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Neo-savage/Wen
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? Because of his creation, he wrote a pair of couplets: "There is a Buddha and a Zen mind, and there is no
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Neo-savage/Wen
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? Because of his creation, he wrote a pair of couplets: "There is a Buddha and a Zen mind, and there is no writing style without words and ink." Unfortunately, the word "Zen" is misspelled, so I have to give up love and rewrite it. However, the number of books and papers is not good, so what can I do! The birth of this article is also a small gain.
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I always think that the style of couplets is the most difficult in calligraphy creation. There are three reasons. First, there are few couplets. For calligraphers, there are few elements of re-creation. Plus the words are big, the collection is carried forward, dry and boring ... A painting or a word is a little careless, and it will be unobstructed and the whole article will be scrapped; Secondly, it is difficult for a few words to create contradictions, and it is even more difficult to solve contradictions, because the width and height of couplets are fixed and the space that can be created for writers is limited; Third, the upper and lower couplets are difficult to "fit", as inseparable as the back of a person's hand. It is difficult for the upper and lower parts to be independent and inseparable, just like the yin and yang in Taiji Map, black and white are distinct and integrated with each other. It's hard for me to have you in the world.
I have been strongly opposed to writing couplets, word for word, and the resulting couplets are like symbols. Brainless writing not only violates the structural characteristics of Chinese characters, but also violates the creative law of improvisation in calligraphy creation. Characters have different structures and sizes, and strokes are complex and simple. Therefore, calligraphers' re-creation can be based on the characters, the situation and the shape (although the structure of Chinese characters is relatively fixed). The calligrapher's purpose is not to accurately reproduce the structure of Chinese characters, but to reorganize and arrange them twice according to the movement track of the brush on the paper and the needs of composition.
Since 2 1 century, the practical function of calligraphy has basically faded into pure artistic appreciation, but with the passage of time, the practicality of calligraphy will all disappear. Couplet calligraphy is no exception. The creative ideas and ideas of couplets calligraphy must be changed to adapt to the development law of contemporary art, and its vitality will last for a long time.
We can see all kinds of couplet calligraphy left over from the Ming and Qing Dynasties and the Republic of China. The first is practicality. As long as it is elegant, dignified and neat, the ability to identify the content of the couplet is the first, followed by its artistic level and elegance. Modern people's couplet calligraphy creation should be reversed from the Ming and Qing Dynasties and the Republic of China. To meet the needs of the times, we must change the traditional concept of practicality first and establish the concept of art first.
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? At present, printing and copying technology is very developed. For example, the concept of creating couplets still stays in the concept that the ancients put practicality first, so it is better to collect ancient or artistic characters conveniently and quickly. Although you don't look at the couplets of scenic spots and historical sites, most of them still stay in the ideological position of practicality first, and the writers try their best to weaken their artistry, which is particularly prominent in the Qing Dynasty and the Republic of China.
? I have always insisted that the calligraphy of Qing people is "still plain". No matter cursive script, it is far less elegant and charming than Qin, Han, Tang and Song Dynasties and Wei, Jin, Southern and Northern Dynasties. Especially the calligraphy of couplets and big characters, most of them are typical ones that are still dull: "light is black but not bright", dull, dazzling, stupefied, and ink can't see words, alas!
? From the late Qing Dynasty to the early Republic of China, to the 1990s, some creative calligraphers broke the dreary situation of couplet calligraphy in Qing Dynasty and created works with the idea of combining artistry and practicality. For example, Kang Youwei, Xie Wuliang, Xu Shengweng, Wu Changshuo, Yu Youren, Qi Baishi, Huang, Sha Menghai, etc. , especially Wu Changshuo, Qi Baishi and Yu Youren. , wrote couplets calligraphy, regardless of the grass and seal, rarely accompanied by explanations, which shows that their calligraphers attach importance to its artistry and practicality. Today's couplets focus on artistic ideas, such as Wang Yong, He, He, Wo Xinghua and so on, which are worth learning and thinking from contemporary calligraphers.
