What is the standard of calligraphy?

"The standard of calligraphy should be that handwriting represents healthy psychology and excellent quality, which has a very wide meaning. It should be said that there is no fixed standard or specific form. For example, in the sense of graphology, the strength and intensity you mentioned represent fortitude, self-confidence, initiative and enterprising. If the style of handwriting is steady and steady, the psychological meaning it represents is steady, steady, steady, resilient and self-controlled; If it is soft, the psychological meaning of the representative is affectionate, compassionate and kind. The standard of calligraphy should represent all the excellent qualities and psychology of human beings, such as intelligence, enthusiasm, optimism, creativity, socialization, integrity, self-confidence, decisiveness and so on. What represents these characteristics is good calligraphy, and vice versa. Because the same person can't have all the advantages of human beings at the same time, no one's calligraphy will concentrate all the excellent qualities and psychological characteristics at the same time. The standard of calligraphy should not be abstract strength or thinness, but should be the psychological characteristics most suitable for the healthy development of human beings. These psychological characteristics may change with the development of the times, so they may be adjusted after several years. In other words, historically, the standard of calligraphy should be slightly adjusted with the qualitative change of society, and it cannot be fixed. When we admit that the real standard of calligraphy should be to show healthy and excellent psychological quality from handwriting, we have actually faced the fact that when graphology has developed to comprehensively evaluate people's inner world and personal quality, it is an unshirkable responsibility for graphology to evaluate the quality of calligraphy, determine the standard of calligraphy, guide the development direction of calligraphy, and correct various mistakes in calligraphy practice ... These burdens and responsibilities fall on graphology. China's calligraphy has gone astray since the Ming Dynasty. In short, since Dong Qichang and Zhang Ruitu, they have gone astray more and more seriously. If "books are like people" is appropriate before the Ming Dynasty, it will gradually drift away and become more and more blurred after the Ming Dynasty. Specifically, the rigidity of form is becoming more and more serious. For example, many experts and scholars in the field of handwriting have been able to judge people's body shape from handwriting. According to the handwriting, is Mr. Qi Gong fat or thin? Obviously, it should be thin. But look at the pictures. Mr. Qi Gong is obviously fat. Why is this? Are there any mistakes in the rules summarized by graphologists? No, these rules must be correct and accurate when applied to ordinary people's handwriting. Why can't it be used on Mr. Qi Gong? This is the result of practicing calligraphy. From the point of graphology, objectively speaking, it is also the result of imitating thin people's handwriting for a long time. The correct path or standard of calligraphy is to express healthy and positive emotions, express one's ideal will, and approach one's ideal personality state spiritually. After the Ming Dynasty, heresy became more and more serious. The key point is the lack of emotion and ideal. Taking elegance and fluency as the standard, writing for writing, and art for art, the content of writing is out of touch with the art form, regardless of content, and the same fixed style. This road has turned calligraphers into writers, which only reflects the technical level of writing, that is, the technical level, and the words written lack emotion and personality charm. From the perspective of graphology, handwriting can be divided into autobiographical handwriting and non-autobiographical handwriting. Self-reported handwriting refers to the handwriting that the writer expresses certain content in language through writing activities. Such as: diaries to record your feelings, letters to express your wishes, etc. This writing process is accompanied by ideological and emotional activities, which is not only a reflection of personal writing habits and skills, but also a reflection of personal ability and habits in using language. More importantly, it records the trajectory of ideological and emotional activities and is a true heart trace. Non-autobiographical handwriting is not the case. That is, copying unfamiliar words or meaningless words can't attract the writer's attention, or dictating (others read and order them to write). What such handwriting lacks is true feelings. Yan Zhenqing's "My Nephew's Manuscript" is recognized as the second running script in the world. The fundamental reason is that its strong feelings and mature writing skills are successfully combined. On the contrary, many calligraphy works by Gao Xian and Shi Zhiyong, works by Dong Qichang and Zhang Ruitu, Buddhist scriptures copied by many people, thousands of words copied, ancient poems copied … this will easily lead to a sense of powerlessness in calligraphy. In these calligraphy works, the author is probably just writing, not