Appreciation of calligraphy works should be accompanied by calligraphy works and then examined in the form of multiple-choice questions. All strokes have all kinds of strokes, and the beginning, end, transformation and frustration of all kinds of strokes are extremely mature, each with its own position and expression. There are many changes in structure. Among them, the words "Zhi", "Yi", "Ye" and "Wei" are all repeated, but they all change their word forms intentionally or unintentionally, and there is no similarity.
In particular, the word "Zhi" has more than 20 words, and each word has modality, that is, three of the first six lines are written in three styles and styles. When writing a composition, go with the flow, without deliberately pursuing originality. The lines are wide or narrow, some lines are added beside them, and there are many alterations, which show the beauty of nature in the meaning.
Knowledge induction of calligraphy appreciation before the entrance examination —— Knowledge induction of calligraphy appreciation and understanding of calligraphy practice methods "reading posts" and "copying"
Knowledge expansion:
Quote a sentence from Mr. Bai Jiao: "The standard of learning is the standard of appreciation".
Learning calligraphy starts with basic stippling, then learning structure, and then regular layout. Appreciating calligraphy works, contrary to creation, must start from the whole, then to the part, and then to the core. Just like watching a person, when we meet, "we don't have to look at his eyes, ears, hands, feet and head, but at his manners, jokes and spirit."
It mainly refers to "spirit" here. Wang Sengqian said: "The wonderful way of books lies in the supremacy of spirit, followed by form and quality, both of which can be compared with the ancients." . After observing the spirit, we should focus on the form and quality, which is the secret of appreciating calligraphy, but it is difficult for a painter to get its true meaning.
(Interpretation: Mi Yuanzhang's comments on paper are as different as Lu Yu's comments on spring. The brushwork is all Yan Pingyuan's, which is exactly the same as the brushwork of Tianma Fu collected by my friend Wang Yutai. )
An excellent calligraphy work should first be able to infect the whole audience. If you lose the beauty of the whole, the local "beauty" will lose its meaning. And show the failure of this work.
To grasp the whole, we must keep a certain distance from the work, and the overall layout and significance of the work will flash out at a certain spatial distance. (Qi Ming's Note: This is probably similar to appreciating western oil paintings. Distance produces beauty. )
In some works, the strokes and structure of each word are not bad, and even there are some skills, but the whole is still quite chaotic, just like the actors in the chorus, no matter whether they are high, middle or low, they all sing an octave at their throats. No matter how high and beautiful everyone's voice is, it loses its melody and the beauty of harmonious timbre.