Any calligraphy work is seeking the change of the whole space, such as using a pen, disintegration, layout and so on. It should not be rigid, but flexible. This pursuit is reflected in the appearance that ink looks thick and thin.
Question 2: The basic meaning of calligraphy is literally understood. Calligraphy refers to the statutes of writing. In life, the word calligraphy has the following meanings. One is the pronoun of a written work or the collective name of all written works; Second, an art category generally refers to the art of writing Chinese characters. In Guang Yi and Zhou Shuang, Kang Youwei said: "The structure of Tang Yan is interesting for merchants in Song Dynasty", which shows that the pursuit of statutes in Tang Dynasty is the highest and most rigorous, and the achievements of calligraphy in Tang Dynasty are also the highest in the history of calligraphy. Calligraphy is a unique traditional art in China. Chinese characters in China were created by working people and began to be recorded by pictures. After thousands of years of development, it has evolved into today's writing. Because our ancestors invented the brush, calligraphy came into being. Throughout the ages, Chinese characters were mainly written with a brush. As for other writing forms, such as hard pen and finger calligraphy, their writing rules are basically the same, but they are not completely different from China's calligraphy. Calligraphy in a narrow sense refers to the methods and laws of writing Chinese characters with a brush. Including writing, calligraphy, stippling, structure, layout (distribution, lines, composition) and so on. For example, the pen refers to the palm and the five fingers are Qi Li; The pen carrying center is unfolded; Stippling is the same as a pen; The structure is shaped by words and echoes each other; The distribution is intricate, the density is appropriate, and the virtual and the real are born together, and the whole chapter is full of gas fields; Every word is ancient for literacy, and every word is big and small, and high is not as good as low. The connotation of calligraphy mainly includes the following aspects: 1. Calligraphy refers to an art that uses Four Treasures of the Study as a tool to express a sense of * * *. The particularity of tools is an important aspect of the particularity of calligraphy art, and it is an important part of calligraphy techniques to fully embody the performance of tools with the help of Four Treasures of the Study. Without Four Treasures of the Study, there would be no calligraphy art. 2. Calligraphy art takes Chinese characters as the carrier. The particularity of Chinese characters is another important aspect of calligraphy particularity. China's calligraphy can not be separated from Chinese characters, and the form of Chinese character stippling and the collocation of radicals are the contents that writers pay more attention to. Different from other pinyin characters, Chinese characters are a combination of form, sound and meaning, which has strong formal significance. The so-called "six books" of the ancients refer to six methods of pictographic, fingering, comprehending, pictophonetic, transliteration and borrowing of Chinese characters, which is of great guiding significance to the analysis of Chinese character structure. 3. The background of calligraphy art is China traditional culture. Calligraphy is rooted in China traditional culture, which is the background of its existence and development. The calligraphy theory we see today since the Han Dynasty has its own systematicness, integrity and orderliness. Calligraphy theory, like other literary theories, includes not only the technique theory of calligraphy itself, but also the aesthetic theory of calligraphy, all of which shine with the wisdom of ancient China literati. For example, the theory of how to express the categories of "spirit, qi, bone, flesh and blood" in calligraphy, the theory of techniques such as brushwork, calligraphy and composition, and the theory of creation and evaluation all have their own systems. 4. Calligraphy art noumenon includes brushwork, word method, structure method, composition method, ink method, pen gesture and so on. Calligraphy brushwork is the core content of its techniques. The brushwork, also known as "using a pen", refers to the pen-lifting method with a front. Morphology, also known as "knot" and "structure", refers to the relationship of collocation, insertion, echo and avoidance. Composition, also known as "white cloth", refers to the overall layout of a word, including the handling of the relationship between words and lines. Ink method is the method of using ink, which refers to the treatment of thick and thin dry and wet ink. Calligraphy in a broad sense refers to the writing rules of language symbols. In other words, calligraphy refers to writing with its brushwork, structure and composition according to the characteristics and significance of words, making it a beautiful work of art. With the development of cultural undertakings, calligraphy is not only limited to the use of brush and writing Chinese characters, but its connotation has been greatly increased. For example, in the use of tools, there are many kinds of pens, such as writing brushes, hard pens, computer instruments, spray gun branding tools, carving knives, engraving machines, and daily tools (mainly hardware and daily tools with hard texture that can be used for writing). Pigments not only use black ink blocks, inks, adhesives, chemicals, lacquered glazes, etc., but also are colorful and strange; There are too many varieties to mention one by one. From the way of writing, some people write with their hands, others with their feet, and many people write with other organs. Some people don't even use pens to write, such as "pointing at books" and "squeezing books". In terms of writing style, it is not a kind of Chinese characters, and some minority languages have also entered the calligraphy art world, and Mongolian is an example; There are six main calligraphy styles in China, namely, seal script (including big seal script and small seal script), official script (including ancient script and modern script), regular script (including regular script and cursive script), running script (including running script and cursive script), regular script (including regular script) and cursive script (including cursive script and cursive script). & gt
Question 3: What is the meaning of calligraphy? What is the tradition of calligraphy?
