Xiong Bingming
There are only sculptures and paintings in western art/but China has calligraphy.
It is the link between philosophy and plastic arts.
Compared with philosophy, it is more concrete and more active.
It is more abstract and ethereal than painting and sculpture.
Calligraphy is the core of China culture and the unique garden of China's soul.
introduce
Metaphor school; The earliest calligraphy theory used the beauty of nature to illustrate calligraphy, and metaphor was the main way of discussion.
Second, pure modeling; Explain the beauty of calligraphy with the principle of modeling, that is, brushwork, structure, balance, trend, ink color and so on.
Sanyuan Qing School; People think that calligraphy is the expression of inner feelings.
4. Ethics school; Aesthetics based on Confucianism holds that beauty must include goodness.
Five natural schools; Aesthetics based on Taoist thought holds that what is natural and comes from nature is beauty, and the highest works transcend the beauty, ugliness, goodness and evil judged by human beings.
Six Zen schools; Zen language Represents Buddhist thought.
The first chapter is calligraphy theory of Bixing School.
One of the earliest calligraphy theory.
The aesthetic feeling of human beings has already appeared in the era of polishing the most primitive stone tools or bones. The original text, even if its purpose is practical, must be accompanied by certain neat and pleasant requirements.
In the Spring and Autumn Period and the Warring States Period, when China's philosophy developed brilliantly, calligraphy was not regarded as an independent art, and books in Zhou Li's Six Arts refer to literacy and writing. Teaching must have certain methods. First of all, Hanshu Yiwenzhi should be written correctly. China's earliest aesthetics was about music.
The task of historical commemoration is different from Greek sculpture and Roman architecture, but is accomplished by calligraphy. Such as Li Si's Taishan stone carving. China's calligraphy achieved the same important position as architecture, sculpture and painting, which began with carving stones in Qin Dynasty.
The Han Dynasty was the first climax in the history of China's calligraphy. Wen Xin Diao Long: "Since the later Han Dynasty, Yun Qi has been carved on a monument." Zhao Yifei is not opposed to cursive writing. It was during this period that the earliest calligraphy art articles circulated today came into being. Or the style, form and potential of books. They all describe the characteristics of calligraphy modeling. The author separates the beauty of calligraphy from the practical significance, thus determining the independent value of calligraphy art.
These articles all describe the beauty of calligraphy with the help of natural beauty, and compare calligraphy to dragons, snakes, birds, beasts, flowers, clouds and running water ... These natural objects are the standard and foundation of calligraphy beauty. However, using natural beauty to describe the beauty of calligraphy does not mean being a "bird"
Write like a bird. On the contrary, this very realistic pictographic method is rejected by calligraphy. Such as Sun's criticism and Xu Kai's view.
"Calligraphy and painting are of the same origin" has two meanings, one is origin, and the other is art. That is, calligraphy and painting have the same first class. Some modeling principles. As far as artistic creation is concerned, calligraphy and painting have the same tools, and there are similarities in using ink. But really seeing the images in calligraphy will destroy the appreciation.
It can be divided into four categories: one is to describe the separated strokes, such as saying, "The point is like a rock falling."
Second, describe a style of writing. As described in the cursive script.
Third, describe the style of a calligrapher.
Fourth, the word itself is regarded as a living image, which speaks the bones, flesh, blood and gas of the word.
Imitate two strokes
The first kind of comparison between calligraphy and natural objects is to compare individual strokes in words with real objects, which was first seen in Mrs. Wei's brushwork. This metaphor is not limited to the similarity of images, but also refers to the quality as if. This analogy of split strokes is mechanical and is generally used to guide beginners to learn, which does not belong to the level of appreciation and tasting.
This method is also often used to explain what kind of failures scholars should avoid.
In addition, "Yin Yinni" and "Zhechai Shares", two theories often mentioned in the book,
The description of "painting sand with an awl" is not necessarily clear, which is easy to cause misunderstanding. Conical sand is not a blur drawn on dry sand with sharp tools, but a "dangerous and bright" and "resolute" on wet sand.
Thirdly, calligraphy imitates nature.
