Rhyme is a very important aesthetic category in China's poetry, calligraphy and painting. It can only be understood, but difficult to express, can only be experienced and difficult to find, because it hides mysterious and philosophical aesthetic thoughts in the aesthetic subject and is a spiritual realm to express the soul. In terms of artistic expression, the ancients successfully captured that the art of calligraphy is not only closely related to music and dance, but also closely related to the dynamics of everything in nature and human emotions. Coupled with the influence of looking at people since the Wei and Jin Dynasties, all dynamic things in nature and people are integrated with calligraphy, and these dynamic paintings are transformed into attractive forms in calligraphy art through image thinking, such as? The enterprise is eager to fly, and the cunning beast is violent and will not rush. ? Cui Yuan's cursive script is an image metaphor for the vivid brushwork of cursive script, but on the other hand, Cui Yuan thinks that the truly successful creation should be? Just look, it's just that a painting can't move, it's subtle and appropriate. . That is, artistic trauma should not only conform to certain objective laws, but also gain a high degree of creative freedom from the randomness of temporary strain. From then on, Cai Yong's dynamic description of calligraphy spells in the late Han Dynasty became clearer. He said in On Pen:? As the text of a book, you must enter its shape. If you sit, if you walk, if you fly, if you lie down, if you are sad and happy, if you have a long sword, if you have a strong bow and hard arrow, if you have fire and water, if you have clouds and dew, if you have the image of the sun and the moon, you can call it a book. ? Under the influence of this aesthetic thought, calligraphers of all ages are convenient. Set the best image in your mind? All the moving things of nature and human beings are brought into full play in the vast world of artistic imagination. They observed the Qifeng Mountain in Xia Yun, and experienced the change of the situation. They appreciate the ups and downs of weeping willows swaying in the wind. They observed the eagle fighting in the sky and associated it with the contrarian brushwork. Hundreds of millions of people are guided by springs, and mountain security is stable, turbulent and calm. They felt a dynamic change from the posture of Yue Long Tianmen Tiger lying in the Phoenix Que. They saw Gong Sundaniang's fencing and had an epiphany on cursive script. They imagine chaotic but not chaotic, chaotic and not chaotic composition, etc. From successive battles, the static glyphs on the paper become erratic and full of vitality.
As can be seen from the above, the infinite vitality of China's calligraphy art stems from its vivid and changeable brushwork, ups and downs and uneven composition. The vividness of words depends largely on three aspects: qi, strength and rhyme, among which rhyme is one of the most important factors.
Artists in ancient China have long discovered that the relationship between rhyme and music is the most intimate. For example, Wang Sengqian, a calligraphy theorist in Southern Qi Dynasty, thinks that the art of calligraphy should be based on rhyme, so that its style has musical rhythm. However, he pointed out in praise of writing that the beauty of this rhythm must conform to certain statutes. Thick doesn't matter, thin doesn't matter, thin to the back, life or death? This harmonious rhythm, which conforms to the inherent and objective laws of art, is called rhythm in calligraphy terminology. Recently, the aesthete Zong Baihua pointed out that writing a book can write scenery, send feelings and draw sounds, because what you write and draw is just a spiritual ear. ? It is this harmonious rhythm that enables China calligraphers to express their lofty aspirations, relax their feelings, express their feelings in a freehand way, and endow them with strong emotional color, thus making their works reach an ethereal and turbulent state.
The rhythm in brushwork is mainly composed of light and heavy brushwork and various brushwork derived from it. Relatively speaking, the rhythm of regular script is more calm, slow, static and fixed than cursive script, but it is by no means without rhythm. All arts tend to be in a musical state. As a case study, this sense of rhythm is more subtle and subtle. Throughout Gu Mo, there are few strong rhythms in their stippling.
Novices should focus on calmness.
Beginners should use small letters slowly, so that we can have time to pay attention to the perfection of brushwork. (Biography) Wang Xizhi said in "On gestures". Beginners should be similar to books. Slow down and determine its situation. If you are busy, you will lose its rules. ? This is really an experience. Although the font is small, it is most important to use the pen accurately. When you sit up and write regular script, you should concentrate on the stroke in the middle of each painting, so that it is hidden in front of the painting and penetrated behind the paper, especially in the middle of hair, receipt, transformation, leap and walk. Among the four methods of treating diseases, Xu is the most slow, that is, he keeps his pen and lives. Once you are familiar with this method, all methods can be used. Don't be busy with small words, be impatient and careless.
