It is precisely because it plays an absolute role in the creative center that it is particularly important to connect the heart with the wonderful. In other words, only by learning the beauty of books can we have the meaning of books as wonderful traces. In the "Syria" chapter, Yu Shinan has this argument:
Writing is the foundation of art and the beginning of kingship. Cang Xie is like a mountain, a river, a sea, a trace of dragons, snakes, birds and animals, and has written six books. During the Warring States period, politics was different and ancient books were different. There are many schools in Qin dynasty, and there are roughly eight styles. After that, I was wrong. I said everything, but I didn't describe the beauty of using a pen. As for Cai Yong, Zhang, Suo, Zhong You, Wei and Wang, they all made subtle intentions, and since the enlightenment also made his intentions.
Therefore, Yu Shinan regards enlightenment as the only way to connect the soul and beauty. Therefore, in learning calligraphy, only by being good at thinking and appreciating attentively can we truly understand the principles of thorough calligraphy. If you don't understand the meaning of the book in your creation, all the pictures are like this, but it is self-defeating. This is not a book evil! In other words, we can't stick to the rules in our creation, but can only understand calligraphy creation as following the ancient law and imitating the brushwork, structure and composition of the ancients. It is important to find out the essence and law of calligraphy art from these appearances. Although you don't have to forget its shape, you must get its meaning. Here, Yu Shinan undoubtedly emphasized his dominant position as the creative subject in calligraphy learning and fully emphasized the role of subjective spirit in calligraphy creation. Therefore, the purpose of learning books is naturally to understand the meaning of books and realize the Tao, otherwise where does the meaning come from?
On the other hand, the significance of understanding calligraphy is not limited to the study of ancient methods, but also good at exploring, thinking and summarizing in calligraphy practice. In particular, some specific skills, such as holding a pen and using a pen, cannot be won without a lot of practice and various attempts. In the "meaning" chapter, Yu Shinan expounded the skills of using a pen:
With a pen, the wrist is weak. ..... Too slow without muscle, too quick without bone. The horizontal pipe is dull and fleshy, and the vertical pipe is dry and bare. The final enlightenment is also rough and sharp, fine and fine, not old enough, not short enough.
These experiences are exactly what Yu Shinan realized after a lot of practice.
Second, the creative characteristics of various books
Obviously, Yu Shinan realized the different requirements and characteristics of different books. Therefore, in the theory of pen pith, he deliberately set up three chapters: clockwise, fashionable and Cao Shi. When talking about the pen characteristics of real books and running scripts, he pointed out that the writing style of cursive script is slightly different from that of real books, which is naturally due to the fact that the strokes of running scripts are not as complete as real books, but they are often more characterized by the connection and tension between points and paintings, which makes the writing style of running scripts slightly different from real books. At the same time, because the writing speed of running script is relatively fast, although the text of running script is almost the same as the truth. However, as for depression, if the beast eats it; Forward and backward, like the agile attack of the autumn eagle. Therefore, the wrist is pulled directly according to the front, and the wrist is rotated inside and outside, which is also released from the ring. The rotation is endless, and the internal rotation front is also. It's natural to pick up the pen when it drops, if the stone is flawed. It is also like a gossamer in the sky, and the guest drags away, and it is like a worm net wall, solid and complicated.
Cursive script is like dancing sleeves, lingering and lingering, and the vines are hanging and lingering. Turning the front for a moment is like climbing a tree, catching water, lightly chasing Lu, and starting a prairie fire. Or strong and unstoppable, or easy and deep. Although the cursive script is like a snake or an army. Therefore, the soldiers are impermanent and the words are impermanent; Like fire and water, the potential is uncertain, so the cloud word is impermanent. Compared with truth and action, it does have the characteristics of unrestrained mind, so it is more conducive to expressing feelings and fully showing their feelings. Relatively speaking, there is more freedom, but it should also be perpendicular to madness and not violate the pen. In other words, this freedom can't be divorced from the meaning-the norms of calligraphy art. At the same time, he also saw the * * * between books and the interaction between books. He thinks that real books have their own characteristics: however, they are about eight times the size and have the same potential as Cao Zhang, but they are all interesting, full of details and empty. Its front is round; It is rumored that books are integrated, that's right. Seal script, grass, chapter, line, eight points, etc. , should be caught on the wrist, swept away, pulling away.
This clearly shows the * * * relationship between the vivid creation of various books.
Third, about the creative mentality.
Throughout; It is not difficult to see that Yu Shinan's so-called heart has a wide range of connotations, involving not only artistic conception and the author's subjective spirit, but also the mood and mentality of creation. Therefore, how to quickly enter the non-utilitarian creative mentality that is detached from the real world before creation is also the focus of his attention:
When you want a book, when you close your eyes and listen to it, you will never worry about it, and your heart will be healthy and harmonious. The heart is not right, the book is oblique; Ambition is not harmonious, and words will be reversed. In the same way as the Confucian Temple. Empty means cover, full means positive, and regular sum. But although the word is qualitative, the trace is inaction and yin and yang move; Everything in the body has a shape and changes, and it is often not the owner. Therefore, I know that the mysterious way of calligraphy must be blessed by heaven, and I can't fight for it.
This statement is obviously in line with the viewpoint of calligraphy creation since the Han Dynasty. Han Caiyong not only wants to write a book with his pen theory, but also frees himself from his feelings before writing. ..... Fu Shu, sit quietly and meditate first, feel at ease, have no breath, and look dense. If you are supreme, there is nothing wrong with that. Elaboration, and Wang Sengqian in "On Books" also has the theory that poor gods meditate in creation. Yu Shinan's exposition on creative mentality can be said to be an extension and development of this view. The so-called Tao Jun Si Wen, your peace; Relieve the spirit of bathing in the snow in Chongqing Wuzang. (Liu Xie's Wen Xin Diao Shen Long Si) Only in this way can we think deeply between sincere thinking and subtle thinking. In other words, good and sufficient psychological preparation, quiet and ethereal state, not hindered by the secular, is an important prerequisite and guarantee for quickly entering the realm of artistic creation and achieving creative success.
Above, we analyzed Yu Shinan's unique views and understanding of calligraphy creation in On the Essence of Pen from several important aspects. Although we want to deepen our understanding of his calligraphy thoughts, it is inevitable to be biased, but in any case, as a generation of calligraphy master Yu Shinan, his theoretical achievements and historical position in calligraphy creation can never be ignored.