The Wei and Jin Dynasties at the end of Han Dynasty was an era of literary consciousness, and literary criticism and argumentative articles appeared in literature. In painting, there are articles about painting evaluation, and there are also thoughts about the essence of painting. In the aspect of calligraphy, calligraphy criticism and many words discussing calligraphy style have also begun to appear. Such as Wei Heng's Book Potential and so on. It is certain that these articles named after stones belong to calligraphy theory in a period. During this period, people who care about calligraphy have the same idea, that is, the beauty of calligraphy has an objective standard: nature. They use various descriptions to illustrate the beauty of calligraphy.
Such as "seal script potential" and "cursive script potential". It can be seen that:
1. The article uses a lot of metaphors, such as dragons and snakes. In addition to metaphor, I only say that calligraphy is wonderful.
2. The images of seal script and cursive script should be very different, but we can't see any difference from the description in the article. The reason is that the daily seal script in Qin dynasty is also flexible in structure and thick in strokes. Qin Zhuan and Han Li are closely linked, but not completely different.
3. At this time, only the beauty of book style is described, which generally refers to the general characteristics of this book style, and is not a praise for a calligrapher or a work. Later, calligraphers used metaphors to describe a calligrapher's special style.
Comparing calligraphy theory in this period with western aesthetics, we can find that China people put forward the value of natural beauty very early. China people not only realize that a lot of beauty exists objectively and is beyond doubt, which is the proof of creation, the standard of criticism and the basis of aesthetics.
Xiao Yan's cursive script remains the same.
Comparison of Personal Calligraphy Styles
The third category is to describe the impression of a calligrapher's works through analogy. Liang Wudi's "storytelling" is all like this. The same is true of Yuan Ang's Book Review of Ancient and Modern Times and Book Review of Tang Dynasty. This analogy is an extremely free association activity, even from the material traces of calligraphy to the spiritual content, which is vividly described. Finally, Kang Youwei's Guang Yi Zhou Shuang Zhen? The whole chapter is like this.
This kind of analogy art criticism is often used to discuss poetry and prose. If used skillfully, it can be very expressive and to the point. However, this is a kind of free association to appreciate feelings, rather than an objective analysis and explanation of works of art, and its meaning is often vague or one-sided. Sun raised an objection to it. Miffy also opposed it.
Analogy belongs to the field of appreciation and pondering. It can be used to explain subjective feelings and convey some complicated appreciation experiences, but it is not suitable for theoretical discussion or technical explanation. But in the Han and Wei dynasties, it was the main way to discuss calligraphy.
Five words are life.
The fourth category is to regard calligraphy itself as a living form. Mrs. Wei's "pen drawing" has been discussed. Previously, Wei Guan also mentioned it. Since then, Wang Sengqian, Yang Di and Li Yu have all used this method to evaluate Yan Zhenqing.
Zhang Huaiguan's Medical Stone Book Review discusses the health and diseases of glyphs from the relationship between muscle, meat and fat. Su Shi added blood, qi and spirit to bone and flesh in five ways. Progress: When a creature just died, its flesh and tendons were still there, but it was a zombie. Life phenomena include the circulation of blood, the exhalation of qi and the flash of God. The Tang Dynasty is the quiet principle of regular script, while the Song people lay particular stress on lyricism. From the point of view that writing is a living organism, it naturally introduces the active factors of blood, qi and spirit.
In Li Shimin's greeting, "God" refers to the calligrapher's state of consciousness; "Qi" is equivalent to Su Shi's "God".
"Heart" refers to the calligrapher's emotion; "Qi" refers to the writer's breath and emotion. Yi used to concretize and systematize these analogies. And put forward a clear control method. Essentials of Hanlin Da Zhongguang's "Raft" and Liu Xizai's "Art Outline" in Qing Dynasty? The book "Outline" and Bao's "Art Boat" and "Twin Towers" were all discussed. The analogy of these three people means that the word "resembles" any living object, and as far as psychological activities are concerned, it is association.
Kang Youwei commented that the word itself is a living thing, and as far as psychological activities are concerned, it is empathy. This method of writing and reading words, such as Kelly's sketch. This abstract line divorced from the real thing is a deeper and wider imitation of the real thing.
Six Nature and Calligraphy Creation
Calligraphy is different from painting and does not describe natural things, but in appreciation activities, natural things are often associated with calligraphy. Similarly, in calligraphy creation activities, we can link natural phenomena with calligraphy and get inspiration from creation. Such as Zhang Xu, Wen, Lei Taijian, Huang Tingjian and Huai Su. Especially, Han Yu's Preface to Master Gao Xian is even more wonderful. He pointed out that there are two main sources of artistic creation, one is "moving in the heart" and the other is "observing things". As Zhang Yun said, "Learn from nature, learn from heart".