Xu doesn't mean no rhythm, but a calm attitude. Xu is an adagio rhythm. When you send a pen, you should go backwards quickly, with the intention of inheritance. When you collect the pen, you should act quickly and have a retrospective state. Start and finish slowly, and don't go back late, so you can hide your head and protect your tail. The stroke is late or tight or astringent. Depending on the situation, the person who uses the pen to expand outward should be sick and used it. If the front is out of step, the pen should be unsmooth and unsmooth, but dignified. Between stippling and stippling exchange, flying in the air should be fast, which means that the meaning is connected. Pecking should be fast, fast is strong, grazing should be calm, cadence should be smooth, squatting should be steep and fast, and strategy should be slow and easy.
If it is late, it will be effective. If you stick to the law, don't be chronically ill, and you will get a hand that should respond. If you are proud of Xu, you should hang the needle, while Xu is meaningful and elegant. Illness is strong, but the pen can be reversed. Write soft paper with hard pen, slow and mellow with soft pen, and hard paper with soft pen. If you want to use a pen tightly, it is heavy.
As far as the weight is concerned, the seal cutting method is light, the center is wrapped with fine hair, the method is used to lift and fly thin, the official method is heavy, the side is paved with fine hair, the method is full of pressure, the point method is heavy, such as the peak falling rocks, the hairspring is light, such as the clouds faint the moon, the shoulders turn light, and the stippling is heavy. The pen should be heavy, not painted dots, but light, the painted dots should be fat, and the pen in the secret place should be thin and extremely light: invisible turning point, extremely heavy: full of touch. If the front end to the pen root is half waist, it can be divided into ten points below the waist. When you use a pen, you can use a little force, which is 70% and 30% off. For example, when a person squats for a while, the seven components converge in the water, which means to stay, wrap the front with a pen, lift it with three components, spread it out with a pen, and the nine components will be full, which means to hold it and use it in the air with each stroke. Hanging the needle in the air to close the potential is called empty grasping, Fang Bi vertical hook, microstrip side potential, called side grasping) When you leave your head, quickly close the front, make a return in the air, call it plug, hook and squat, and prepare for illness, so call it. The ancients had different interpretations of the above terms, such as "tight and astringent", "horizontal stroke", "pushing the front", "contrarian in the air", "revealing" and "quick and quick". Beginners don't have to be too literal. As long as you firmly grasp the four basic laws of serious illness and minor illness, you will naturally be solved and work hard for a long time.
Beginners should start with basic stippling and then construct the structure. Only when you are familiar with stippling and writing can you notice the exchange between strokes and natural rhythm. To really master this kind of brushwork, we must experience it carefully in constant practice, which can not be solved by following the picture. The author can't be more specific and subtle. No wonder Yu Shinan said in "On the Essence of Pen": If it's too late to be true or false, you won't get sick if you wheel a flat wheel. You will get it from your heart and you will get it from your hands. Your mouth can't say anything. ? But beginners must master the following principles:
As a method of writing in fine print, writing with a pen is more expensive than writing with Yu Congrong, and it is easy and calm, like walking leisurely. Throughout the ancient small letters, all of them were calm, accurate, peaceful and quiet, and then exhausted. When writing small print with a pen, I'm too busy. The so-called busy people, pen-based, ink-gathering, arbitrary waving, busy, so-called? Confuse men with infatuation and vibration in front of pens? Although it was used quickly, the ancients used pens subtly and accurately. My humble opinion on Wang Yun's calligraphy says: Nowadays, people have two kinds of diseases: one is superficial love for smoothness, not depression, the other is slightness, and the other is greed, not frustration, and spring urgency. ? In fact, these two shortcomings are the most common mistakes in writing small letters. We can't go too fast. The ancients called it madness, but the feelings are incomplete and the people are not equal.
