Problem description:
Leaders like to write brush strokes, but they always ask how they are doing. But as a layman, I don't know where and what language to comment on his calligraphy, but I can totally see whether it is good or bad, but I just don't know what language to understand. Thank you.
If you don't need to flatter completely, you just need a few points of view of calligraphy criticism. )
Well said. I will give you extra points.
Analysis:
I have collected some witticisms about appreciating calligraphy myself, and listed one or two. See hi.baidu/wujianjunty/blog/item/697652a79a03f295d14358e6 for more details.
It is generally believed that the evaluation of a book should be considered from the following three aspects, namely, the aesthetic elements of calligraphy art: using a pen, tying words and composing a composition. Of course, from a higher level, the aesthetic elements are qi, spirit, rhyme, emotion, overall style and artistic conception. That is, the so-called "force" and "sex" and "force" refer to skill and skill, that is, the grasp of strokes, structure and composition of a certain statute. "Sex" refers to temperament and style, that is, interest, sentiment, knowledge, cultivation and feelings entrusted to it. Starting from the beauty of the line itself and considering the combination beauty of the line, starting from the point, line and surface. However, the benevolent loves mountains, while the wise enjoy water. I will extract some famous sayings of calligraphy appreciation from ancient and modern calligraphy to entertain friends in the calligraphy field.
Wang Xizhi said, "If you lose a little, if a beauty loses an eye. A lost painting is like a strong man losing an arm. Don't be careless "Emperor Taizong praised Wang Xizhi's words" Smoke is clean and dew, if it is broken, it will pass ",and praised Wang Xianzhi's words:" If you are surprised, if you are graceful, if you are Youlong ","God and light are on and off, and it will be clear at first sight ". Wang Xizhi, who is known as the "sage of books", has beautiful and elegant calligraphy, but some people say that his works are "beautiful but lacking in spirit, without awe, without vivid images" and "talented as a girl, without the spirit of a husband".
Emperor Wu of the Southern Dynasties commented on Zhong Garlic's calligraphy "Like a cloud, a magpie swims in the sky and plays in the sea", and Wang Xizhi's calligraphy "Like Yue Long in the sky, a tiger lies in the wind valve"
Zhang Tang Huaiguan called calligraphy "silent voice, invisible image" in On. "All books can be called books if they want to be ten quick and five urgent, ten curved and five straight, ten hidden and five out, and ten liters and five volts." He also said: "every horizontal painting is like rows of clouds arranged;" Every move is like a crossbow; Everything you do is like a falling rock; Make a discount every time, such as bending steel jun; Every time you pull, you are like a dead vine; Every indulgence is like a sudden interest in walking, and the rhythm is self-evident.
Sun once pointed out in "Book Score": "Bo Ying is not true, it is a little messy, and the yuan is often careless, which makes it vertical and horizontal. At first glance, it is a bit awkward. If you do it, you will hide. " "Grass takes stippling as emotion and transforms it into form."
Mi Fei, one of the four great calligraphers in the Song Dynasty, said: "Although Liu Gongquan is far behind Europe (Yang Xun), he is the ancestor of ugly and strange books, and there have been vulgar books since Liu Shi." He also said: "Liu Heou is the ancestor of ugliness, strangeness and evil …" and "Yan Lu's handwriting can be taught, which is really vulgar"; Mi Fei also said humorously in the Song Dynasty: "Shen Liao typesetting, Cai Xiang having fun, Su Shi painting, Huang Tingjian describing, and he brushing himself."
In the Song Dynasty, Zhu said: "Only the public (that is, Yan Zhenqing) combines the principle of bad seal, carefully divides virtue, lets go without flowing, and catches without being clumsy, which is good." He commented that Europe is "outstanding in the present, famous in the early Tang Dynasty, and inherited from the ruler's calf. People think that's the law, even though Emperor Rong admires it.
The sound of it. "Think about Ou Yangxun's regular script, which is" thick fiber, inflexible, and there are
Honest people enforce the law and welcome the wind of Zheng Ting; For its wonderful stippling, precise meaning, no.
So is Shang Yi. "The evaluation of Liu Gongquan is" extensive classics, books and lines are all wonderful products. "
The most important thing is that grass does not lose energy, and its method is built for beauty, but it is vigorous and rich, hence the name.
Go home. "He also said:" At that time, he didn't write the epitaph of the minister's family, and people regarded their descendants as unfilial.