We are all talking about inheriting Chinese excellent traditional culture, which is a great tradition, and calligraphy tradition is one of them. The so-called tradition, "transmission" is inheritance, and "unification" is discipline and norms. Together, tradition refers to a long history, passed down from generation to generation, * * * abides by certain norms and guidelines, and achieves a certain form of * * * knowledge and its fashion. Of course, with the changes of times and conditions, there will be certain development and changes. What is the tradition of calligraphy? I think it includes two aspects:
First, the artistic beauty of calligraphy. This is the formal ontology of calligraphy. Calligraphy is an art, which is developed from practical writing. It refines the artistic beauty in the process of creating and using Chinese characters. Such as letters, notes, announcements, scriptures, poems, manuscripts, etc. , is not only the recording and transmission of life information, but also can give people a kind of beautiful enjoyment.
The second is the spiritual beauty of calligraphy. This is the spiritual connotation of calligraphy. Calligraphy not only gives people the aesthetic feeling of formal skills, but also gives people a spiritual aesthetic feeling in the calligraphy works created by the combination of formal elements such as writing, writing, composition and ink painting. This spiritual beauty embodies the writer's personality and humanistic feelings, including literature, philosophy, art, politics, economy, science and technology.
These two aspects interact and complement each other. As the unity of calligraphy tradition, they have been passed down from ancient times to the present, and they are constantly innovating and developing.
Artistic Beauty of Calligraphy ―― Natural Beauty
The creation of Chinese characters by the ancestors of our Chinese nation has gradually evolved into hieroglyphics from the initial knotting and carving. We talk about the six principles of Chinese characters in China: pictographic characters, comprehensible characters, signifier characters, pictophonetic characters, transliteration characters and loanwords. Zhuan Zhu and borrowing are extensions of using Chinese characters, and the first four are methods of creating Chinese characters. Pictograph is the most basic method of word formation. On the basis of pictographs, knowledge is the synthesis of more than two pictographs. Reference is to add a reference symbol to a specific part of a hieroglyph. For example, "wood" has a fork on it, a trunk in the middle and a root under it. If you write the word "Ben", you should put a horizontal line under the word "wood" to indicate that this is the root. "End" refers to the treetop, so this horizontal line is added to it. Pictophonetic characters, pictophonetic symbols and phonetic symbols. For example, the "river" of a river, "water" is a symbol and "ke" is a note. Therefore, the "six books" are basically pictographs. Pictographic, with highly abstract painting significance. For example, "horse", horse head, horse body, mane and four legs. If you accept "Shou", there is a boat in the middle, which is pushed by one hand and picked up by the other. This is a combination of hieroglyphics, a word of recognition. Another example is the word "Ji", with wood (tree) below and arrow above, which is in the shape of a bird. There are one or three arrows in the seal script, that is, one or three birds perched on the wood are called "Ji". These combinations present various wonderful forms, and the beauty of this form comes from people's understanding of natural laws. The formation of Chinese characters fully shows the great wisdom of our Chinese ancestors. This wisdom is manifested in a high degree of abstract aesthetic ability. In the early days, people had a strong sense of painting, and later they became more and more concise and summarized. The initial glyph is an irregular pictographic form, and gradually becomes more and more standardized, condensed into small squares, or square squares, or flat squares, or rectangular squares.
