Appreciation of steamed stuffed bun calligraphy works;
Appreciation of steamed stuffed bun calligraphy works 1
Appreciation of steamed stuffed bun calligraphy works II
Appreciation of steamed stuffed bun calligraphy works III
Form and potential in calligraphy art;
Form and potential are the most basic and important issues in calligraphy art, and the situational theory originated from Sun Tzu's Art of War. During the Spring and Autumn Period and the Warring States Period, a hundred schools of thought contended, among which the strategist was an outstanding scholar. ? Where is the 182 school of the art of war written by Han Xing, Sean and Han Xin? . Ban Gu has Han Shu? Art and literature, Sun Tzu's art of war can be divided into four types: one tactic, two games, three yin and yang, and four techniques. According to Pei Songzhi's Notes on the Three Kingdoms, the required books recommended by Zhuge Liang to Liu Chan are legalist works and art books, Sun Quan reminded? Should I rush to read it? Our books are also history books and military books. This shows that during the Han and Wei Dynasties, people were very keen on the art of war.
At the end of Han Dynasty, Wei and Jin Dynasties, while the art of war prevailed, the art of calligraphy also advanced by leaps and bounds. First of all, the script is becoming more and more mature, and the original thick lines of seal script have evolved into various stipplings such as horizontal and vertical, and the silkworm head and goose tail are full of twists and turns, and the shape is very exaggerated. Then, it quickly evolved from Asian script to regular script, from official script to running script, and from Cao Zhang to materia medica. These developments all emphasize the trend of writing, pursue the inheritance of stippling, and pay special attention to the brush gesture. The situation became the focus of calligraphy creation at that time, which was similar to Sun Tzu's Art of War in method. Therefore, people use the Art of War to discuss calligraphy. Cai Yong's "Nine Potentials" said: If you crouch down to nature, nature will come out, and yin and yang will come into being, and the situation will come out. ? Yin and Yang and the situation in Sun Tzu's Art of War became the theoretical cornerstone of China's calligraphy history. After Cai Yong, Mrs Wei wrote a book with the method of war, named "Pen Map". The first sentence of Wang Xizhi's "After Mrs. Wei's Painting" comes straight to the point and says: Paper-making array, author's sword, ink-maker's armor, inkstone-maker's city, general of mind, skill assistant, strategist's strategy, author's good or bad luck, guest order, and loser's killing? Every link of calligraphy creation is equipped with the art of war. This kind of research has become an ethos, so that the general calligraphy theory is in the name of the situation. Cheng Gongsui has official script style, Wang Min has running script style, and Xiao Yan has cursive script style (style and form are synonyms). Cai Yong has nine potentials, Wei Heng has four-body calligraphy potentials (including word potential, seal potential, official potential and grass potential), as well as Suo Jing's cursive calligraphy potential, Wang Xizhi's twelve chapters on pen potential and so on. Even other works, regardless of character evaluation, work appreciation or technique explanation, are based on yin and yang and situation as the theoretical basis for analysis and evaluation. See chapter 1, section 3 for details? The situation is unified? .
After Wei and Jin Dynasties, Yin-yang and environment became the core issues of calligraphy theory. For more than 1000 years, with the efforts of calligraphers of past dynasties, its content has been continuously expanded and deepened. Yin-yang theory bases all the forms of expression in calligraphy on a comparative relationship, such as the speed of using a pen, the thickness of stippling, the positive side of the structure, the density of composition, the dryness and wetness of ink color and so on. Situational theory divides all contrastive relationships into two series and combines them in different ways. A series, such as the thickness of Fiona Fang and the size of the front, are all modeling, modeling for space, and tend to draw. Other series, such as light and heavy speed, intermittent clutch, are all potential, are all time rhythms, and tend to music. With the unification of the situation, the development of China's calligraphy art gradually merged music and painting, time and space, and became a metaphysical art. Because of this, in modern times, Kang Youwei said in "Two Boats of Guangyi"? Books are metaphysics? And say:? The ancients discussed books with potential as the first priority. ? Pick out the word boundary as the basic definition of calligraphy art.