Yingcheng, Hubei, bachelor degree, party member. I like calligraphy and painting since I was a child. I served in the Guangzhou Military Region for many years. Now I work in Guangzhou Cultural System. Attended the 20 17 advanced calligraphy seminar of Guangzhou Painting and Calligraphy Institute, and got the guidance of professors and teachers such as Jin, Zhang and Li.
Cultural Literacy and Spiritual Connotation of Calligraphers
——? On Real Calligraphers and Calligraphy
Wen/Tao level
abstract
At present, China's calligraphy is losing its traditional recording significance, and it is becoming a trend to regard China's calligraphy as calligraphy art and traditional culture. Some people even advocate letting China's calligraphy enter thousands of households, but it is China's calligraphy that can enter thousands of households, not necessarily calligraphy. Calligraphy has always been an elegant thing for literati to play with in their leisure time. However, scholars' calligraphy is controversial in the field of calligraphy and painting, thinking that it lacks professionalism, which will mislead calligraphy lovers and try to separate calligraphy from literati. Whether literati calligraphy is professional or amateur, in fact, it was suggested as early as the Song Dynasty that China's calligraphy and literati are intertwined, and the history of calligraphy is actually the history of literati calligraphy.
key word
Calligrapher? Cultural literacy? purpose
introduce
Due to the limitation of vision, the calligraphy circle lacks in-depth research on the relationship between calligraphy and literature, or only discusses the history of literature itself, rarely touches on the correlation between calligraphy and literature, and fails to systematically and completely explain the connotation of literati calligraphy and the relationship between calligraphy history and literature history. This paper will explain the connotation of literati calligraphy and its relationship with the history of literature as a whole, clarify the context of calligraphy history, and analyze that improving the inner cultivation of calligraphers is the fundamental place for the prosperity and development of calligraphy creation. ?
Analysis of Ancient Literati Calligraphy
As early as before the Wei and Jin Dynasties, calligraphy became the art of writing, and its primary symbol was the understanding of characters. Han Yu once said that "it is appropriate to be literate." Calligraphers, like literati, must have the ability to control words and be skilled in the organization and application of words. Because we usually look at words, we seldom look at a word in isolation, and they are all recognized in a context, that is, articles. Therefore, ancient calligraphers must be good at writing. In such a structural relationship, linguists, writers, calligraphers, etc. As a whole, it is intrinsically related. For example, Cai Yong, a great calligrapher in the Han Dynasty, was also a great scholar and writer, and others such as Ban Gu, Xu Shen and Cai Yan were also great calligraphers.
Cai Yong's Xi Shi Ping Jing
From the works handed down from generation to generation, there are Shi Guwen and Xiao Zhuan's Stone Carvings on Mount Tai, as well as Shi Chenbei, Cao Quanbei, Zhang Qianbei and Shimensong in Han Li. They are all praise articles. Wang Xizhi's Cao E's Injustice, Le Yi Lun, Preface to Lanting, Wang Xianzhi's Thirteen Lines of Luoshen, etc. , or his own composition, the style of the article and calligraphy are basically the same. Therefore, Liu Xizai's "Art Outline" said: "The Qin tablet is rich in Han tablets, and the books of a generation are all worthy of a generation of people and a generation of writers."
Studying calligraphy and poetry together can better understand the connotation of literati calligraphy. In this respect, a work is first of all very beautiful. Most calligraphy works handed down from the Northern Wei Dynasty to the Tang and Song Dynasties have this feature. Therefore, the history of China's calligraphy is largely the history of literati's calligraphy.
Wang Xizhi's Preface to Lanting Collection is also a classic of ancient Chinese?
Classification of calligraphers
A, literati calligrapher:
Calligraphy is a combination of writing, literature and calligraphy since ancient times, which are inseparable. It is not a simple pen and ink line. To paraphrase Zhao Mengfu, "Calligraphy is written by a scholar with a master's degree in Confucianism. Can non-scholars engage in it? " Because calligraphy pays attention to not only those lines with pen and ink, the art of calligraphy has never only worked hard on technology. Zhao Yi, a calligraphy theorist in the Eastern Han Dynasty, criticized the calligraphy practice in the Han Dynasty, arguing that it was futile to practice calligraphy so hard: "Everyone has different blood and muscles, and his heart is dense and skillful. Although the book is ugly, the heart is strong. " Only when you have the literary talent to write poems and articles can you record the words artistically with a brush and form calligraphy works. Otherwise, without talent, no matter how hard you try to study the structure of Chinese characters, as Zhao Yi said, it is also futile. This gap in creative ability was described by Zhao Yi with his dense mind and skillful hands. Historically, most of the inscriptions in the two documents are beautiful, and the artistry of the article content and the artistry of the text reflect each other and blend into one.