The hieroglyphics gradually transited to phonography. Pinyin characters are completely symbolic. Ancient civilizations in the history of the world, such as ancient Egypt, ancient Babylon, ancient India and ancient China, used to have hieroglyphics, but with the exception of China, the characters of other ancient countries gradually evolved into pure symbolic pinyin characters, and the tradition was cut off. Only China's Chinese characters remain traditional. From the earliest hieroglyphics, such as carved symbols and hieroglyphics found in Yangshao, Dawenkou and Erlitou, to the Yin and Shang Dynasties, they gradually tended to be symbolic, which was different from the early pure hieroglyphics. After two weeks of ancient prose and seal script, the characters have become more and more standardized and abstract, and they are completely unified in Qin and Xiao seal scripts. Li, Kai, Xing, Cao, and finally Crazy Cao, through a series of examples, we can find that the evolution process of Chinese characters is interlocking and the context is clear, which is the greatness of Chinese characters in China.
Ask a person who doesn't know philology, and put a Oracle Bone Inscriptions and a weed in front of him, and he will feel that there is no relationship between them. If you add some examples of intermediate links, the whole look will be suddenly enlightened. This phenomenon is only found in China's Chinese characters in the world, because the usage of Chinese characters in the historical and cultural heritage of our ancestors for thousands of years has not left its roots, and there are all kinds of inheritance and changes, all of which are related. Number > >
Question 4: In order to understand the aesthetic standards of calligraphy, Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Praise of Calligraphy": "The wonderful way of calligraphy lies in superb spirit, followed by form and quality, and only those who have both can be distinguished from the ancients". Here, it is emphasized to write the spirit in form, with both form and spirit. Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning of calligraphy. (1) The stippling lines in calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image formed by them has no definite meaning, but it should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense. 1, the sense of strength is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must be centered on the beam, so that the stippling lines can be pure and harmonious, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous. 2. The sense of rhythm refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes. 3. The stereoscopic impression is the result of using the pen in the center. The strokes written in the center are "reflected in the sun, and there is thick ink in the center of the painting, which is just in it. As for the fold, there is no deviation." In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere. (2) The spatial structure of calligraphy The stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy under the premise of following the principles of Chinese font and stroke order. The spatial structure includes three parts: single word structure, whole line circulation and overall layout. 1, the structure of a single word. The structure of a single word should be neat and straight, with appropriate length and balanced density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger. 2. In the whole line of popular calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires up and down and coherent response. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked. 3. Overall layout In the calligraphy works, dots become characters, conjunctions are arranged in rows and chapters, which constitutes the cutting of space by dots, thus enriching the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs. (3) The appearance of calligraphy is the appearance of a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. "Spirit comes first, shape comes second, and both can be seen in the ancients." It shows that spirit is higher than "form and quality" (the shape and appearance of stippling lines and their structural layout), and form and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Catch up with ... >>
Question 5: What is calligraphy? Calligraphy focuses on "Fa", and calligraphy art focuses on "Emotion". Calligraphy "Fa" is the foundation of calligraphy art, which serves the art of calligraphy and prepares for its development ... Calligraphy, calligraphy is to express the calligrapher's mind and ideological interest, and it can be promoted to calligraphy art, and there must be "emotion" in the book. There is no "emotion" in the book, so I can't read it at first sight. Calligraphy art: It should be based on Chinese characters and use soft pen as a tool to express one's writing ability. Furthermore, it is a kind of personalized, expressive, humanized and enlightening writing charm. As far as I know, calligraphy art has two names, one is calligraphy and the other is calligraphy. We call it calligraphy in China and calligraphy in Japan. Literally, I personally think that the name calligraphy is more appropriate