1, vivid charm
The highest state of China traditional art, especially calligraphy art, is vivid charm. To realize the vivid expression of charm, you must? Bone pencil? In other words, we should write elastic and powerful lines. The symbols carved on pottery by ancestors in primitive society already have the embryonic form of words, and the lines have the meaning of calligraphy, which is naive and simple. In Shang and Zhou Dynasties, Oracle Bone Inscriptions painted with knives rather than pens, and the lines were mainly square and straight, which was quite lively. The bronze inscription is made of clay and then cast with copper, which is called the bronze inscription. The calligraphy lines of Jinwen Tuoben are vigorous, simple and simple in structure. Although the pre-Qin books can carry the tripod, they are all portrayed with tools, and the lines still lack vivid expression. After Qin and Han Dynasties, the brush was widely used as a writing tool. Brushes are made of animal hair, such as wolf hair. Sharp, round, neat and healthy? These characteristics, well written, can produce a very vivid performance, full of vitality, elegance, elegance, modesty and beauty. Moreover, calligraphy works are mostly written in ink, and the colors are bright and calm. The rich changes of dry and wet shades will produce vivid Mo Yun, which will make the expression of calligraphy lines more vivid. Therefore, how to use pen and ink has become the basic skill and aesthetic key that calligraphers pursue and grasp all their lives. Ancient calligraphers summed up a set of principles and methods of using pen and ink. For example, when writing, you should use your mind shoulders, shoulder straps, elbows, wrists, palms, fingers and Qi Li, and the pen tip should be stressed, so that the lines you write can be strong but not slippery. When writing strokes, you should hide your head and protect your tail, turn inside and outside upside down, and use your pen near the center. , so that the strokes are even and powerful, without false angles, resulting in such things as? Chai Dan? 、? Bee waist? 、? Crane knee? Waiting for the sick pen. Ink should be thick but not stagnant, clear but not light, and ink and ink should penetrate each other to achieve the vivid expression of ink in five colors. In short, good calligraphy works are injected by the author? Essence, qi and spirit? , with vivid charm reflects the superb artistic realm.
2. Unity of form and meaning
Chinese characters are based on pictographic characters and word meanings, and each individual character is a freehand plastic art work created by the ancients. For example:? De? What does Jin write about this word? Morality, morality? The meaning of. By pictograms? Heart? And then what? Eyes? Combine together to form a cognitive word, from? Eyes? The straight line in the sky indicates the line of sight, and the characters symbolize the meaning through modeling. Virtue is not external to people's code of conduct, but inner moral consciousness, which can be felt from the honest eyes revealed from the window of the soul. In this way, when calligraphers write this word, they will feel the aesthetic enjoyment of freehand brushwork, and the combination of this sense of painting and calligraphy is a complete sense of calligraphy combining form and meaning.
3. Beautiful point, line and surface structure
Chinese characters are modeled with dotted lines, and the boundary between lines is the face. The structural beauty of calligraphy composed of points, lines and surfaces is an important aspect of the formal beauty of calligraphy. The structural beauty of calligraphy is similar to the architectural beauty. There are many articles about the structure of calligraphy in ancient calligraphy theory. Poems on the Heart by the monks of Zhiguo in Sui Dynasty, Thirty-six knots by Ou Yangxun in Tang Dynasty and Eighty-four knots by Mason Lee in Ming Dynasty, among which Ou Yangxun's Thirty-six knots have the greatest influence. He stipulated the reasonable principle of writing straightness according to the category characteristics of regular script fonts, such as? Avoid it? Get out of the way? (collocation of compound words), super? (the relationship between radicals and subjects) and so on. However, the knot principle in calligraphy can't standardize the practice of calligraphy. Ancient calligraphers, in their creation, showed the structural beauty of calligraphy in various ways.
4. The linear beauty of pen and ink blending
Calligraphy takes lines as shapes, and lines themselves are abstracted into rich aesthetic factors. The abrupt, thick, wet, tortuous and rigid lifting line embodies the broad performance field of music, and its rhythm and melody lead people into the beautiful artistic conception of infatuation. The ancients used many vivid metaphors to illustrate the aesthetic feeling of stroke lines, such as Lady Wei, a female calligrapher in the Eastern Jin Dynasty, and Ou Yangxun, a calligrapher in the Tang Dynasty. Point? Like what? A stone falling from the mountain? ,? One? Like what? Wan Liyun array? , for example? Long live the withered vine? , for example? Ground-breaking rhino? , for example? Rushing through the waves? , for example? Jinsong fell off a stone? , for example? Drive like hell? , for example? The first month in heaven? . In other words, calligraphers should have images when writing, so that lines with rich expressions and vivid brushwork can appear.
5. the beauty of the virtual and the real.
Composition refers to the structural method of the overall layout of calligraphy works. First of all, there is a big framework to form a stylized composition. The composition of calligraphy works, especially cursive works, is generally composed of the beginning and preface. The first half is full of steady emotions, the second half is full of pen and ink, and the second half is composed of signatures and seals. This structural beauty, which connects the past with the present, embodies the general principles of China's traditional aesthetics? That is, Tai Chi schema. Taiji diagram is a large S-shaped line with closed ends. S-line is a curve full of life rhythm. There is no absolute straight line in nature. All living things have the form of curves, and all the most beautiful things have the form of S-lines. In this way, the linear expression of S-line is the on-the-spot beauty of composition, while the blank expression surrounded by line is the virtual beauty of composition. The combination of reality and reality and the combination of rigidity and softness have created thousands of changes in calligraphy rules and beautiful artistic effects.
6. The literary beauty of poetry and books.
Calligraphy is the art of writing words. Although calligraphy can appreciate the beauty of lines and structures abstractly, mastering the content of words makes our appreciation more comprehensive and complete. Great calligraphers are literati and scholars with high poetic accomplishment, and their works written in French are excellent literary works. For example, Wang Xizhi's Preface to the Lanting Pavilion has both? The best running script in the world? Its reputation is also a classic of ancient Chinese literature. Reading its words and appreciating its articles are really beautiful.