In the Qing Dynasty, He Jiang said in Miscellaneous Notes on Learning Painting: "The beauty of truth and falsehood is born in emptiness." For example, the blank in a word, including closed blank, hollow blank, enclosed blank and peripheral blank, all pay attention to the aesthetic principles of diversity and unity. The artistic treatment of these blanks will certainly make the strokes and structure of a word reach a variety of beauty. For example, when writing the word "reunion", the peripheral blanks are easy to be the same or similar. In fact, if the peripheral blank of a word is round, then the peripheral blank of a word is trapezoidal, and the blank in the square space is changed from the closed blank. Some people have commented that Dong Qichang's calligraphy is "generous and unrestrained", which is an important reason from the perspective of Dong Qichang's Poems.
In the Mystery of Southern Clans written by Karin in Qing Dynasty, she said: "White is white on paper. Where the rock is sunny, the stone slope is flat, the water outside the painting is wide, the clouds are clear, the foot of the mountain is hidden, the trees are empty, the sky is white, the smoke is broken, the clouds are broken, the road and the sun are shining. This kind of white paper is something other than pen and ink, which can make it white in painting, not white in paper, but affectionate, otherwise, painting will be boring. " Although this is a blank in painting, the blank in calligraphy is the same. Without blank, a calligraphy work has no vitality and no interest. For example, in order to express calm, serene and calm interest, calligraphers not only open the distance between lines, leaving a "big blank", but also leave a "big blank" between words, so this slow rhythm of one solid and one virtual gives people a feeling of leisurely.
The net name is another drop of rain. In the blank theory of calligraphy, it says:
"Starting from the narrow concept of' pen meaning', we need to analyze and deal with' meaning' technically. Pen and ink lines often appear' broken pen meaning', from which we can get inspiration. For example,' flying white' and' unsmooth lines' caused by pen diseases and ink dryness, the continuity of strokes and strokes, and the continuity of strokes and structures. Although there is no ink in these places, due to the overflow of strength, the ink has not arrived yet, and there is still a feeling of pen and ink. On the contrary, whether the blank is separated by lines or not, it can still be closely connected, and the blank is also visually broken. Black and white' brush strokes' interweave with each other, forming a network of' brush strokes' breath, giving the work a sense of integrity. The circuit change of the respiratory network produces a sense of rhythm again. The emergence of a specific artistic conception is the result of a specific black-and-white relationship and breath movement. "
This is also the true meaning of "black hours and white hours." Moreover, it is exactly what Laozi said: "I thought it was a utensil, and it was useful when it was not there;" Carve the family into a room, and when it has nothing, it has a room. Therefore, it is beneficial and useless. " The pen is broken, although it is blank, but it hides the trajectory of the pen; If the gap is small and the blank is small, there will naturally be a feeling of "walking around" with pen and ink. If the break is big and the blank is big, then there must be a feeling of "jumping and unrestrained" when using pen and ink. Blank is obviously not blank. The so-called virtual reality is another wonderful use of "airtight, sparse and not leaking".
Chen Yi once said in Yuan Dynasty: "Love; There are scores for joys and sorrows. Happiness is appropriate, anger is rough and dangerous, sadness is fair and beautiful, and sentiment is dangerous and changeable. " This is the real thing, but so is the virtual thing. In other words, happiness is blank, anger is blank, sadness is blank, and joy is blank. For example, in order to express sadness and depression in a work, strokes should naturally shrink more and stretch less, and the spaces between words and lines should also converge, but they should not be large. For another example, anger is expressed by "danger", which needs a big contrast of thickness, size, reality and retraction, so we should also pursue a big contrast of blank. Da Zhongguang said in the Book Raft that "exquisiteness comes from the brush, and cleverness lies in the white cloth", which is why he understands Samadhi.
We know that horizontal lines can express the feeling of calmness, tranquility and leisure. Vertical lines can express feelings of pride, loftiness and pride. Sawtooth lines can express feelings of struggle, pain and embarrassment, S-shaped lines can express feelings of softness, warmth and pleasure, and diagonal lines can express feelings of anxiety, recession and depression. Then, from the perspective of blank space in calligraphy, we should mainly pay attention to the treatment of blank space in line spacing and blank space in the outer edge, such as showing calm psychology. If there are horizontal lines in the composition, it is one parallel line after another, and at the same time, the first word and the last word of each line should be on a parallel line, so that the outer margin is also a horizontal line, which can give people a sense of calmness. In the Qing Dynasty, Zhang Shen said in "Interpretation of Calligraphy" that "the emptiness in the line also has statutes, which are neither far nor near. For example, the method of brocade, flowers and land alternate with each other, need to be appropriate. " What is appropriate? It is most appropriate to express an interest you want to express.
There is a saying in "Four Empty Pictures" called "No words, all romantic". In the Qing Dynasty, Karin's "South Secret" also said: "All the wonderful things in the text are made of speechless land, which is a mirage and exquisite." Then blank space in calligraphy should also be a meaningful form, seeking rhyme from blank space and artistic conception from blank space. Li Lou said: "Blank has played a great role in the artistic conception innovation of calligraphy. Throughout the world of books and forests, some are like the waves of the sea, and the light is surging; Some are like quiet Pinghu, with blue waves rippling; Some are magnificent and interesting; Some are indifferent and profound, ethereal and broad-minded, which embodies the re-creation of calligraphy content and artistic conception. This is the creation of a blank space image. " In order to form the artistic conception of blank space, it is often necessary to consider all blank elements. If it is to show sublimity and greatness, it is more appropriate for us to use vertical banners, and at the same time, we should highlight vertical row spacing to make it feel vertical and straight. The upper margin can be tortuous, the middle vertical line should be prominent, and the upper margin should be smaller than the lower margin, so that the whole can feel towering. In the Qing Dynasty, Bao's "Art Boat and Twin Towers" said that "white is often black and interesting", which is indeed a question worthy of our deep thinking.
We should pay attention to the appropriateness of blank space. In the Secret of Southern Clans, we said: "Be careful to leave blank space in the whole width. Powerful people are broad and narrow, short of breath and restrained; The strong are narrow and wide, and the gas is slack and scattered. Ensure that the blank of the whole body is not reluctant, sloppy, sporadic, lonely, and does not repeat the arrangement of teeth, then the blank of the whole body is the Long Mai of the whole body. "