According to these characteristics, all calligraphers who write their own poems, inscriptions, prefaces, epitaphs, inscriptions and propositions with their own unique writing methods can be called literati calligraphers. Famous calligraphers in the history of calligraphy, such as Zhi Yong, Ou Yangxun, Yan Zhenqing, Wang Xizhi, Wang Xianzhi and Zhong You, all belong to this category.
Some people think that literati calligraphy only rose after the Song and Yuan Dynasties, with Su Shi, Huang Tingjian and Mi Fei as the representatives. Calligraphy originally belongs to literati's works, which is inherently literary, related to the development of literature, and even more typical than literature. Yu Shinan once said, "It's not wonderful that a fake pen conveys the heart." . Therefore, successful calligraphers in history can be classified as literati calligraphers.
Selected Poems of Zhang by Du Mu, a famous poet in Tang Dynasty
Second, professional calligraphers.
At present, the group of professional calligraphers is particularly large, such as calligraphers' associations at all levels, full-time staff in bookstores at all levels, and calligraphy teachers in fine arts colleges of major universities, all claiming to be professional calligraphers.
When it comes to professional calligraphers, we have to start with professional calligraphy, which can also be called orthodox calligraphy. It is characterized by a clear relationship between teachers and students, and highly praises the calligraphy of Erwang and Sun. At the beginning of learning, fonts started with the inscriptions of Europe, Europe, Liu, Yan and Zhao, and were guided and taught by professionals, diligent in learning and practicing, striving for orthodoxy and precision. Running Grass also began with Wang Xizhi's Preface to Lanting, Sun's Book Score, and Huang Tingjian's All Seated Posts. The skillful writing is also to show, change and innovate in the middle of the rules.
Ancient calligraphy works have the function of recording. Since the popularization of printing, brushwork has gradually weakened its recording and practicality, and writing brushwork has become a kind of personal entertainment. In today's society, the division of labor is becoming more and more clear and detailed. Calligraphy lovers become professional calligraphers through practice, exhibition, membership system and various calligraphy activities. Calligraphy works are only written according to various requirements, not their own literary works. The main characteristics of professional calligraphers' calligraphy works can be defined as: standard font writing and reasonable overall layout. They mainly write China's ancient and modern famous sentences, classic famous sentences of past dynasties, as well as life proverbs, great men's famous sayings, four-character idioms and so on. They are the most active group engaged in calligraphy art activities at present.
Part of Su Shi's Huangzhou Cold Food Post?
Third, contemporary experimental counterfeiters.
The classification and appellation of contemporary experimental pseudo-calligraphy are very wide, including folk calligraphy, Jianghu calligraphy, contemporary calligraphy, "master" of calligraphy art and "master" of modern calligraphy. The similarities of these calligraphers are based on their understanding and criticism of professional calligraphy and literati calligraphy. They still have many radical ideas on developing calligraphy in various aspects, such as green forests, craftsmen and rural folk customs. Or abstract, combined, artistic and so on. The methods and directions are quite different, but the tone is against the traditional book style. Oppose "Traditional Calligraphy" with "Modern Calligraphy Art"
The experimental calligraphy of modern art is not only divorced from the tradition of literati, but also tries to be divorced from words. When writing, it is an alternative calligraphy with lines, color blocks, modeling and creativity as new ideas, called painting words, which creates a variety show similar to performance art on the spot. As for the beauty of ink images, expressions and collages, it is often difficult to understand them from pictures and lines, and creators need to explain them in other words and languages. Therefore, modern calligraphy often becomes language art or performance art, a set of theories and a set of theories. If they are really allowed to write and create calligraphy works, their level is still quite limited and they cannot be called real calligraphers.
