(1) Sense of Force The sense of force mentioned here is an ingenious force in calligraphy, a natural movement of the palm, fingers, wrists and arms under the coordination and control of human consciousness, and a fusion of the writer's aesthetic concept and writing experience. China's calligraphy has always emphasized brushwork, and Mrs. Wei's "Pen Map" has a saying: "Write and point out. Waves and bends must go all out. " Cai Yong in the Eastern Han Dynasty pointed out in "Nine Potential": "When you write hard, your skin is beautiful". Skin is a formal sense of line beauty. Generally speaking, if you write powerfully, the lines will be beautiful and rich in skin connotation. There is still a contrast between brightness and darkness in the power of skills: the person who makes a sharp turn at the beginning and end of the line is called brightness, and the power to stop smooth movement in the line is called darkness. This passage tells the true beauty of the power of lines. The reason why vigorous and powerful calligraphy works are beautiful is that it allows the viewer to appreciate the elegance of life and the rhythm of the soul in this solidified and static glyph. If the brushwork is weak and thin, the beauty of calligraphy cannot be fully expressed and brought into play.
(2) Three-dimensional sense As far as calligraphy is concerned, three-dimensional sense is a contradictory modification method. Because the line itself is flat, it is impossible to meet the physical standards of three-dimensional space. However, if a calligraphy work lacks three-dimensional sense, the lines will appear thin and boring, which is unsightly. The real three-dimensional sense should be calm and vigorous, which can make people feel the rich information contained between the lines. In short, the three-dimensional sense emphasized by calligraphy is an abstract and refined space. In the creation of specific calligraphy works, it has its own form because of the different calligraphy styles and the different aesthetic tastes of writers. The emphasis on three-dimensional lines is, of course, closely related to the traditional spirit of China people. Any kind of aesthetic consciousness can not be separated from the restriction of social content, and calligraphy is no exception. For example, Mrs. Wei, a female calligrapher, pointed out in the "Pen Map": "The beauty of the husband's three ends lies in the pen first, and the skill of six arts lies in the silver hook." The reasoning formula of this passage is: calligraphy-pen first; Use a pen-the center is heavy; Lines-you have to have a three-dimensional sense to look good.
Judging from the aesthetic feeling of calligraphy, the central skill is absolute. The winger technique is relative and can't be used independently. It can only be supplemented alternately with the center. And not in the theme. This is because the purpose of calligraphy is to pursue the beauty of lines, and the most important thing for the beauty of lines is to have a strong three-dimensional sense and thickness. We can reform the method of using pen, but we can't go beyond the ultimate goal of calligraphy beauty. It is not a simple question of skill, but a question of beauty in essence.
(3) Rhythm We can find a kind of vitality from the rhythm of calligraphy works, and then experience the value of life in the vitality. The principle of rhythm is the intersection of contrast. In the form of calligraphy, it is the ratio of blank to ink, the ratio of blank size, the ratio of blank shape, the ratio of ink dots to lines, and even the ratio of ink thickness, wet and dry, Fiona Fang and turning point. Generally speaking, a contrast contains elements of rhythm. "Yin and Yang are the Tao", and "Yin and Yang" are the basis of rhythm. The movement characteristics of the pen in the process of line formation-tightness, lightness and heaviness, and speed-are the specific contents of line rhythm. The nature and types of all kinds of sports are also different, and no matter what kind of rhythm, it exists in comparison. Brush calligraphy can express the personality of many calligraphers. The vitality of every calligrapher embodies the aesthetic value of line rhythm. Such as: space rhythm, writing rhythm, blank rhythm, direction rhythm, etc.
The principle of rhythm seems relatively simple compared with the principles of force and three-dimensional sense. Because of the strength and line thickness, we can describe it in depth from the appearance and form from the practical starting point. But for rhythm, visible forms abound, and the invisible deep content is not only the content of calligraphy, but also involves physical and psychological problems. Three-dimensional sense, sense of strength and sense of rhythm basically contain all the contents of line aesthetic consciousness. Not only that, but even in the skill of calligraphy, the existence of "three senses" has included all the spatial contents of the skill.
The composition of force sense depends on lifting, pressing, stopping, tripping, turning, folding, square and circle, emphasizing a kind of ups and downs with a pen; The composition of three-dimensional sense depends on the pen with the center as the main body, and the rule of pen use is implemented within the specific range of line beauty, which not only pursues drawing lines on flat paper, but also pursues shaping three-dimensional effect; The composition of rhythm is controlled by speed, which is intermittent and has a gradual process, so it has a time attribute.