Different from Huai Su's imitation requirements arising from his view of Xia Yun, Han Yu emphasized that natural phenomena moved us emotionally. Observing a pure image with a cold and calm attitude cannot arouse the desire to create. The mountains and valleys of nature must inspire our feelings and make them the source of creation.
Li's book Interview with Dr. Li is different. He pays attention not only to the shape of things from nature, but also to the laws governing and controlling everything through images, and then applies these laws to calligraphy.
Chapter II Pure Formal Beauty
What is pure beauty?
We should understand and grasp the law of shaping directly from calligraphy itself. Pure plastic beauty is abstract beauty.
Calligraphy is different from abstract painting, and it cannot be separated from Chinese characters. Characters have certain content and are readable. Reading has a certain direction and order. When writing, there are established rules for the order of strokes, the composition of strokes and the layout of lines. From the perspective of pure plastic beauty, these views are the constraints of creation. From the perspective of calligraphy art, these characteristics make calligraphy richer than abstract painting, that is, more literary.
Not knowing Chinese, the origin and schools of calligraphy may make his appreciation more pure. Writing is the basis of calligraphy, but the meaning of writing is not primary. Zhang Huaiguan's On Characters: "Those who know the depth of a book only look at its spirit, but not its shape". Expressions are plastic effects, and glyphs are recognizable character symbols. The real appreciation of calligraphy is not bound by words, but looking at calligraphy like an abstract painting.
The contradiction between words and images is just like the contradiction between words and sounds in singing. Meng Qian Bitan. Good singing must give full play to the musicality of language and let the musicality of words transcend the meaning of words. Good calligraphy must be able to give full play to the shape of words, so that the shape of words goes beyond the constraints of word understanding and debate.
"Ghosts and gods" can be seen from his book Broken, which is based on the principle of shape.
Modern abstract painting can be roughly divided into two systems. 1. Rationalists pursue the beauty of plastic order. 2. The perceptual school, some pursue the pleasure and stimulation of vision, some pursue the pleasure and stimulation of touch caused by vision, and some pursue the pleasure or stimulation of body movement caused by vision. There are also two kinds of calligraphy.
Rationalism: pay attention to the structural order of calligraphy and emphasize the static law of architectural beauty.
Perceptual school: pay attention to the momentum change of calligraphy and emphasize the dynamic law of musical beauty.
Dualistic school
Pythagoras School is the oldest abstract art theorist. They regard beauty as the relationship between numbers, measure the length of strings, and express the harmonious aesthetic feeling in music with the proportion of numbers. The "golden section law" was put forward in painting. They seek the objective law of beauty, which is inseparable from the scientific spirit of the west and still has far-reaching influence.
In China's calligraphy, it means "respecting the law".
1. Calligraphers keep a quiet mood when creating. A cool and sober mind, a sense of complete control. Such as Yu Shinan and Han.
2. After the work is completed, it should have the beauty of balance, clarity and order.
"Law" is the objective law of shaping. The Tang Dynasty was an era of legislation. Rhyme and regular script have reached the ultimate perfection. On the one hand, calligraphers of later generations studied the Tang method, on the other hand, they tried to get rid of it and rebel against it. Ou Yangxun, a calligrapher in the early Tang Dynasty, is one of them. Danger means nervousness. Caution in structural composition, that is, reasonable order. This order has reached a high degree of sensitivity and strictness. There is an immovable relationship between the first stroke and each stroke, and there is a subtle combination of stability and instability between the lines, creating a tense atmosphere.
Respect for the law in the Tang Dynasty is classicism, but its disadvantages lie in suppressing personal feelings and restricting creative freedom. The response of the Song people is based on this. People in the Ming Dynasty also looked for the objective laws of calligraphy, which were more specific than those in the Tang Dynasty, but they were too complicated and lacked universal principles. Bao followed the Jiugong Law of the Song Dynasty and explained it in detail. The concept of coordinates and area is used, which is more objective and rigorous. Jiugongge method is not only applicable to a certain structure, but also to the relationship between words. That is, the Great Nine Palaces method is to look at it from the perspective of painting and appreciate the pure plastic relationship between words.