? I have always believed that no matter what style of calligraphy you write, artistry comes first and text content comes second. Of course, it is better to combine the content and artistry of the text. Imagine that the text content is: "Lonely smoke in the desert, the long river sets the yen", and the screenwriter writes with the Chu style of the beautiful woman Shan Juan. How will readers produce aesthetic associations? If you write with weeds, what is the association? If it is written in the official script of ancient Qin and Han dynasties, what kind of association will readers have? or vice versa, Dallas to the auditorium
? According to the author's own experience in creating couplet calligraphy, we should pay attention to the following points: there is no essential difference between the creation of couplet calligraphy and the creation of general forms. ?
First, I object to the repeated writing of upper and lower couplets, to the polishing of several pieces, to the polishing of temperament and thoughts, and finally to choose a pair, which violates the timeliness of calligraphy writing and deviates from the essence of artistic lyric.
Second, the first word is very important, such as the tune of music, which can't be out of tune. Sun of the Tang Dynasty put it very well: "One word is divided into one word, and one word is decided." . Violate and not commit, and be harmonious and different; Don't stay up late, don't get sick; Dry and moist are thick and dry; Fujian rules are in place, and the hook is straight; At first glance, if awkward, if obscure; Too poor to be normal, on paper; If you have no heart and hands, you will forget the rules. " ?
Third, I don't agree with the routine couplets, and the words in the upper and lower couplets are aligned and balanced in size. Da Zhongguang of A Qing Dynasty said in the Book Raft of Da Zhongguang: "The brightness of light is distributed. ..... White frame, clean towels; Scattered white, eye cloth is symmetrical ... painting. "
Fourth, the couplet is signed. Now most people sign the first word and the second word of the next couplet. Most of them are poor, but most of them are not in the previous paragraph. Or the previous paragraph is fixed between the first word and the second word in the first line, and the next paragraph is between the penultimate word and the third word in the bottom line. If you can leave the poor man's money, you will never leave the rich man's money. The word "money" is a supplement to the text. There is really no place to put the money, so it can be sealed.
5. Those who disapprove of man-made design and have nothing to do with couplets should be attached with four vertical long words, all of which are small characters and paragraph seals, which should serve the needs of the text and not cause redundant words for the sake of form.
Sixth, no matter what style of writing, the writer should try his best to change it, such as the exaggeration of knot writing, the thickness of stippling, the change of ink color, the rhythm of brush strokes and so on. Any change of stippling structure points should obey the whole, and the upper and lower parts should be integrated, so that the upper part of the couplet becomes a mass of air. Because there are few couplets, it is forbidden to breathe and leak rain.
Seven, the reaction of the upper and lower couplets should be based on the "diagonal" reaction to avoid the similarity or similarity of ink color, size and thickness of the words on parallel lines. The upper and lower couplets should have independent characters, and the distance between words should be diagonal, as far as possible. One or two sentences is enough!
Eight, the couplet should not be too much, generally not more than three, the first chapter, the name printed on both sides, one yin and one yang, first yin and then yang, can not be inverted. There is a lot of confusion in printing. Because of the need of rules and regulations, there must be no more than one seal around the whole. If it is really necessary to balance the seal to fill the gap, it is best to print it in odd numbers as an appreciation of the upper and lower parts, and it is best to print it in triangle or trapezoid without affecting the overall harmony.
? The calligraphy creation of couplets is very difficult, because the form is fixed, and also because calligraphers write the mindset on couplets. The difficulty lies in the large number of words (except for hundreds of words and thousands of words couplets), which gives the creators limited space to play freely. Smart book writers can create infinite possibilities in a limited space. If prose is a writer's ID card, then couplet calligraphy is a calligrapher's ID card.
? 2065438+April 25, 2009
Prose of New Savage Collected in Chongqing