Appreciation of Cui Wei's Calligraphy Works
Pictures of Cui Wei's Calligraphy Works 1
Pictures of Cui Wei's calligraphy works 2
Picture 3 of Cui Wei's Calligraphy Works
Figure 4 of Cui Wei's calligraphy works
Research on the Development Trend of Calligraphy
Body is an extremely important aesthetic category of China's calligraphy, and its artistic connotation is very rich. Posture comes from qi, qi comes from talent, and based on academic ability, it becomes self-cultivation and is revealed between pen and ink.
The ancients observed a long time ago that there is an invisible thing in nature that controls the development of everything. All changes in nature, such as cold and heat, wind and rain, life and death, rise and fall, twilight and so on, are moving according to their own internal laws. This is the function of qi and potential. Laozi's Tao Te Ching said: Tao gives birth to one, two, three, and all things, and all things are negative and embrace Yang, and they rush and think about peace. ? What is said in it is too empty, that is, the original vitality, the second is yin and yang, and the third is the harmony of yin and yang. Harmony nourishes everything and breeds change. This simple dialectical thought has a great influence on China's aesthetics. The ancients deeply realized that all human activities must conform to the objective laws of nature, and only in this way can we gain absolute freedom in the laws. Mencius first suggested that I am good at cultivating lofty spirit, which is an objective law lurking inside things, and therefore naturally applied to literature and art, for example, Cao Pi said in Dian Lun. Literature is dominated by qi. ? In calligraphy theory, Cai Yong in the Eastern Han Dynasty first put forward the concept of potential, and he said in Nine Potential:? The number of volts originates from nature, stands naturally, is born of yin and yang, is born of yin and yang, and the situation is out. ? Qi, which constitutes the most essential thing of calligraphy art, is the shape and potential produced by Yin and Yang. This idea was actually put forward by Wang Chong in Lun Heng in the Western Han Dynasty? Yang is the subject of flesh and blood, while Yin is the subject of spirit? This idea is actually the origin of form and spirit in calligraphy art, so studying the relationship between form and potential and its changing law is the primary problem to be solved in this chapter.
The so-called brushwork is to study the reasonable trajectory of pen stippling. Although this trajectory has no fixed shape, it must conform to the objective laws of nature.
Potential is composed of structure, spirit and composition. The internal relationship between stippling and stippling constitutes structure, the internal relationship between words constitutes spirit, and the internal relationship between lines constitutes composition.
In calligraphy, gestures are mostly invisible, and occasionally signs appear in cursive scripts, which are only expressed by means of imagination. Although the posture is hidden in the fate and the elephant is invisible, it occupies an extremely important position in the art of calligraphy.
When writing small letters, it is most important to pay attention to the richness of God. The ancients observed that the relationship between God and Qi is the closest. For example, Gou Jian of Shen Jian said: Anyone who talks about God will not approach anger. ? Qi is not only the expression of strength in life movement, but also the expression of one's spiritual temperament. Bao said in "The Story of a Written Talk". Words are flesh and blood, full of gas, and out of gas. ? Therefore, if the words are energetic and powerful, the whole picture will be organized, full of energy, lively in attitude and United in training, and the barriers will be closed. ? Although writing small print is not as magnificent as cursive script, waving eight poles, dripping vinegar and swallowing rivers and mountains, it lurks in the room, and there is a dynamic momentum in the dignified silence, which is closely related to cursive script.
Lower case is more expensive than nature. Although stippling and knot writing are ever-changing, they can't be produced by pen gestures. The so-called winning work, divided into muscles, is guided by the situation, such as being popular on the water, writing naturally, coming out of the rock, and being in a state unintentionally. Every stippling is arranged in a suitable position, which is very iron, reasonable and easy to operate. ? Only works that are reasonable and conform to the trend can be natural.
Small letters are hard to be vivid. Although vivid expression involves the rules of using the pen, the ups and downs of the pen gesture and the abundance of the pen force, the most important thing is the momentum, full of vitality and vitality, the pen machine is smooth and inexhaustible, and the rhyme is vivid. In his inscription, Jiang Heng said: My husband's book must be full of meaning first, and rotate in one breath. Whether it is real grass or not, it is natural and smart. Settle down one by one and stay at work. ? Pavilion-style lower case letters in Qing Dynasty are famous for their neatness, but they are not smart and have no gestures, so they are called symbols. Therefore, lowercase letters are the most taboo for tablets.