What is the language of calligraphy?
The calligraphy community has been thinking about this issue for more than 20 years. Some people believe that the language of calligraphy is "line", and this concept is gradually accepted by some people. However, this "line" theory invisibly superficializes and simplifies the language of calligraphy. Calligraphy creation guided by this point of view will inevitably lead to flattening and simplification of creation. At present, there is an urgent need to reverse this erroneous view and establish a correct view of calligraphy language, so as to guide the theoretical research and creation of calligraphy to develop in depth and breadth. This article will analyze the basis of the "line" theory, the similarities and differences between "lines" in Western painting and "stippling" in Chinese calligraphy, and the characteristics of calligraphy language, and discuss the language of calligraphy.
After the rise of calligraphy craze, theoretical research on calligraphy has developed vigorously, and the establishment of a scientific calligraphy theoretical system has become a hot topic of the era. In the process of theoretical research, the concepts, methods and theories of Western art have been widely borrowed or quoted to elaborate and explain our country's calligraphy art, and have achieved certain results. This method of adapting foreign things to China deserves further promotion and development. However, when some people refer to Western art concepts, methods and theories, they are divorced from the actual situation of Chinese art. They do not conduct careful analysis and copy them mechanically, which leads to some wrong views and creates some new misunderstandings. In the study of calligraphy language, some people have made such a mistake. They regard lines as the artistic language of calligraphy, and use the "line" theory to replace the traditional "stippling" theory. A careful analysis of the reason for this result is that the "point painting" of Chinese calligraphy is confused with the "line" of Western painting, without understanding the similarities and differences between the two.
The "line" theory mainly comes from Western painting art. We know that the role and function of lines were ignored in early Western paintings. "The characteristics of painting are its qualitative characteristics derived from color" (1); lines are only an element that forms a surface and do not have the quality of independent expression. "Line in Western painting is a part of depicting the outline of the body or polishing the light and shadow. The result is that it is hidden in the mirror of the subject without any trace. It can be said that the shape is hidden" (2); only in the 20th century did lines become a part of painting. The main elements of painting are "the media used in painting are colors and lines, and expression is achieved in two ways through colors and lines" (3); lines "are formed by color contrast and surface differences" (4); Western painting The focus is on the contours and visual effects produced by surface and color contrast, rather than on the internal changes in the lines and the quality of the lines themselves. Although some schools in Western modern art attach great importance to the use of lines, the lines themselves are not yet independent. "A line cannot exist in isolation. Only when it is connected with other lines can it create a sense of volume." (5) ; Some schools also emphasize the tension and direction of lines, but this tension and direction are generated by acting forces (external forces) (6). Judging from their aesthetic appreciation of lines, it is mainly based on the meaning of geometric lines and belongs to the category of "boundary". The "stippling" of Chinese calligraphy not only has the function of "boundary" in form and quality, but also transcends "boundary". "The concept of "point painting" has the characteristics of points, lines, surfaces, and bodies, with special emphasis on the quality of "stippling" itself.
First of all, the lines in Chinese calligraphy have the characteristics of lines in Western art. "The author is the boundary." The boundary formed by calligraphy through the contrast of black and white is the outline of "stippling". Its meaning is basically the same as the function of lines in Western painting. If the physical characteristics of calligraphy language were limited to this, it would be impossible to form an independent language system. The outline and visual effects produced by the "boundary" are only the most primitive and basic attributes of the form quality of calligraphy language. Secondly, the directionality of lines in Western paintings is weak, while the "stippling" of calligraphy itself has strong directionality.
In modern times, Lin Sanzhi integrated the essence of stele and calligraphy, enriched the changes in ink color of cursive "stippling", and made the "stippling" form break through the limitations of lines and have the characteristics of surface and body. It is precisely the openness of the artistic language of calligraphy that makes calligraphy sufficiently inclusive. It has always accompanied the development of Chinese culture, embodies the aesthetic requirements of different eras, and embodies the aesthetic complex of the Chinese people.
Calligraphy language is the core content of calligraphy art. The accurate understanding and mastery of calligraphy language determines the development future of this art. Only by giving up the "line" theory and returning to the "stippling" theory can we avoid the confusion of calligraphy. A one-sided and simple understanding of the art of calligraphy prevents calligraphy creation from further developing in the direction of simple imitation and copying. Only by returning to the theory of "stippling" can we accurately understand and master the artistic language of calligraphy, and break the current stagnation and confusion in calligraphy creation.
Quotations and Notes
(1) "Aesthetics", written by Hegel, translated by Zhu Guangqian, The Commercial Press, 2nd edition, January 1979.
(2) "Aesthetic Walking", written by Zong Baihua, Shanghai People's Publishing House, first edition, June 1999.
(3) "Principles of Aesthetics", Mei, written by H. Parker, translated by Zhang Jin, published by Guangxi Normal University, first edition in May 2001.
(4) Same as (3)
(5) "Matisse on Art", edited by Jack de Ferram, translated by Ouyang Ying, Henan Fine Arts Publishing House, First edition, September 1987.
(6) See the discussion in "Line and Surface of Kandinsky's Argument".
(7) is the same as (3).
(8), (9) "Kandinsky's Argument on Lines and Surfaces". Russia, written by Kandinsky, translated by Luo Shiping, Wei Dahai, and Xin Li, China Renmin University Press, first edition in October 2003.
(10) "Inscription Formation", Wang Xizhi of Jin Dynasty.
(11) "Book Book", Tang Dynasty, Sun Guoting.
(12) "Shu Shuo", Song Dynasty, Huang Tingjian.
In August 2005, "On the Language of Calligraphy" was published in "Gansu Calligraphy" (Issue 3).