Calligraphy is an art that reflects life. People's inner feelings, such as emotions and sorrows, can also be expressed in China's calligraphy, just like in poetry and music. Calligraphy appreciation is to appreciate the beauty contained in excellent calligraphy works by evaluating them. If writing is compared to the literacy stage of primary school, which requires accurate and honest writing, then calligraphy is the way for writers to typeset words into pleasing articles or poems.
Of course, writing articles has its own methods and rules, so calligraphy works also have their own methods and rules. In short, it can be answered by a sentence from Mr. Bai Jiao, a contemporary calligrapher: "The standard of learning can be used as the standard of appreciation". Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning of calligraphy.
Dashed line:
The stippling lines of calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image they form 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. Sense of strength
The power of stippling lines 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 take the convergence center, so as to make the stippling lines round and smooth, 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. sense of rhythm
Rhythm originally 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, Jing Shu (such as seal script, official script, regular script, etc. ) the sense of rhythm is weak, while the running script (running script, cursive script) has a strong sense of rhythm, rich in changes and pictographic.
3, three-dimensional sense
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.
Spatial structure:
On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.
1, single word structure
The structure of a single word requires neatness, fluency, balance of length and 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, the whole line of qi
In calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires coherence from top to bottom. 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 calligraphy works, the combination of dots into characters, hyphens into rows and lines into chapters constitutes the cutting of space by dots, thus adding salt to 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.