The method of writing lowercase letters is more expensive than using a pen. The so-called circle, is the square potential circle, vivid. Although Xiaoxin is mainly quiet and dignified, he should be moved in silence. They want to be comfortable, the old monk can make up for silence, or the pen machine can be lively and unrestrained. It is said that Zhao Mengfu can write thousands of words a day by writing small letters. But the effect is very steady and accurate, pretending to write fine print and using a pen will not be too slow. Too slow, the flesh and blood will be turbid, the pen machine will stagnate, and there will be doubts about advancing and retreating. Whether it is undecided or not, the ancients will have no air. This drawback of being late is called drowning depression, which will muddy the flesh and blood. "Han Xi Calligraphy General Solution" says: Real books are too late to live. ? Really from the heart.
In short, the method of writing fine print is agile, but busy. To achieve this state, the only way is to have a familiar word and a well-written brushwork, so that the wrist does not stop writing and the pen does not leave the paper. Although the pen tip flies, the stippling is accurate, the shape is close, the posture is graceful and graceful, and the charm is natural and vivid.
As far as style is concerned, there are two kinds of writing small letters, one is the infighting method based on procrastination and the other is the outward expansion method based on speed. Where books are simple and ancient, the pace should be slowed down. The so-called procrastination is effective and slow; Every good book has a fast rhythm. The so-called emergency treatment. In Zhong You and Yan Zhenqing, the capital letters are mainly late, while in Zhao Mengfu and Wen Zhiming, the capital letters are mainly fast. No matter how late, it is not an absolute and static solid balance, but a relative and changing dynamic rhythm. It is necessary to be psychic and calm, quiet and lively, so that the small letters can be wonderful. Just like Hua Yao's "When you first started using a book, you quickly became familiar with it, and then you corrected it with your strength." At first, you gradually became calm, but you were too calm to be explicit. Because you realize that when writing a book, you must save each other later, be both rigid and flexible. ? Really from the heart.
On fatness, lightness, straightness and rigidity of lowercase letters.
But the pen is heavy and thin, no matter fat or thin, it is more expensive than the center. If it can transport the center, it will be fat and strong, though thin and fat. Zhong You and Yan Zhenqing's small letters are plump, fat and strong, and turbid and clear. Between the lines, there is an air of Wen Ya, but Wang Xizhi's small letters are thick. Therefore, if you use a small pen, you don't want it to be too fat. If it is too fat, it will be turbid. If it is turbid, it will be pointed out that it is bloated and dirty, dull and fleshy, fat and muddy, and does not want to be too thin. If it is too thin, it will wither. If withered, the pen is thin, flat, dry and bald, thin and hard without meat, which is called dry bone.
Whether the pen is fat or thin, it should be based on the strength of the bone, not the straightness of the bone. The attitude is the first, I don't know the center, and I don't pay attention to fatness. This is a way to get rid of the roots and get the tail. There is an intriguing remark in Tang Taizong's Zhi Yi. He said: the essence of Confucius' book is expression, and there is no attitude if God is not harmonious. Take the heart as the bones and muscles, and if the heart is not strong, it will be weak and healthy; Take a pair of hair as the skin, if the pair is not round and the words are not warm, it is better to use it with the heart. ? The so-called heart, refers to the pen heart, but also the bones of the word. It is also the skin of words. Meat should be wrapped in tendons, and bones should hide meat. It takes a pen to be round. If it can be rounded, it is suitable for both fat and thin, and the flesh and blood are commensurate.
Use pen lowercase letters to indicate that you have changed in weight, if? Even up and down, front and back, straight and close, like an operator, this kind of pen without ups and downs will inevitably have the shortcomings of blunt engraving. Bao said in "The Story of the Pen": The life of mortals must be soft and moist; When it dies, it will become hard and dry, just like a plant. If it is soft, it will be round and fat, if it is hard and dry, it will be flat. The book stippling is straight and full of elasticity, which is expressed in a form of curvaceous beauty, just like the physical beauty of an athlete. Try it? Eight methods of eternal words? Which one is flat and similar, even if it is tall and straight, the hanging needle is full of changes in rigidity and softness. Pretend to use small letters, make it use a pen, the pen is straight, straight and curved, vigorous and graceful, and tall and straight. Naturally, you can achieve the effect of combining rigidity with flexibility.
A preliminary study on the method of using ink in small fonts
Vivid charm is based on brushwork, but it is based on ink. The lightness of the pen can not only change the rhythm, but also change the use of ink. But this change is very little for regular script, especially small script, which is not as strong and shocking as cursive script.
