Calligraphy art is an ancient art, and China's calligraphy has a distinctive representation and strong national characteristics in the world writing art, and the foll
Calligraphy art is an ancient art, and China's calligraphy has a distinctive representation and strong national characteristics in the world writing art, and the following is what I bring to you. I hope you like it.
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On the power beauty of calligraphy;
The power of calligraphy refers to strength, wrist strength, arm strength and whole body strength. The so-called whole body exertion means that the whole body is hard when writing. Liu Xizai's "Outline of Books" in Qing Dynasty said: "Li Zhuan's calligraphy is lively and flying, and he can do it by himself. All books put light weight first. However, there is no light body method except for long strength. " Many book critics in Qing Dynasty emphasized the whole and attached importance to its application. The so-called "being able to lift his body" is incomprehensible. How can a person lift himself up? If he holds an object equivalent to his own weight, then the calligrapher becomes a Hercules. However, when Hercules writes, there is not necessarily "force" on the lines. There are strength, wrist strength and arm strength in writing practice. "The power of the whole body" is a metaphysical theory, which can lift the power of one's own body. Some people who engage in calligraphy are influenced by this statement and make it vulgar. When writing, I deliberately put on airs there, shaking my head with a pen, waving my arms and turning my back, which is unbearable for human eyes. This is different from a musician who plays the piano or violin, is infected by sound waves and unconsciously follows the pitch jitter.
Finger force, wrist force and arm force are used the most, and fingers move the most when picking up a pen. The second is wrist strength, and the second is arm strength for writing big characters, not for writing small characters. But whether you write big words or small words, you should use different fingers.
Force belongs to the category of physics. The force in the field of physics is reflected in stippling lines, which is "pen power". "Pen and ink are the feelings of the appreciator". Pen power exists objectively. No matter whether there are appreciators or not, there is pen power in the stippling lines of words, and the feeling does not precede existence. The viewer's sense of power is only secondary.
In calligraphy, the forces mentioned in mechanics come from fingers, wrists and arms. Cai Zhonglang's "Nine Potentials" said: "Let the pen heart always touch the painting." It is to let the pen tip execute in the strokes of stippling, and execution is the movement of force. The movement of this force is consistent with the strokes and belongs to mechanical force. The acting force is related to mass and acceleration. Quality, specifically: the first is the hardness of the pen, the second is the thickness of the paper, and the third is the depth of the ink. Let's talk about the power in brushwork first. The ancients once put forward the idea of "10,000 Qi Li". This general understanding is acceptable if it is emphasized that power can only be achieved through brushwork. If we say that every hair or even 10,000 hairs should exert force together in the process of writing, that is to say, the force of fingers, wrists and arms is transmitted to the tip of each pen through the pen holder, isn't this "force" like transmitting current? It is out of the question. Even the speaker can't do it It is right to always be vigorous in strokes, but it is not the effect of "10,000 Qi Li".
The hardness of the pen shows its own elasticity, with high hardness and low softness. The elasticity of the pen is caused by the direct contact between the pen and paper. A pen deformed by a force can partially or completely recover its original elasticity after reducing or removing the external force. When we pick up a pen and press it, the pen itself will react. Press down, bend the pen, lift it up, and the pen is straight again. If it is hard, it will be straight faster. Action bends it and reaction straightens it. In this way, the repeated movement of action and reaction is reflected in the strokes of words, leaving "handwriting", that is, showing "force" and forming the so-called "pen power"
The acting force is that the force is transmitted to the pen and the pen is transmitted to the paper. There are two ways to start the action: one is to point straight down, and the other is to spread it out on paper. The two methods are interchangeable, not dead. We all have this experience. When picking up a pen, the nib always touches the paper first, and then presses the pen down, so that the brush can be spread out on the paper, so that the process of lifting the pen up or down is what we traditionally call the process of "lifting" and "pressing".
From writing to spreading, it is a process from "lifting" to "pressing", and then from spreading to using the pen tip, it is also a process from "pressing" to "lifting". "Pressing" and "lifting" are both acting forces. The exchange of these two forces can make the expression of force rhythmic and become an artistic form with changeable lines, which is one of the many rhythms of calligraphy art and the beauty of force.
The nib goes straight down, and what we are most afraid of is stabbing. Poke it there with a pen tip, just like stabbing paper with a bayonet. Spikes are not writing, but "chiseling", just like chiseling there with a chisel. When the brush is tiled, it is the easiest to lift the pen "lazily". Brush laying flat, "Lai" can not afford to be on the paper, just swept away. Only if you don't stab or sweep can you penetrate the straight force and flatten the force. In this way, no matter whether the stroke lines are thin or thick, the thin ones have a strong aesthetic feeling and the thick ones have a full aesthetic feeling.
When laying flat, the pen and paper contact, resulting in relative sliding and sliding friction. For example, strictly speaking, when the pen and ink are executed to the right, it is the left friction of the paper, and the paper is also subjected to the right friction of the pen. The influence of this friction is mutual. Calligraphers habitually and artistically handle the relationship between them in their writing practice, and leave them in the lines of calligraphy, which will produce a beautiful form of strength.