self-narrative, without emotion or lack of emotion. Sometimes there is even a strange phenomenon, that is, the emotion required by the text content is just the opposite of the emotion actually expressed by the handwriting style. Take modern China people as an example. In order to write well, many people habitually take Mao Zedong's poems as the content and write while flying. If there is no corresponding emotion when writing, you will write scrawled and emotionless handwriting. The evil path taken by modern calligraphy circles is precisely the emergence and appearance of emphasizing skills and writing for writing. In the past, we had a saying that "literature is human studies". In fact, isn't calligraphy a human science? Without people's true feelings, there will be no truly commendable calligraphy works, and there should be no calligraphy works. Contemporary calligraphy has never had a recognized standard. You said that Qi Gong's calligraphy was good, he said that Ouyang Zhongshi's calligraphy was good ... and some people said that Shu Tong's calligraphy was also good. In modern calligraphy, there is an accepted saying that can be used as a universal calligraphy standard, that is, "books are thin and hard, and spirits are interlinked", that is to say, fine strokes and thin lines are only universal standards. Intellectuals in China have lost their cognitive and creative abilities since Qin and Han Dynasties. Therefore, for more than 2,000 years, China has basically failed to invent anything in terms of ideology, social system, natural science and technology. However, the intellectuals in China still maintained their ambition and backbone in form by writing and practicing calligraphy, especially the large-scale contests with imperial power in the Ming Dynasty several times, which is the ironclad evidence of this backbone. Be an upright and upright official, be a hermit who doesn't cooperate with a mad and bad king, be an indomitable official, and be a Lindong party member who dares to fight against eunuchs to the end ... In short, he will never go along with villains and yes-men unprincipled, which is the only positive connotation. In fact, when we look at history, the backbone of China intellectuals is often ironic. For example, the great etiquette dispute in the Ming Dynasty, who the emperor should call his father, is meaningless to future generations. China's calligraphy truly embodies this kind of "backbone", full of servile backbone, and even can be said to be extremely servile backbone. Literati in China express their eternal backbone through calligraphy, but they have long forgotten their slave status and status, and are proud to be loyal slaves. The "thin and hard" standard of China's calligraphy actually embodies such a collective unconsciousness. It is said that it is unconscious because few people in China calligraphy circle really understand the psychological meaning of being too thin and hard. The historical value and significance of China's calligraphy, besides aesthetic value and significance, as a form and means to cultivate temperament, mainly provides such an illusory possibility for intellectuals. They always feel that they are a dignified person, a great and glorious person who is infinitely loyal to the emperor and imperial power. In fact, since he is infinitely loyal to the imperial power, he is essentially just a slave and can no longer be regarded as a man in the modern sense. He can only be regarded as a "subject" in the ancient sense at most. However, the intellectuals in China never understood this. Immersed in the illusion of calligraphy, they seem to find moral and emotional self-esteem and self-confidence from calligraphy, just like Ah Q in Lu Xun's works keeps his false psychological advantage by spiritual victory. China's calligraphy circle has gone astray since at least the Ming Dynasty, losing the consciousness that words are like people and words are their hearts. They learn from Wang Xizhi, Yan Zhenqing and Dong Qichang, and learn from each other. They always work hard on fur, but they don't know how to write and practice calligraphy ideologically and psychologically. Since the Ming Dynasty, people have actually taken a road of imitating ancient Chinese characters in form. Therefore, from the perspective of graphology, calligraphers' words are mostly formalistic, lifeless, lacking in emotion and putting on airs, just like shadow play, which seems lifelike. In fact, has the character modeling of shadow play changed? Most modern calligraphers are shadow puppeteers. Although everyone's manipulation skills are different, they all manipulate the same shadow puppet actor. In other words, Wang Xizhi is a shadow play actor and Yan Zhenqing is another shadow play actor. That's all. The technical level is only the technical level of acting. Therefore, I think that calligraphy after the Ming Dynasty, including today's calligraphy circle, is basically a "shadow play stage", or a shadow play state. It is no exaggeration to say that modern calligraphy has reached a dead end. Contemporary calligraphers often win by taking risks and monsters, and most of them have no knowledge, which is proof. Blind pursuit of thinness and hardness without understanding its psychological meaning will inevitably lead to this situation today.