Three-sense school
It can be subdivided into two schools: one focuses on the fluency of body movement when creating, and the other focuses on the various effects caused by pen and ink on paper.
"Intention comes first, words come last" is not entirely correct. There must be an image before creation, but the hand is more than just copying this image. What appears in the pen on paper can't be exactly what we want. If not, it may also stimulate the inspiration of creation, so that the original "meaning" has to be modified and changed, and there is a dialectical interaction between the image in mind and the gradually formed works. Dai and Zhou Xinglian's My Opinion on Linchi in Qing Dynasty thought that if you are too stubborn, you might as well do it.
Modern European painters also gave up typing, composition and sketch. Huai Su dipped his pen in ink, and there was no clear finished product. Different from the rational school which pays attention to clear and meticulous structure, the action school pays attention to dynamic momentum rhythm, represented by cursive script. When reason loses its authority, it is in drunkenness and high speed that the heart and hands can fully cooperate. Writing has become a dance with full participation. When dancing heartily, all parts of the body and various senses participate in the whole movement. This kind of activity is a natural expression of a vibrant life. Thoughts are integrated into the body, and the body expresses ideas. The law of work is the law of the whole life jumping.
The material effect produced by the encounter between pen, ink and paper is also a problem that the perceptual school attaches importance to. Write with weak paper, and write with strong paper. Wang xizhi's book theory. This is mentioned in Tang's "Lin Chi Miao Jue". Kang Youwei also transcribed it. However, it is said that "the ancients said." With ink, Yu and Lun Shu Biao are like hair, and the color is like paint. Su Shi wants ink color like "children's eyes are fine." Bao's words are very detailed.
Painting depends on the change of ink color, and calligraphy is more about brushwork than ink. Xu Xuan put forward that "there is thick ink in the center of the painting, which is impartial and the center uses a pen." Testing technology. Bao regards it as an object of appreciation.
The Tang people want ink just right. Miffy used light ink.
Dry ink. Dong Qichang's pure use of light ink shows a fresh and rambling interest. Jiang Kui's "Continued Book Spectrum" talks about the dryness of ink, not as good as shadow. Dry pen makes white, which began in Cai Yong. Thick ink was used in the late Ming and early Qing dynasties. He is the best representative of perceptual calligraphers. He deliberately made the reason unable to completely control the movements of the pen, and achieved the effect of childish and lively calligraphy.
Four kings Xizhi
Just like Bach in western music, Cezanne and Wang Xizhi in painting don't like to talk about philosophy and emotion, but only pursue technical problems. The key issue is skill. Wang Xizhi's book theory was quite reserved in the Tang Dynasty. For example, Sun and Zhang Yanyuan. Zhu recorded nearly ten Mo Chi in the Song Dynasty, but none of them were described by the Right Army. Chen Si recorded six chapters of "Bookstore Jinghua", which was later named by his right army.
"Book Theory" focuses entirely on changing points, which is also consistent with the meaning of the metaphor of calligraphy.
Wang Yi's Ci has three characteristics: First, the unity of change. The change of pen and structure has reached the extreme of flexibility and fluctuation, and the unity of pen and structure has also reached the extreme of convergence and saturation. Change is not only from line to line, but also from word to word. Every stroke has subtle changes. As for unification, word by word, line by line, and even the whole article are dense, while business is seamless.
Second, the sense of space.
Calligraphy has almost mural space, drifting between two degrees and three degrees. A great calligrapher will surely awaken the white background into a living emptiness. Bao said:
: "Its brushwork is amazing, which can make stippling ripple in the air and make it interesting." In other words, Wang Zi is as profound as the third degree. This is the most difficult place for future generations to copy Wang Shu.
Third, the coordination between rationality and sensibility. Wang Zi is big and small, and the distance between lines is often unequal. Every line of words is not vertical, oblique or curved.
The same is true of regular script. It looks arbitrary. Use your wrist, use your sensibility. Although it was derailed, it was controlled, realized, echoed, avoided and naturally realized.
The mystery of Wang Xizhi enveloped the period of academic thought and was naturally influenced by it. However, Wang Xizhi has a "skeleton", so his calligraphy does not tend to be decadent and playful, and it shows vigorous vitality in free writing. But this vitality does not belong to expressionism or ethics. "Tao is thin and thin, reason is hidden and meaning is deep", so
"There are not many friends."