When foreigners go abroad to pay tribute, they all list the goods as North Japan:' This is a willow book'. "
Su Shi once said: "storytellers also talk about their own life experiences;" If it is not a person, it is not expensive. He also said: "Books must have God, Qi, bone, blood and flesh, not necessarily books." Put God first.
In Zhao Mengfu's Thirteen Postscripts of Lanting in Yuan Dynasty, it is said: "It is not easy to use a pen through the ages."
As a representative of the tablet school, Kang Youwei strongly advocated the northern tablet and praised the beauty of Weibei, saying that "it is better to have no tablet in the northern Wei Dynasty". However, the calligraphy of Dong Qichang, a calligrapher who is famous for his beauty, has been strongly criticized and belittled. "The bureau is like a pony, and it is as timid as a three-day bride." Mr. Deng Shiru said: "It's wonderful to count white as black without pen and ink." Bao in Qing Dynasty also said: "The sparse place can be used for painting and calligraphy, but the secret place can't be used." "Always regard white as black, and curiosity comes out." Liu Xizai said: "The composition of a book is big and small, as small as a word to a number, as big as a line to a few lines. From one picture to several pictures, there must be a wonderful way to avoid each other and correspond to each other. Every stroke of the book must be firm, the body must be dangerous, and the composition must be changed and consistent. "
In addition, I collected an article about calligraphy appreciation from the Internet, which is well written and probably useful to you:
Psychological process of calligraphy appreciation
Art appreciation is an aesthetic cognitive activity, and calligraphy art appreciation is an aesthetic cognitive activity with calligraphy works as the object. The subject he knows is people who are the sum of social relations. All their activities are subject to his social status, world outlook and cultural accomplishment, as well as his cognitive ability, emotion and will. The object of calligraphy appreciation is the work. It is an artistic work formed by the author's subjective feelings combined with the processing of Chinese characters.
Calligraphy art appreciation is a dynamic cognitive process, and its operating mechanism is complex. In order to facilitate discussion, it can be divided into the following stages:
First, the preparation stage.
To appreciate the art of calligraphy, we must first have an aesthetic attitude. Emotion refers to a weak and persistent emotional state, which is often associated with the needs of the subject. Therefore, if the subject wants to enter the aesthetic process, he must get rid of the complicated affairs and look at the works with aesthetic eyes. At this time, the work is no longer a simple physical factor (the combination of paper and ink), but the carrier of the author's emotion. Appreciating a work is an emotional exchange, which is not utilitarian.
Second, the perception stage.
The perceptual stage is the stage when the appreciator feels and perceives the work from the form, that is, the "shape" of the work, and grasps the work. Mainly to understand the author's performance skills and feel the modeling space of the work.
Calligraphy is called plastic arts, and its plastic space is different from the space in life. It needs the intervention of imagination. "Three-character and seven-character mounting" means that mounting can make the modeling space of the work independent and make it easier for the viewer to enter the imagination.
Appreciating the modeling space of a work requires us to look at the work in a three-dimensional way. Specifically, a work, pen and ink solid, cloth empty. It is not flat, but three-dimensional and hierarchical. Calligraphy pays attention to centering the pen in order to obtain a round and thick three-dimensional sense of brushwork. Pay attention to the use of ink, in order to get the level change. Virtual is not empty, but an artistic means of "silence is better than sound". For example, in Qi Baishi's paintings, several delicate shrimps are active in the picture, with a blank background, but full of imagination, as if the blue waves are rippling and crystal clear. Calligraphy pays attention to the use of white cloth, that is, the use of emptiness. An excellent calligraphy work is often thought-provoking, as if it were an illusory background in a photographic work. Although you can't see the specific content, it can make you feel rich and colorful. In its context, the "prospect" is more prominent. Only by understanding the "virtual" can we better understand the "real". "Know white and keep black" is the truth.
Knowing the virtual and the real, we can feel the modeling space of the work, and the modeling space we feel will change with the different attention range of the subject. A good work, cut in any range, has a beautiful shape. Take a line, a word or even a stippling from the work. Huang Tingjian said in On Books: "There is a pen in the word, just as there is an eye in the Zen sentence."
Third, the understanding stage.
Calligraphy art works are the result of the author's refining life, obtaining images and materializing by using calligraphy art expression skills. The subject can trace the author's image according to the trace of materialization and grasp the content of the work. Zhu Zhishan of the Ming Dynasty said:
Emotions and sorrows, each with its own score, happiness and harmony, and comfortable writing; Anger is rude and dangerous;
Sadness leads to depression, and words converge; The music is plain and beautiful. Love is light and heavy, so the words are comfortable and beautiful, and there are also
Depth, endless change ...