Generally speaking, the ink used for lowercase letters should be thicker, but not too light, which will damage the impression. Let's see that the ancients used small letters and thick ink, especially in the Tang Dynasty, when they wrote scriptures, the ink was as bright as paint. Although it has been hundreds of years, it is still like getting rid of it.
The method of thick ink is not suitable for ink. When taking fine oil fume and ink, lightly press it on the inkstone and grind it clockwise. It is also inappropriate to pour too much water into the inkstone at once and grind it while injecting. The ink color is dark and not prolonged, so it is greedy to grind ink, so the inkstone should be deep enough to store ink, and the ink color should be fine, so the inkstone surface should be fine. The natural essence is knotted, the ink overflows and the ink color is brilliant. Although Zhan is like a child's eyes, the color of ink has not changed for hundreds of years. This method of using ink is difficult to appreciate unless you look at the original works of the ancients. After writing, the inkstone should be cleaned and used tomorrow. It is best not to use Su Mo.
Hard pen is suitable for writing small letters. For example, the four virtues of a healthy, neat, sharp and round pen, such as red hairy red beans, or little white cloud with moderate hardness, such as seven purple and three sheep, are always better.
When writing small print, the pen should be completely opened and the new pen should be opened. First of all, soak the pen in warm water to make it open naturally, and wash off the glue containing nanometers. Then, hang it on waste rice paper, let it dry in the shade, and you can use it the next day. When in use, first soak the pen in clean water, then rotate the pen holder on the waste paper, wipe it around, and then dip it in ink to make a book.
When writing small print, the ink should be dry, not too thick, especially when writing on health promotion. If the ink is rich, you can wipe it a little on the waste publicity, and the ink will be mixed evenly. If it is full, it is difficult to control because the pen is long and soft. One way to make up for it is to soak it in ink first and let it be natural. However, ink is stuck on the bristles at the waist and the root of the pen, so writing is natural and healthy. Or, if you take a new pen, you won't completely open it and take away the elasticity of its nib. But this method has a disadvantage, that is, it is only partial, and there is little ink in it. Writing once or twice will be stained with ink, which will inevitably affect the fluency of strokes and writing speed.
When writing small print with a pen dipped in ink, it is not allowed to immerse the pen deeply in the ink. When the pen tip dips into the inkstone pool, the ink will dip into the ink, and then the pen will be quickly pulled to the surface of the pool, such as some water, and it will stick as soon as it sticks. This so-called pen must be deep and shallow, but the ink is not three points. If the penetration is deep, the ink is easy to seep out, the mouth is blurred, and the pen force is difficult to control. Light strokes are heavy, stippling is clear and bright, and ink color is changeable.
When writing small characters, it is advisable to wet them with ink, not too boring. If they are boring, the words will be lifeless. As far as brushwork is concerned, the so-called embellisher is round, and as far as brushwork is concerned, it is plump and moist, and the fine print is inked. Although the ink color has not changed, it is also the time to drink ink, that is, spit black when it is full. Chen Jieqi's "Learning Chinese Characters" says: Small pen is not big enough to write small, but large pen can be used as the focus, and strong ink is used. An abbot who can show fine print must like fine print. ? Yao's Memories of Chinese Characters also says:? It is necessary to write with a large sum of money. ? Of course, I don't want you to use big letters in small print and big letters in small print, so the pen is mine, the ink color is natural and moist, and the brush gesture is naturally developed.
When writing lowercase letters, the ink should also have shadows and dry changes. This change is mainly manifested in the change of pen rhythm. When writing small letters, the ink is light and light, but heavy is black and thick. When writing small letters, the ink is less and dry, and the promise is rich. When squatting, the water converges, and when it is right, the water will converge and be full. These changes can only be felt.
There is also a very advanced realm in the use of lower case ink, that is, the ink method with strong dry and moist dry. According to legend, Yan Zhenqing and Dong Qichang are the best at this method. This kind of brushwork, when based on the center, based on brushwork, backed by momentum, when the brushwork is full, coupled with speed, the friction between the vice and the paper, as well as the performance of the paper and the calm and frustrated style, has a comprehensive effect, that is, dryness.
In short, the method of using ink should be based on pen, and the ink is prominent and penetrates the back of the paper, which is excellent for calligraphers.