than the name calligraphy. Because "law" is a hard rule and "Tao" is an elastic principle, from an independent point of view, law and Tao have their own connotations, responsibilities and realms. Different concepts, different categories. "Dharma" is a mechanical dead thing without blood and meat. "Tao" is a free and fickle life with flesh and blood and feelings. "Law" and "Tao" From the social point of view, every society in ancient and modern times and at home and abroad is based on moral standards, rather than taking "law" as the rule. Laws and regulations are just tools to serve a high-standard moral society. Laws and regulations only play a role in monitoring whether everyone's behavior meets the requirements of social morality. Laws and regulations only ensure the good development of morality, and morality is a good embodiment of society. Art comes from life, which is the same as common sense. Thus, the truth of calligraphy is the same as above. "Law" cannot override art, nor can it be used as the standard of art. There is a layer between the two. Once the law is recognized and accepted by people, everyone can operate and live according to the "law". But the mastery of Tao is flexible and changeable, and no one can control it if he wants to. It takes people with cultivation, experience and courage to reach a state. Different people, different accomplishments, different experiences, different courage, have different realms. However, the Basic Law remains unchanged. "Tao" is the cover word of art, art is the biochemistry of Tao, which is Tao, and Tao is inaction and intangible. I'm not saying that China's calligraphy is inferior to Japanese calligraphy. Actually, it's not. Our calligraphy in China is still developing its art according to the maximization of Taoism. Our calligraphy is also shouldering its artistic mission, not inferior. Just a different name. Chinese characters belong to China, China culture is the native culture of China, and calligraphy art is the quintessence art of China, and its development strength is self-evident. Qi Baishi, a master of calligraphy and painting, also said: the road is vertical and horizontal, and you should go boldly. It's really true. However, there is no so-called "wild fox Zen" on the road of calligraphy art. The so-called "wild fox Zen" means that some people think that writing is unreasonable, that is, whether the brushwork, lines and composition have historical origins. If you don't have the origin of your family school, you will be unfamiliar. They are all "wild fox Zen". Because there is a saying in Yue Ji that "there is a reason for writing", that is to say, it comes from that school or is like that school. In short, this is what it means. It doesn't really matter. The important thing is whether your calligraphy art can move people and shock the audience with vitality, which is very important. If you can't reach this point, it means that the next pen has a source or is as meaningless as Zhang Si. It is pale and weak, and it is also catching sesame seeds and losing watermelon. However, some people cling to the historical view that should have been eliminated long ago, but they are still self-righteous, condescending and commenting on other people's works. They can't see the reason for writing, and even he can't understand it. He thinks that "Wild Fox Zen" doesn't conform to the rules. Actually, it's not. According to the theory of "invisible avenue", there is no "wild fox Zen". Personally, I think the theory of "Wild Fox Zen" is a conservative concept and a curse that restricts development. If it is unintentional, it is the difference in cultivation and understanding between people; If it is intentional, it is jealousy of others' selfishness and their own morality. The art of calligraphy today is different from that of a hundred years ago. Today's calligraphy art serves the whole society, not one person or several people. One person or a few people cannot represent the whole society. Mankind >>
Question 6: Calligraphy terminology of writing. The posture of writing is very important for practicing calligraphy. Correct writing posture can not only ensure writing freedom, reduce fatigue and improve writing level, but also promote the normal development of children's bodies and prevent diseases such as myopia, strabismus and spinal curvature. Therefore, we must pay attention to it. The correct writing posture is: sit up straight with your shoulders flush; Head straight, slightly forward; Back straight, chest upright, chest about a punch from the edge of the table; Feet flat on the ground shoulder width; The left arm and the right arm are flat on the table, the left hand presses the paper and the right hand writes. The distance between the eyes and the paper should be about one foot. Whether the writing method is correct or not is related to the control ability, flexibility and writing speed of the pen, which directly affects the writing effect. Good writing methods must be cultivated from an early age, otherwise, once habits are formed, it will be difficult to correct them. The correct writing should be three-finger writing. The specific requirements