1, relationship between calligraphy and painting:
There are always different opinions about the relationship between China's calligraphy and painting, but more people agree with the theory that calligraphy and painting are of the same origin. Because some symbols on pottery unearthed from Yangshao and Longshan cultural sites have certain physical image and symbolic significance. These symbols have the dual connotations of painting and writing, so it is hard to say whether they are painting or writing. In this sense, they are homologous and isomorphic After a long evolution, the two gradually divided, painting paid more attention to modeling, calligraphy became more abstract, and finally became two essentially different arts. However, in the later development process, there is still a certain kinship between them, especially calligraphy is of great value and significance to painting. In fact, after the separation of painting and calligraphy, with the development, the book gradually separated from the composition of painting, its pictographic nature gradually disappeared, and the lines became more diverse and more general. Painting is inseparable from calligraphy, especially after the rise of literati painting, calligraphy has penetrated into painting. As Zheng Qiao said in the Northern Song Dynasty, "The preface says: Books and paintings come out together. Painting takes shape, and books take images; Take more photos and less books. Ideographic characters can be drawn, but if you can't draw, there will be no books. But books are poor and changeable, and paintings are often taken less; Although the books are few, they are often counted. " ① Through the comparison of calligraphy and painting, the abstract and general characteristics of calligraphy are highly evaluated. These characteristics or advantages of calligraphy have laid a good original foundation for its infiltration into painting and its important role.
2. calligraphy theory influenced the painting theory;
Judging from the existing literature, calligraphy works came into being earlier than painting works. In the Eastern Han Dynasty, Cui Yuan's cursive script had a complete calligraphy theory form. Shortly thereafter, some calligraphy books discussed the origin, creation, appreciation and formal beauty of calligraphy in detail. Decades later, Wang Yanshou and Cao Zhicai put forward the social value and theoretical education function of painting in Wen Kao and Painting respectively. By Wang Xizhi in the Eastern Jin Dynasty, the focus of calligraphy aesthetics had shifted to emotional expression, thus deepening the understanding of formal beauty. At this time, Gu Kaizhi marked the birth of the real painting theory works. Although his "theory of form and spirit" became the earliest classical painting theory, in practice, painting at that time still lacked the consciousness of grasping aesthetic experience from the perspective of formal beauty as a calligraphy art. The earliest classification of aesthetics and style can be found in works that comment on calligraphy skills. The line modeling of Chinese painting has always maintained this tradition, which is not only related to the unique line aesthetic concept of China people, but also closely related to the high development of China's calligraphy. Because China's painting tools are the same as those of calligraphy, and the early development of calligraphy aesthetics has influenced and urged China painters, especially literati painters, to combine with calligraphy in the formal system, thus leading to the fact that painting has never been divorced from the characteristics of "writing".
As an art form, calligraphy provides the most direct reference for the line modeling art form of Chinese painting because of its artistic effect and rhythm formed by the thickness, length, discontinuity, stagnation and dryness of points and lines. The line modeling in calligraphy and painting is not only similar in essence, but also consistent with the aesthetic theory of line. Therefore, the artistic beauty of lines has become an indispensable aesthetic premise of Chinese painting. The lyricism and spirituality embodied in the abstract form of calligraphy lines also provide a model for the aesthetic pursuit of "vivid charm" and "unity of form and spirit" in painting. Wang Sengqian, a famous calligrapher in the Southern Dynasties, the Song Dynasty and the Qi Dynasty, said in his book theory "Praise of Books": "The wonderful way of books is that the spirit is the highest, followed by the form and quality. Only those who are both can win the ancients. " In fact, this is calligraphy theory's concrete exposition of the problem of "form and spirit" in painting, and clearly puts forward the viewpoint of "metaphysical order". Wang Sengqian's theory not only had a great influence on calligraphy theory and his creation, but also influenced other artistic aesthetic thoughts that appeared at that time, especially painting aesthetic thoughts. Later, Sheikh of Southern Qi Dynasty put forward the earliest and most systematic painting theory "Six Methods", which was hardly influenced by Wang Sengqian's calligraphy aesthetic theory. As far as its content is concerned, except for picturing according to objects and coloring by classes, the other four methods, such as vivid charm, brushwork in bone, manipulation and transfer modeling, all conform to the basic laws of calligraphy creation.
