Faced with the dazzling array of calligraphy works in today's book world, many friends only know that neat and beautiful handwriting is good calligraphy, which can only be the most basic aesthetic standard. To truly understand China's calligraphy art, it is not easy to reach a high level of appreciation and aesthetics, and it is necessary to improve one's own aesthetic vision and artistic accomplishment. Multi-genre and multi-style is one of the characteristics of calligraphy art, which is ever-changing, from different calligraphy styles to artistic styles. For example, the cursive lines of Huai Su, a great calligrapher in the Tang Dynasty, are flowing, which has the artistic effect of "the pen falls on the waves and the poem makes the gods cry". The calligraphy of Yan Zhenqing, a calligrapher in the Tang Dynasty, absorbed the majestic momentum of the Han tablet, brought forth the old and created a set of artistic features that were calm, vigorous, solemn and broad. Although their styles and schools are different, the works of these great calligraphers have produced beautiful artistic conception and natural beauty. Standing in front of such a work, everyone will forget to return it later. Generally speaking, to appreciate a good calligraphy work, we should appreciate it from the following aspects: First, it depends on the author's profound writing skills. When we appreciate an accomplished calligrapher, his elegant demeanor can really fascinate many people. At first glance, writing is easy. "You can see it is the most extraordinary, but it is difficult to do it." A good calligraphy can't impress the audience without sufficient skill, and it will also greatly affect the artistic effect of the work. Second, it depends on the inheritance and innovation of the work to the tradition. The emergence of a calligrapher's style often depends on whether he can learn from others, learn from the ancients and learn from nature. In the process of accumulating learning, he can integrate the things of the ancients and achieve the artistic conception of both mind and hand. Another point is that innovation is not based on the so-called innovation of taking ugliness as beauty, but on the basis of taking root in tradition to show the calligraphy style with the characteristics of the times. The third is to look at the works.
The level and artistic conception of calligraphy have a far-reaching influence, and the generation of calligraphy style depends not only on the author's skilled pen and ink skills, but also on the author's aesthetic ability. The emergence of a person's style is often closely related to how much he absorbs, how much he understands and how much he imitates the law when he studies tradition. But a real calligrapher must have the ability of independent thinking and bold innovation, and enrich himself with his knowledge and cultivation. When a person's traditional kung fu, philosophy, literature, music and poetry can penetrate each other, it will greatly broaden our minds and improve our aesthetic ability. A good work is also the author's understanding and experience of life, the crystallization of wisdom that inherits tradition and dares to innovate, and the perfect unity of skill and interest.