Appreciation of Cao's calligraphy works;
Cao Shulin's Calligraphy 1
Caoshulin Calligraphy II
Caoshulin calligraphy 3
Caoshulin Calligraphy 4
Caoshulin calligraphy 5
Formal beauty of calligraphy;
If western painting depicts the human body in order to praise the physical beauty of nature's creations, then the text structure of stippling combination in China's calligraphy presents an almost abstract, almost conceptual, but it can really shape all kinds of physical beauty of virtual reality.
Ancient hieroglyphics (commonly known as seal script) came from paintings, such as? Day? 、? Month? 、? Mountain? 、? Pass? 、? Tiger? 、? Monkeys? 、? Deer? 、? Turtle? The social function of characters is different from that of painting, which determines that hieroglyphs are very general and extremely refined paintings, and strive to simplify the complex, so that the shape of hieroglyphs is specious and unreal compared with things, and it is covered with a hazy and chaotic color, which has the deformation beauty of resisting people's thinking and imagination.
After several changes of Chinese characters in China, hieroglyphics gradually lost pictographs, but only regular script (including cursive script and running script) with dotted ligands. This kind of regular script, in terms of expression, seems to have no image but only form, but in the eyes of knowledgeable people, it still has the inherent beauty of form that can be viewed as a picture. As Amin Wang Shizhen said: Mr. Shi Shi (Wen Tong) painted bamboo with calligraphy, and Taoist Gu Zhong (Huang Tingjian) painted bamboo with calligraphy, so that the wind and rain leaves can be pressed horizontally and the ribs are slender and straight. ? Another example is Zheng Banqiao, one of the eight eccentrics in Yangzhou. It was from Huang Tingjian's calligraphy that he learned the wonderful truth of painting ink bamboo. It is true that it is difficult for beginners to appreciate the picturesque formal beauty from regular script, but with considerable aesthetic cultivation and rich artistic association, once they come into contact with the works of famous scholars in the book forest, it is not difficult to produce such a great appreciation and understanding, and it is so natural and far-fetched.
In the Southern Song Dynasty, Jiang Kui said on fonts:? Old people are handsome men, short people are thin, thin people are mountains and rivers, fat people are distinguished guests, energetic people are martial arts, charming people are beautiful women, worshiped people are drunk, and elegant people are wise. ? Judging from my long-term social life experience, this passage shows the shape of long, short, thin, fat, energetic, charming, respectful and upright, giving people the typical features of various characters. Although the theory is close to conceptualization and stylization, it also contains the usual aesthetic standards of ordinary people. Slim figure gives people the feeling of beauty and handsome, flat figure gives people the feeling of honesty and stability, generous figure gives people the feeling of generosity and broadness, tight figure gives people the feeling of caution and sensitivity, regular figure gives people the feeling of solemnity, and strange figure gives people the feeling of danger and innocence.
The structure of calligraphy art pays attention to the beauty of space, change, impermanence of law and uncertainty of shape. This beautiful combination of various forms seems to be arbitrary and handy, but it is not. A little frustrated, if the beauty is sick, a painting is out of line, like a strong man folding shares? . On the structural shelf of calligraphy, the points are not lost, the paintings are not lost, the paintings are sparse, and the portraits are vertical and horizontal. Only in this way can it get rid of shortage, grotesque and stagnation, and create formal beauty that is smart, bold, Gu Zhuo or leisurely.