3. Calligraphy Pencil Penetration Painting Method:
The integration of painting and calligraphy in Wei, Jin and Six Dynasties was still in an unconscious stage. It was not until the Tang Dynasty that the integration of calligraphy and painting really entered the conscious stage. In other words, in the Wei, Jin and Six Dynasties, the line itself only belongs to a pan-technical scope. As far as figure painting is concerned, the changes of lines themselves are not yet mature, whether it is Gu Kaizhi's "dense body", Zhang Sengyou's "sparse body" or Cao's "Cao clothes out of water". Since Wu Daozi in Tang Dynasty, the calligraphy expression of lines has really penetrated into the aesthetic character of painting, thus greatly enhancing the expressive force of lines. Theoretically, Zhang Yanyuan in the Tang Dynasty was the first person who clearly put forward that "calligraphy and painting are the same pen". For example, Zhang Yanyuan said: "In the past, Zhang Zhi learned the methods of Cui Yuan and Du Caoshu, so it was changed to the current cursive script: it was made in one stroke and the pulse was intertwined." Wang Xianzhi followed it and called it "a book". Later, Lu Tanwei of the Southern Dynasties also made a "sum", which was continuous. "I know that calligraphy and painting use the same method." Zhang Sengyou's "Point Drag Research", according to Mrs. Wei's "Pen Map", it is a coincidence that the hook and halberd sword is looming, and I know that calligraphy and painting are the same. "Wu Daozi" teaches Zhang Xu brushwork, and I know that painting and calligraphy are the same. "
The brushwork of Chinese painting is basically the same as that of calligraphy, which is one of the important factors that form the formal beauty of Chinese painting. Zhang Yanyuan's On Lu Gu and Zhang Wuben's Pen theoretically affirmed the close relationship between books and brushes. On the other hand, Hao Jing's calligraphy in the Five Dynasties regarded the use of calligraphy and painting as an inseparable whole. For example, his evaluation of his works adopts four grades of "spirit, strangeness, strangeness and cleverness", and the contents of the first three grades are all related to the use of pens. He regards the use of pens and the painter's spirit as symbols of divine products. In addition, he put forward the theory of "muscle, meat, bone and qi" with a pen, which further clarified the aesthetic connotation of the line itself. This directly affected the views held by the Song people, such as "a good book can make a good painting, and a good painting can make a good book, and it is true", "learning painting is no different from learning books". Guo believes that painting with a pen can "draw close to all calligraphy". "So, the speaker said that Wang Youjun likes geese, in order to change them, for example, a person's wrist for writing, which is exactly the same as a pen for painting. Therefore, many people in the world say that those who are good at books are always good at painting, and their pens are not sluggish. (4) In Yuan Dynasty, the development of painting entered a new stage. At this time, Zhao Mengfu more clearly put forward the view that calligraphy and painting are the same method: "Stone is as white as flying wood, and bamboo calligraphy is also connected with eight methods. If anyone can know this, you should know that painting and calligraphy are the same. " Qian Xuantong and Zhao Mengfu, one of the "Eight Heavenly Kings of Xing Wu", are equally famous, and once put forward the "Morale Theory". The theory of "morale" is similar to Zhao Mengfu's theory of "painting and calligraphy are the same", but there are differences. Qian Xuan believes that painting must have a literati style and must be written in calligraphy. Qian Xuan's theory of "morale" has a great influence on later generations. In the Ming Dynasty, Dong Qichang carried forward the theory of "morale". He said: "Literati's painting should be based on the method of cursive writing strange characters. Trees are like curved iron, mountains are like painted sand, and the way to get rid of sweetness and vulgarity is for morale. I have passed the exam, and I have fallen into the demon world of the painter, which is hopeless. " Later, in the eyes of Wang Shigu in the early Qing Dynasty, the master's paintings were "written casually".