Xiangmu's Shupin said that Wang Zi was "poor in change and rich in achievement". The former refers to the magic of technique, while the latter refers to the richness of content. Therefore, calligraphers of all tendencies regard him as a great model and draw beneficial nutrition from him.
Wang Xizhi's "stunt" refers to a style tendency: he pursues "pure skills" and has really made great achievements. His technique transcends the so-called formalism, because there is a personality behind this pure technique. Skills are full of spirituality. Wang Xizhi's backbone, integrity, knowledge and lofty are all contained in a flexible skill, and people are inseparable from books, skills and Taoism.
Five aestheticism
China's traditional book theory has no "beauty" but only "rhyme". That is, "meaning to live outside the form" means formal beauty.
This kind of work, which pays neither attention to the rigor of reason nor emotional expression, integrates the two, injects agility into the orderly order, introduces order into the beating of life, and gives the viewer a sense of harmony and balance. Zhao Mengfu is a typical representative. On the one hand, they are highly praised by Xing Dong, and on the other hand, they are attacked by people who pursue passion, indifference and elegance, or masculinity. Such as Fu Shan, Dong Qichang, Mo Shilong and Wang Shizhen.
Delicate brushwork, sharp charm, rigorous structure, interlocking, intricate, extremely vivid, giving people a cold aesthetic feeling. It seems that the carved gold hairpin and jade hairpin are carefully cast, reflecting a strong palace atmosphere, and they have reached a high degree of crystallization and conciseness in modeling, so they can be called first-class calligraphers.
Liu Bao Chen Shi's "Art Boat Double Rings"
Liang and Zhu Luzhen believe that calligraphy is a skill that can be learned and learned well, regardless of personality. Their difference lies in putting the importance of technology above creative psychology in theory. "Art Ship and Two Tanks" can pay extensive attention to the laws of shaping, and he can explain some artistic laws that are difficult to explain.
Seventy percent of Tian Yao's book potential.
Some calligraphy theory used the universal law of contradiction and unity to explain the problem of calligraphy carving. It is to use the concepts of Yin and Yang, Gankun and Wuxing to explain the shaping of calligraphy, such as white cloth, Teton, length, echo, urgency, rigidity and reality. From Xiao He to Yu Shinan, Zhang Huaiguan, Huang Xiaozhong and Zeng Guofan. Among them, Cheng systematically used Yin and Yang to explain calligraphy. His theory is the extreme representative of rationalism, mechanism and technicalism. His attempt is commendable, although it is far-fetched in some places.
He has a rigorous and systematic explanation of pen, structure and center. He divided strokes into eight types according to the clockwise movement of his hand and eight types according to the counterclockwise movement, and explained which strokes were physically possible according to the fact that he wrote with his right hand. The right hand is transported to the southeast: side, anger, grazing and pecking, which are negative paintings, while the left hand is transported to the southeast: music,
This is a frontal painting. Yin and Yang combine to change, thus creating the beauty of calligraphy. Regarding the principle of pen-lifting force, he explained how the force of pen starts from two feet and reaches the end of the pen according to the movement and leverage of celestial bodies.
He also used magic, without the color of Zhuangzi's mysticism. The so-called "defending the wind with air" only means that the transmission of this series of mechanical forces is embodied in calligraphy, and the viewer can't see the traces of production, which is intangible.
Chapter III Theory of Calligraphy Destiny
Han Yu's Preface to Master Gao Xian.
Europe, Yu and Chu in the early Tang Dynasty pursued the beauty of rules and rationality, while classicality showed balance and harmony. When creating, the mind is clear, the mood is calm, and the hands and eyes are alert and accurate.
Han Yu not only advocates that art should be lyrical, but also puts "emotion" in the first place and rejects the tendency of non-lyricism.
Zhang Xu melted all the emotions in his life into calligraphy, and because he was sensitive to various external phenomena, he showed all the emotional reactions caused by all the phenomena in calligraphy. It is an extension of Zhang Yun's "learning from nature, learning from nature". Based on the idea that Buddhism was born, Han Yu questioned Gao Xian's creative method. Since Buddhists want to relieve their worries and repel their emotions, no matter how high immortals scan vertically and horizontally, they will only be in form and have no spiritual content.