The creation of calligraphy criticism atmosphere is the external ecology that needs to be advocated and constructed in the current development of calligraphy creation. At present, the articles recommended by calligraphers' comments are endless, but there are many praises and few denials, and it is not uncommon for people to make mistakes. True criticism that really hits the nail on the head, faces the problem directly, and is objective and fair is often rare. In front of the work, the critic lost the courage and courage to criticize; In the face of criticism, calligraphers lack the mind and consciousness to face it calmly. "Good medicine tastes bitter and is good for illness, but sincere advice is not good for action". Honest criticism is a good teacher and friend of calligraphers, and it is also of great benefit to the improvement of public aesthetic ability. There is no real criticism, only praise and flattery. How can we set things right, correct mistakes, foster strengths and avoid weaknesses? Without calligraphy criticism, the development of calligraphy will lose its guiding light. Advocating calligraphy criticism that tells the truth and seeks truth from facts, and promoting the formation of an ecological environment that dares to criticize and is willing to accept criticism should become the inner consciousness of every calligrapher and critic.
Some misunderstandings about literati and calligraphers at present
First, there is a misunderstanding of literati calligraphy in society. Many people think that literati calligraphy is the usual inscription of celebrity calligraphy, the elite of various businesses, and the impromptu brushwork of celebrities in literature and entertainment.
Second, the prejudice of calligraphy circles against literati calligraphy. Because of calligraphy theory's short-sightedness, some professional calligraphers equate literati calligraphy with Jianghu calligraphy, performance art calligraphy and folk calligraphy, and can't tell the difference and connection between literati calligraphy and experimental calligraphy.
Third, other misunderstandings, a large number of veteran cadres often sign off when they are in office. They are also cultured people. After retiring from his post, he was well paid and full of energy. In their spare time, they often get together to write and draw, and also invite exhibitions together from time to time. The calligraphy of this group is commonly known as the old cadre style, and the society often mistakenly thinks that the calligraphy of such people is literati calligraphy.
Fourth, the calligrapher's own misunderstanding of literati calligraphy, because of the prejudice against literati calligraphy in today's society, thinks that literati calligraphy is informal and unprofessional, and calligraphers themselves are not willing to label themselves as literati calligraphy, and they are proud of being professional calligraphers.
Literati Calligraphy and Professional Calligraphy
Since ancient times, literati and calligraphy have had a close relationship. Many famous calligraphers in ancient times had a dual identity, namely, being a scholar before a calligrapher. In reality, people began to confuse "literati calligraphy" with "professional calligraphy" intentionally or unintentionally. The most common thing is that cultural celebrities and scholars write a few strokes casually and call them calligraphers. Some writers known as calligraphers have become accustomed to various invitations, and impromptu graffiti has won a lot of applause, so that they are known as "calligraphers" and they are also very useful. It should be said that these writers are really outstanding in literature, but the times have kept us away from the habit of writing with a brush. Most of their works are typed on keyboards. It is hard for us to imagine whether their calligraphy is as profound as their articles.
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Scholars' calligraphy has been controversial for a long time. Many people think that scholars' calligraphy can't represent the essence of calligraphy. Similar to New literati paintings, this is actually a wrong understanding. Literati calligraphy is the most fundamental of calligraphy, and calligraphy originated from literati. Throughout the history of calligraphy in China, we find that most of the fine calligraphy handed down belongs to literati calligraphy, but there are more than 10 million literati who know books and can write, but not everyone's words can be called calligraphy. It can be seen that calligraphy itself has its own independent aesthetic value and evaluation criteria, which cannot be changed at will because of the change of the author's occupation or the different crowd structure. Calligraphy is a cultural concept, not a simple artistic concept. Therefore, culture is the key to the integration of personality and calligraphy, and calligraphy is the essence of culture, and its emergence and development are attributed to culture. Technology depends on diligence, culture cultivates the mind, technology is the means, and culture is the leading factor of works. Calligraphy should be art rather than technology, and a calligraphy that conveys deep cultural information can make people move. It is a long way to go to enhance the cultural connotation of professional calligraphers and truly realize the integration of professional calligraphy and literati calligraphy. Only when contemporary calligraphers have a correct attitude, take virtue, simplicity and emptiness as their bosom, get rid of the temptation and cage of fame and fortune, and concentrate on creation and academic research can they make great achievements.
refer to
1, Jiang Shoutian? Criticism of modern calligraphers? Henan Fine Arts Publishing House, 2003.05.0 1
2. Calligraphy as a culture, Liu Shouan Xinhua DigestNo. 19, 2005.
Appreciation of calligraphy works
Cursive script of historical classic famous sentences
Sheng Tao cursive script
Fifteen cursive scripts of Tang poetry
Sample of current report