Liu Jingfang was born in Heilongjiang, 1964, and now lives in Beijing. Graduated from China Calligraphy College of China Academy of Fine Arts. As a member of Ch
Liu Jingfang was born in Heilongjiang, 1964, and now lives in Beijing. Graduated from China Calligraphy College of China Academy of Fine Arts. As a member of China Calligraphers Association, he has won many awards in domestic exhibitions and is a well-known calligrapher in China. The following is what I arranged for you, I hope it will be useful to you!
appreciate
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Structural space in calligraphy
The most intuitive formal element of calligraphy art is line. Form a linear and Chinese character-shaped structural space. Calligraphy forms time in the process of construction and space in the process of time development, which are mutually causal. Different from the natural three-dimensional space, the structural space of calligraphy has no specific shape and color, and its content is based on Chinese characters. Although Chinese characters are tangible with characters and images, this image, as a creation of human beings, is far from natural images. As the structure of Chinese characters, stippling, such as straight lines and curves, or dots, crosses, strokes and strokes, is not a direct counterpart found in nature, but an abstract symbol. But the abstraction of Chinese character structure is not the same as geometric abstraction. China's stippling is not a complete geometric line, and they have no geometric regularity. If the stippling of Chinese characters is only the simplest morpheme without structural features, the stippling of calligraphy is already structural because of the pen. Calligraphy requires each line to show a complex sense of force and movement, which can only be achieved with a pen. Therefore, every stippling, regardless of the beginning, the middle process or the end of the pen, generally needs to hide the head and protect the tail, and the execution is * * * or * * *. As a requirement for lines, "zigzag" has become an idiom in calligraphy. However, if you simply draw casually according to the font of Chinese characters, and go straight, there is no contrast between thickness, rigidity and dryness, and naturally there is no structure at all.
In calligraphy works, characters are always a relatively independent unit structure. The characters formed by the stippling group are independently "imaged" regardless of the number of strokes. In the traditional creation and aesthetic habits, the space of characters in regular script, official script and seal script is always the main content of the whole work and even the whole content, and cursive script is also based on characters to a certain extent. If individual handwriting is not good, it is hard to say that it is good calligraphy. Good handwriting represents the creation of calligraphy in a sense.
In this respect, calligraphy is different from the habit of music, dance or painting. Appreciating music, dance or painting, if you only focus on a certain segment or area, is definitely not established. They often have a center, and other contents revolve around this center. Most of the content outside the center can only be used as a foil. In some calligraphy, even one word is used as the material of the whole work, but its stippling composition still has a sense of wholeness in the whole space-both time and space, and there is no single sense caused by a single word. Of course, as a very successful work, it is not enough to improve the word structure.
As far as most works are concerned, words are always written line by line, and more than two words are written. If you can't finish writing one line, you can write two, three or even one long line. For works with more than two words, the structural space is no longer just the framework of a single word space, and the relationship between words must be considered. For works with more than two lines, in addition to the relationship between words, there is also the relationship between lines. Although in many cases, words and lines are not directly coherent or staggered, their echoes exist. Even if it is a long story, the words at the beginning and the words at the end may have some correspondence. For example, Su Dongpo's "Huangzhou Cold Food Poetry" has a small opening word and a small ending word, while some words in the middle are very big, echoing from beginning to end. Of course, this is only a work with a relatively complete sense of space, and the structure as a whole has not attracted enough attention in history or today's works, which is regrettable. From the above summary, it is not difficult to find that the temporality and spatiality of calligraphy are special senses. It has the characteristics of time, but it condenses in space and is not as independent as music. Its space is by no means a general space, not only two-dimensional, but also an abstract linear space far away from natural images. But it is not an infinite combination of lines, but based on the structure of Chinese characters. Chinese characters have * * *, which is an abstraction of "image". We generally regard music as the most abstract art, and if you know calligraphy and you really know it, you may find it more difficult than music.