Romanticism in Tang dynasty
In addition to classicism, there was also a school of romanticism in the Tang Dynasty, represented by Zhang Xu, Huai Su, Yan Zhenqing and Yang Ningshi. Song Dynasty is a lyrical era.
The spiritual outlook of romantic calligraphers in Tang Dynasty is different. Zhang Xu borrowed wine and created in drunkenness, which was close to the Greek worship of Dionysus's music and tragedy; Huai Su devoted himself to the wonder of techniques and removed the emotional elements; Yan Zhenqing's powerful strength based on Confucian spirit; Yang Ningshi is decadent and escapist. Their creative attitude is contrary to classicism, and they all demand liberation from objective laws and pursue subjective expression.
Bacchanalia's
Zhang Xu is an extremely important figure in the history of China's calligraphy. The Wild Grass created by him is a limit of the development of calligraphy towards free expression. If we were more free, words would be unreadable and calligraphy would become an abstract painting. He tried to reveal his inner world thoroughly and fully, and became the ultimate ideal of many calligraphers in later generations.
Although Han Yu grasped Zhang Xu's main creative spirit, he also ignored an indispensable factor: wine.
Zhang Xu's meaning of drunkenness is not in China, but a miracle in the history of plastic arts in the world. One was drunk. One is public performance. Western plastic artists do not create after drunkenness, but only show "finished products". "Performing arts" are enjoyed by the audience in the course of time, such as music, dance and drama. After the performance, the works only remain in the audience's memory, or are preserved in the form of music scores and scripts. China's behavioral calligraphy probably appeared as early as the pre-Qin period. After the performance, the ink is not dry, and the audience can continue to ponder and recall the scene when the author holds the pen vertically and horizontally. The audience not only participated in the tension during the creation, but also shared their deep thoughts after the completion of the work.
Personality Lyrics of Four Song Dynasty People
Meaning is lyrical. Refers to quiet and happy creation. Personal lyricism is the common feature of calligraphers in Song Dynasty. There is no calmness of the rational school, and there is no excitement of the drunken school. In the Song Dynasty, calligraphers first studied the Tang method, then got rid of it, pursued self-expression and formed their own style. Su and Huang's "impossibility" theory is aimed at. A painter and a politician.
The "chic" and "faithful hand" pursued by calligraphers in the Song Dynasty all contain elements of game. The personal lyricism of calligraphers in Song Dynasty was related to the philosophical atmosphere and literary atmosphere at that time. The Song Dynasty attached great importance to justice and reason, which required grasping the contents of sentences and understanding the basic spirit of the ancients. As Lu Jiuyuan and Zhu said, if we can grasp this central idea, then "I will interpret all the Six Classics".
Otherwise, all knowledge is just fragmented knowledge. The ancients used to love me, the user was me, and the ultimate standard was me. In calligraphy, we do not imitate the ancients, but strive to create by our own aesthetic experience and form our own style. However, Zhu objected, saying that there was a code before Cai Xiang, and the rice was yellow, and the world declined. In fact, Canon should be rediscovered and recreated by me. If I don't live in my own experience, the canon is just a bondage.
Whether observing nature, dealing with personnel or artistic creation, we should rely on our own sensitivity and intuition, rather than relying on ancient shelves, which is reflected in calligraphy, that is, "innocence." Ignoring the essence of calligraphy art, believing in your own sensitivity, following your own temperament and letting go of writing will be unfavorable.
In the lyric calligraphy of Song Dynasty, Yue Fei incorporated patriotic enthusiasm into his cursive script. Lu You's calligraphy also has a strong personality, and the evacuation of Yang Ningshi's calligraphy also has a laissez-faire side.
Hymns of five ugly monsters
(Su Shi: Beautiful and eye-catching, why not oval? Miffy: All you want is a play, so don't ask clumsily. Huang Tingjian: Although it hurts, it is self-contained. )
Rodin said: "In art, individuality is beauty." Han Yu consciously pursues the ugly beauty of China literature. Liu Xizai's Introduction to Art: "All ugliness is more beautiful than Changli." He has deliberately described many strange, horrible, gloomy and desolate things and images with difficult syntax, which makes people feel the battle of life.