The author's feelings of joy, anger, sadness and joy are different, and his works have different forms such as comfort, danger, convergence and beauty. To understand a work is to imagine the dynamic process created by the author through the external static form of the work. Only by understanding the author's emotion of "putting himself in the other's shoes" can we deeply understand the work. What you get through understanding is not abstract concepts or scientific data, but concrete images related to the viewer's memory performance. There is a passage in Sun Zai's book Music:
See the difference between my husband hanging a needle and dew, the spectacle of running thunder and falling rocks, the scary posture of flying animals, and the snake dance.
This is a dangerous situation. This is a dangerous situation. ...
When you see the form of the work-hanging needles and dew, you will get images-rushing thunder, falling stones, Hong Fei, terrible animals and so on. Because of the richness of the connotation of calligraphy works, the subject can form a variety of impressions on the works, but they are not primary or secondary, and they are not clear enough, but they can make you curious and curious and understand the works in depth.
Fourth, the re-creation stage.
Re-creation is a process in which the subject uses imagination to synthesize the content of the work and form a new image in his own mind on the basis of multiple perceptions and full understanding of the work.
When the subject perceives the work, he obtains the representation of the form of the work and the representation of the content of the work when he understands the work. These representations are temporarily stored in the subject's mind, which is irregular and unsystematic. Re-creation is to organize the representations in the mind into organisms according to certain rules.
At this time, the memory representation flashes repeatedly, constantly screening, and retaining the main representation closest to the essence of the object. These images constantly conflict and penetrate each other, and finally merge into a new whole-the image in the subject's mind.
The new image is created by the subject in his own way on the basis of appreciation. Therefore, it can't be exactly the same as the author's image, it is creative, and it often goes beyond the author himself, even something that the author didn't realize when he created it or didn't exist in real life. Zhu's evaluation of Zhang Xu's cursive script in "Continued Book Break" is: "If the gods soar in the sky, Xia Yun will emerge. Running away is strange and unpredictable. " Zhu's image comes from Zhang Xu's cursive script, which is a soaring "miracle" and a "Xiayun" on Songshan Mountain and Huashan Mountain. He created this image according to his own life experience and imagination.
The new image is the result of the subject's recreation. Different subjects, because of their different psychological stereotypes, will get different images even in the same work. As the saying goes, "benevolent people have different opinions, and wise people have different opinions." As mentioned earlier, in Zhang Xu's cursive script, Zhu got the images of "God" and "Xia Yun". If modern people get the image of "rockets in the air, missiles flying", even auditory, such as disco music, it is normal.
Five, * * Ming stage
* * * Ming refers to the psychological phenomenon that the thoughts and feelings of aesthetic subject and object blend.
In calligraphy art appreciation activities, once the image in the subject's mind is formed, the subject will grasp the author's thoughts and feelings from the image, and the two are partly the same or similar. This part will continue to strengthen and expand in the mind, while the rest will continue to weaken, disappear or even disappear. When entering the peak state, the subject and object will be completely integrated to achieve the unity of things and me. At this time, the subject's mind is full of the author's thoughts and emotions, and the same thoughts and emotions as the author will be rapidly improved and developed. When the subject is in this state, it will be accompanied by a strong aesthetic pleasure. This feeling will be transformed into aesthetic experience, which will play a guiding role in future appreciation and creation. There is such a short story in Volume 14 of Xuanhe Pu Shu:
Europe (referring to Ou Yangxun) (referring to) the monument, which was first passed on without asking, and Xu Shi won it.
I can't bear to go under the tablet.
Ou Yangxun passed the monument of "Don't ask first" written by Suo Jing, but he has not yet entered the aesthetic state of mind; Under the influence of Suo Jing's fame, he forced himself into a state of mind to understand his works. "I can't bear to go to the bottom of the tablet" is the * * * sound of Ou Yangxun's and Suo Jing's calligraphy, and he devoted himself wholeheartedly to it, so as to achieve the realm of the unity of things and me. Accompanied by happy mood is the reason of "reluctant to go". At this time, he will gain aesthetic experience from Suo Jing's calligraphy to guide his later creation.
Marx said: [1] "Art creates people who understand art and appreciate beauty-so does any other product. Therefore, production is not only the subject of production, but also the subject of production. " The same is true of the artistic creation of calligraphy, which not only creates artistic works, but also cultivates appreciators. In this way, strengthening the study of calligraphy appreciation will be beneficial to the vigorous development of calligraphy.