are: hold the pen with the right hand (some people write with the left hand), and hold the pen tip about 3 cm away from the pen tip with the thumb, forefinger and middle finger from three directions respectively. The index finger is slightly in front, the thumb is slightly behind, the middle finger is pressed on the pen inside, and the ring finger and the little finger are naturally placed under the middle finger in turn, bending in the direction of the palm. The upper end of the pen rests on the bone with the highest index finger, and the pen forms an angle of 50 with the paper. About. When you start writing, you should "hold your fingers firmly, and your hands are empty", so that you can write flexibly. As the saying goes, words are like people. So how do you write beautiful and good words with your own pen? If it is a pen, you can buy a copybook and write a paste, and copy it slowly. Words, like people, have a center of gravity, and they are all in a straight line from head to toe, so people don't seem to fall. Then beginners can use this principle to write and write when they write. On the basis of copying, first keep the words from' upside down', especially for children. If children want to write well, they must first write neatly and correctly, and then practice their skills to look good. Then if you want to practice calligraphy, you have to start from an early age, not only to grasp the characters, but also to grasp the posture, so that children can practice calligraphy well on the basis of health. Meng Tian is a story written by Meng Tian, a general of Qin State in the Spring and Autumn Period. In 223 BC, Meng Tian went out to war, and he regularly wrote battle reports and presented them to the king of Qin. It was inconvenient for people to write with bamboo sticks at that time. A word was dipped in ink without writing a few strokes, but it took a long time to write a report. One day, while hunting, Meng Tian was inspired when he saw a rabbit's tail dragging blood on the ground. He immediately cut off some rabbit tail hair, put it on a bamboo tube and tried to write with it. But rabbit hair is shiny and does not absorb ink. Meng Tian tried several times, but the effect was still not good, so he threw the "rabbit brush" into the stone pit in front of the door. One day, he happened to see the brush he had thrown away. After picking it up, he found that the wet rabbit hair became whiter. He dipped the rabbit's brush into the ink tray, but the rabbit's tail became "obedient" and he wrote fluently. It turns out that the water in the sinkhole contains calcium. After soaking in alkaline water, the grease of rabbit hair is removed and becomes soft. It is said that this is the origin of the brush. There are some records in history about Meng Tian saying that he made pens. "Taiping Yulan" quoted the Natural History as saying, "Meng Tian made a pen. Cui Bao also said in Notes on Ancient and Modern Times: "It was written in Meng Tian, that is, Qin Bier. Take dead wood as the tube, deer hair as the column and wool as the quilt. The so-called Cang Xie is not a rabbit's bamboo tube. But in fact, the unearthed cultural relics have proved that the writing brush existed long before Meng Tian made it. Xu Shen's Shuo Wen Jie Zi in the Eastern Han Dynasty said: "Qin refers to the pen, Chu refers to Yu, Wu refers to the wrong, and Yan refers to Fu. There is no "pen" in pre-Qin books, but the word "pen" appeared as early as Shang Dynasty. Qin Shihuang just unified the name of the pen, indicating that there was a pen before Qin. Zhao Yi, a great scholar in Qing Dynasty, wrote in the article "Writing doesn't begin in Meng Tian" in Kao Er Xian: "Writing doesn't begin in Meng Tian. It is still created by the field, which is better than the predecessors, so it is good for its name. It seems that this comment is well founded. In the Tang Dynasty, Han Yu's Biography of Mao Ying personified people with a pen. It is also mentioned that Meng Tian attacked Zhongshan State and captured Mao Ying, which was favored by Qin Shihuang and made Mao Ying a "Guanchengzi". Later generations took Heguan as their pen name. In addition, the brush has other aliases, such as Mao awl, Zhong Shujun, Chang and Jian Nu. This is another story. Modern people write less and less with a brush, replaced by later pens and ballpoint pens, and advanced to the mouse in the 1990s. I remember when I was studying in the 1980s, it would be great if I got a pen because of my good grades. Interestingly, in the 2 1 century, some of our children didn't even know what a pen looked like ... >>
Question 7: What is the meaning of "vertical" in calligraphy? As the name implies, it is "top-down". Mainly refers to the "big chapter": words must be related from top to bottom. A small composition is the stroke relationship of a word. It is hard to say whether a word is "vertical". Let's experience it according to our own feelings: it is nothing more than a sense of formality of "standing".
The so-called connection is probably based on some aesthetic techniques such as size, weight, density, shade and inclination. To create a sense of "potential" in the vertical direction.