Du Fu did not deliberately pursue ugliness, but he was not afraid to write ugliness and bitterness into his poems. Similarly, Wu Daozi's ugliness and fearlessness provided him with enthusiasm for description. Mi Fei's theory of beauty is "the ancestor of ugliness appreciation in later generations". 《
The Draft for Sacrificing a Nephew is stubborn in edges and corners, with contrast in thickness and overlapping in smearing, and it is written with a heavy heart.
In the late Ming and early Qing dynasties, Fu Shan not only had ugly calligraphy, but also advocated "four nins and four noes" in theory. In fact, he can also make beautiful books and paintings, and he also has a soft spot for such things in character, but his later life experience completely changed him. In his later years, every line of calligraphy was connected into a long rope, and the brush was as thick as a real pen, which cancelled the sense of frustration in stippling, which was exactly the ugly book mentioned in Song Cao's Elegant Words of Calligraphy in Qing Dynasty. Liu Xizai's Outline: "Ugliness is the beauty of strange rocks, and ugliness to the extreme is the ultimate beauty. In an ugly word, the hills and valleys are hard to say. "
In the Ming Dynasty, there were not only Taige, Sanshen, Ersong, Wendong, but also Crazy Grass School. Curiosity, curiosity, ugliness. Zhu Yunming has this tendency. But his tumbling changes are still in the rules. Jie Jin, Zhang Bi, Xu Wei, Chen Chun, Xu You and others all strive for ugliness. Their favorite words, their development direction, or their ideal words, are a kind of shocking rude clothes and unkempt appearance. Judging from Feng Fang's book "Tactics", the Ning Ugly School at that time was indeed a powerful trend. Xiangmu is also opposed. He uses slang. If "slang" refers to the artistic taste of citizens, it is appropriate. The Ming Dynasty was the era of three novels and three words and two beats. Opera, rap and novels are all realistic, and they are not afraid to describe obscenity, oppression, persecution, greed and various social ugliness. In calligraphy, they are not afraid of vulgarity and ugliness, and they use sharp pens and evil ink to sweep away the dark deposits in their chests.
Liang Qing said: "A country that is civilized". State is an external form. Shang state is a kind of formal pursuit. This pursuit shows two opposite tendencies, one is to be beautiful and the other is to be ugly. Art is not only produced in leisure. Huang Daozhou wrote before the execution, first in small letters, then in calligraphy, and then in big letters. China's aesthetic tradition has always been based on gentle and honest ideas, and the school of Ning and Ugliness is disliked by ordinary connoisseurs, so it has been circulated less.
Liu Kuang
In the lyric stage, reason and emotion are balanced. At the ugly stage, emotions obviously prevailed. The author is in the shock of strong emotion, so he breaks the traditional law and expresses it in a distorted, abnormal and exaggerated way. Furthermore, the author lost his inner balance and went crazy.
"Diandian" is not the same as "pretending to be crazy and selling stupidity". But it's not really crazy. Crazy is a semi-crazy state when creating. Similar to western surrealist artists, opium and alcohol disrupt rational control and liberate repressed things in the subconscious.
In turbulent times, special figures in China's history are pessimistic and desperate because they can't see a way out, or pretend to be crazy and sell stupidity in order to escape political persecution, that is, "pretend to be crazy and sell stupidity". Yang Ningshi is a typical example. Tie Yang's escape and decadence. Miffy's subversion is a shocking indulgence. Shi Tao once called himself "Dian", and his Dian is also a manifestation of the artist's independent spirit. Badashanren was crazy in his later years. His landscape was filled with a desolate and bleak atmosphere, and the birds he painted also had special expressions.
The really crazy artist is Xu Wei, who is good at poetry, books, painting, drama and military affairs. He has a genius mind, so he uses poetry and calligraphy to express "indelible anger" in calligraphy. Become crazy in old age. His inner anger and pain were only vented in intense self-abuse. Yuan Hongdao said: "Poetry in my later years is fascinating." . His calligraphy, with large and small characters, thick and heavy pens, dry and wet, is always unexpected, deliberately out of order, against unity and harmony. There is a cynicism in the writing of Drunk Rain and Witchcraft. The cursive characters and lines are so dense that there is no room for lingering breathing. When writing, the lines are full of twists and turns, which is a mess where the trapped beast can't find a way out. Paintings twisted into mud, frustrated and exhausted into tears and bloodshot, and inner confusion and despair are presented here. Xu: "My book comes first, followed by poetry, followed by writing, and then painting."