of character creation and the use of false interpretations, while the latter can prevent you from making assumptions about seal script according to modern official script and regular script. For example: the mouth emperor cannot cry, the scarf is not a sail, the water on the side of the road is difficult, the common girl becomes a mother-in-law, etc. In this way, the exhibited works will try to eliminate common sense "flaws".
The ancients said that "calligraphy and music go together", which means that calligraphy and music are similar in their expressive characteristics of expressing emotions. “It (calligraphy) is like music that extracts sounds from the world of sound and develops melody and harmony independently according to its own laws. The beauty of purified line calligraphy develops with the freedom of strokes that break away from and transcend physical simulation. , constructing intricate and colorful pieces of music and dance on paper, used to express emotions and express meanings." ① Let's look at Su Shi's "Huangzhou Cold Food Poems", the entire layout of which "contains - The ups and downs of "releasing and closing", its thick dots and strokes that are full of "shangyi" are adjusted with the refreshing lines of indulgence, just like a magnificent movement with a majestic tone as the keynote but no lack of jumping.
Chinese calligraphy and painting have always had the same origin. Regardless of this, they are also similar in terms of "writing" lines with pens to express skill, charm and temperament. "Calligraphy and painting come from the same work. The writing is expensive, and the painting is also expensive." ② "Stones are like flying white wood, and bamboos should be written with eight methods. If someone can understand this, it should be noted that calligraphy and painting are originally the same." ③ This shows that calligraphy and painting are both good at both. Participants will be able to learn from each other and be inspired by each other in their study, creation and research. We see that modern art masters Wu Changshuo, Qi Baishi, Huang Binhong, etc. have all made outstanding achievements in poetry, calligraphy, painting, and sealing, or even established sects, and have achieved a high degree of unity in the overall artistic style. "Poetry, calligraphy and painting have true meanings, and it is important to learn more to understand them." What Mr. Fu said is indeed true!
The sage said, "Tao follows nature." Calligraphers of ancient and modern times are also good at observing things and changes in nature and society, gaining inspiration from them, and then sublimating their understanding of art and improving their own creative standards. Su Shi believed that "everything has its value." ④This is the so-called "external object" and "extra-legal interpretation".
Shi Huaisu of the Tang Dynasty "watched the changes of summer clouds with the wind, and suddenly realized something", and his calligraphy "was so wonderful, like a strong man drawing a sword, with a moving spirit, and whirling forward and retreating, all without missing a beat"; ⑤ Zhang Xu "began to observe the princess's performance" I fought for the Tao, listened to the propaganda and learned the meaning of writing, and watched Gongsun dance with his sword and weapon, and learned his spirit." Such examples show that on the one hand, calligraphers rely on the accumulation of knowledge, cultivation, and skills to "take from the mind" and "create from the heart"; on the other hand, they rely on "the creation of external teachers" to obtain skills and even the sublimation of realm and spirit. This is what it means to take "daily renewal as the way".
"When it comes to talents, we should first write and then ink." ⑥ The art of calligraphy is indeed very technical and practical, but at the same time it is based on temperament in the pen and ink. Without the support of "literary", there is no knowledge, Without a broad mind, elegant feelings, and refined quality, if one has a deep accumulation of self-cultivation and just "doesn't work hard", "the smell will be indecent", ⑦ and it will be difficult to achieve the goal of "cultivating one's temperament and changing one's temperament". This is what "Tao's original nature of mind" says.
Therefore, we say that the art of calligraphy is the crystallization of the writer's writing skills and temperament. Liu Xizai said: "The calligrapher is like him, like his learning, like his talent, like his ambition, in short, just like the person he is." 8 This can be said to be an excellent footnote to the calligrapher's "outside the book" cultivation.
Notes: ①Li Zehou's "The Course of Beauty". Cultural Relics Publishing House, March 1981.
② Zhou Xinglian's "Linchi Guanjian" is contained in "Collection of Calligraphy Essays of the Past Dynasties". Shanghai Painting and Calligraphy Publishing House, October 1979.
③Zhao Mengfu's "Scroll of Beautiful Stones and Sparse Forests".
④ "Selected Materials on the History of Chinese Aesthetics", compiled by the Aesthetics Teaching and Research Section of the Department of Philosophy, Peking University. Zhonghua Book Company, April 1981.
⑤Zhu Changwen of the Song Dynasty, "Continuation of the Book". Same as ②.
⑥ Zhang Huaiguan's "Book of Discussions". Same as ②.
⑦Liang Zhangju's "Essays on Tui'an", published in "Selected Papers on Calligraphy of the Ming and Qing Dynasties". Shanghai Bookstore Publishing House, April 1994.
⑧Liu Xizai's "Art Introduction". Shanghai Ancient Books Publishing House, December 1978.
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