It can be evaluated from the following aspects.
1. Using a pen
As a unique traditional art, calligraphy’s artistic material form is to use a pen to write lines and knot shapes. The art of calligraphy achieves the role of creating artistic conception and expressing emotions through this materialization method. As Kang Youwei said: "The beauty of calligraphy lies in the use of pens." Kang Youwei believes that the key to the quality of a calligraphy work lies in its use of brushes. The mastery of pen skills is also the basis for being able to write a good work. Mrs. Wei of the Jin Dynasty also fully reflected her emphasis on the use of the pen in "Bi Zhen Tu". The opening chapter is a discussion of the use of the pen: "Those who are good at writing have many bones, and those who are not good at writing have more flesh." This sentence means: : People who are good at using pens to express the strength of strokes will have strong characters, while people who are not good at using pens will easily have weak and weak lines in their writing. Wang Xizhi even believed: "A missing point in a word is like the disease of a beautiful woman's eye, and a broken painting is like a broken humerus in a strong man." It means: a bad point in a word is like a broken eye of a beauty. Failure to write well is like a strong man breaking an arm.
2. Structure
For a successful calligraphy work, brushwork and calligraphy are the main ones and are the basis of the beauty of calligraphy, but the beauty of strokes alone cannot directly constitute the beauty of calligraphy. If the characters are arranged like a pile of firewood or a plate of loose sand, it will definitely dazzle people. The art of calligraphy that takes Chinese characters as its object of expression appears as the entire character, so the beauty of the structure of Chinese characters that uses strokes as its component material is extremely important. "It is difficult to form words with a pen, and the most difficult thing is to gather and disperse them vertically and horizontally.". This sentence appears in Mr. Qi Gong's "On Shu Quatrains", which means that when writing, how to grasp the structure of the characters is the most difficult, where should each stroke be placed, and how should the strokes of each character be Structure is most important. The truth is simple: no matter how beautiful the strokes are, they can only be "icing on the cake" if they are attached to a reasonable "skeleton". If the structure is already "abnormal", even if Wang Xizhi and Yan Zhenqing's brushwork is used, the characters cannot be combined into a beautiful shape. "Once you have mastered the Golden Rule, you will feel that your entire body is as wide as an ox's bones." Once you master the rules of structure, you will be able to write with ease like a cook trying to solve an ox. The golden rule is a method summed up by Mr. Qi Gong that is different from the traditional way of tying characters using the center point of the rice character grid as the center of gravity of the character. It is to draw thirteen small square squares vertically and horizontally on a square grid, and the character The center of gravity is at these four intersections: "the top and left are all five, and the bottom and right are eight."
3. Composition
Composition is an important component and expression method of calligraphy works. The composition, brushwork, and structure together constitute the three elements of calligraphy art. This is an important sign that calligraphy as an art category is different from daily writing. Composition is the law of arranging the whole calligraphy work to be harmonious and unified between words and lines, and full of changes, so that a piece of calligraphy shows the overall beauty. Different fonts have different beauties. For example, Sun Guoting said in "Book Book": "The seal script is graceful and clear, the official script is precise and dense, the cursive script is noble and smooth, and the rules are clear and convenient." This means that the seal script is respected. To be tactful and tactful, the official script needs to be delicate and precise. Today's script is important in being smooth and unrestrained. The chapter script should be simple and convenient. Different calligraphy styles have different shapes and emotions. Su Shi said, "It is difficult for real calligraphy to be fluttering, and it is difficult for cursive calligraphy to be rigorous." It means that when writing regular script, not only do the stipples need to be precise, but more importantly, the stipples should be written harmoniously, gracefully, interestingly, and expressively, and the real writing should be smart.
4. “Shape” and “Spirit”
The unity of “shape” and “spirit” in calligraphy is one of the essences of calligraphy art. Shape is the product of God. Therefore, in the process of calligraphy creation, sages of all ages paid great attention to the depiction of form. For example, Mrs. Wei mentioned in "Bi Zhen Tu": "Each word resembles its shape." This means that every word written is shaped like a shape. The shape of this character should reflect the image characteristics of the objective things that this character should reflect, and it should not only be similar in shape, but also similar in spirit. Mrs. Wei defined the essence of calligraphy as the physical beauty of objective things, which is a typical embodiment of Taoism following nature.
5. Rhyme
When it comes to the beauty of calligraphy, we cannot but talk about the beauty of momentum in cursive script.
Suo Jing's "Cursive Script Shi" describes the use of changes in structure to express dynamic beauty as follows: "Qiji is angry and forcing its bridle, and the sea water is making waves" and "Black bears are perched on the mountains, and flying swallows are in phase." The cursive writing structure is like an athlete running, trying his best to break the even and stable body posture, either leaning forward or leaning back. This leaning forward or backward breaks the balance and stability and creates dynamic beauty. .