Essay on the Significance of "Shu Pu" to Calligraphy Creation
Sun Guoting's "Shu Pu" is a collection of calligraphy theories before the Tang Dynasty. It has epoch-making significance and has great influence on today's calligraphy world. still has important guiding significance. Next, I will bring you an essay on the significance of "Shupu" to calligraphy creation. I hope it will be helpful to you.
Chinese calligraphy is an art system with strong temporal characteristics. The use of the pen, the movement of the press, the running speed, etc. of calligraphy not only effectively maintain the spatial nature of visual art, but also possess the melody and rhythmic beauty of musical art. Cursive script embodies this feature most strongly. Cursive script shows a moving rather than a static artistic space. Sun Guoting gave us a detailed explanation in his "Book Book". Chinese calligraphy is not only a famous national art with a long history, but will also bring value inspiration to new art schools in the future.
When we appreciate calligraphy works, we must properly understand the cultural background of the times when the author created them, and analyze whether the calligraphy works are legal and innovative. Generally, when appreciating calligraphy works, you can start from the following aspects: the length and thickness of the strokes of the characters, whether the dryness, wetness, and shade of the ink are changeable and appropriate; whether the "center of gravity" of the characters gives people a sense of stability; the structure of the characters Whether it is natural; see whether the strokes and composition of the entire calligraphy work are integrated; see whether there is room for artistic imagination, and avoid judging reality based on reality.
1. The beauty of duality in calligraphy
When we study the characteristics of the abstract formal beauty of Chinese calligraphy, we can first seek enlightenment from the perspective of the broad national cultural atmosphere. The art of calligraphy is based on Chinese characters. Basic, compared with other characters, Chinese characters have a stronger ability to shape space and the gene of abstract beauty. Lines have obvious modeling factors, which can be used to describe the shape and meaning of all things in nature. It is this abstract summary of the laws of existence of all things in the world that forms the duality of Chinese characters that not only express the spatial beauty of painting, but also express the abstract beauty.
Calligraphy is full of charm in the process of creation. The abstract characteristics ensure that calligraphers can give full play to their talents, while the modeling characteristics determine that calligraphers’ creations cannot be separated from the established structure. constraints. Among ancient calligraphers, whether it is the regular script and running script of Wang Xizhi and Yan Zhenqing, or the wild cursive script of Zhang Xu and Huaisu, they are the result of calligraphers exerting maximum creative freedom under the constraints of certain artistic rules. The traditional Chinese aesthetic principles are: use less to see more, use small to see big, use simplicity to see complexity. This is the case with cursive script in the calligraphy system. It seems very simple, but it has huge capacity. The reason is that it has the extraordinary ability to refine various beauties of life and reflect the author's spiritual emotions.
2. "Shu Pu" enriches the theory of calligraphy
I spent a semester reading and appreciating Sun Guoting's "Shu Pu", and I was deeply moved. Although I haven't fully understood the mystery yet, I still benefited a lot from knowing nothing about it when I was just learning. The vivid moods in various natural objects are resurrected in his pen and ink, and in his dot paintings. Thousands of animal images are included in a few strokes of dot paintings. This is what Zhang Huaiguan said "encompassed". Thousands of different things are cut into one phase” [1].
"Shu Pu" first compares the "Four Sages" based on their calligraphy attainments. The "Four Sages" are the two kings Zhong and Zhang. They each have their own strengths. Then the various forms of each font are expressed in the form of metaphors, with neat contrasts. For example, "Look at the difference between a hanging needle and a falling dew, and it is strange to see a thunder falling from a falling stone." This refers to the difference between a hanging needle vertically and a hanging dew, just like a falling stone. Some people think that this paragraph is beautiful, easy to understand, and the language is concise. It is a good paragraph, but I think what follows is even more exciting. The first highlight is the general requirements for various calligraphy styles, that is, seal script advocates euphemism and tact; official script needs to be precise and precise; cursive script must be smooth and unrestrained; and chapter cursive script must be simple and convenient.
[3]" not only analyzes the various factors and subjective and objective conditions that cause good or bad results in the process of calligraphy creation, but also emphasizes the importance of "achieving ambition". The ambition here refers to the mind, emotion, and state of mind. Obviously The key to the problem is not the quality of the calligrapher's state of mind, but the truth or falsehood, depth or shallowness. A very good state of mind can produce classic works, such as "Preface to the Lanting Collection", while a very bad state of mind can also produce classics. It is possible to write classic works, such as "Manuscripts for Memorials to Nephew". It is indeed a crucial creative state to be sincere, sincere and profound.
Sun Guoting said: "It is like learning at the beginning." Distribution, but seek fairness and justice; now that you know fairness and justice, pursue danger and danger; now that you are able to avoid danger and danger, return to fairness and justice. In the beginning, it was said that it was not enough, in the middle, it was too much, and in the later period, it was called Tonghui. By the time of Tonghui, everyone and the book were old. "This syllogism on the process of learning calligraphy points out that learning calligraphy can only reach the highest state of calligraphy after going through the three processes of fairness, danger and justice, that is, "both the person and the calligraphy are old". So the "old" in "both the person and the calligraphy are old" specifically refers to What is "old" here? It does not refer to old age. Old age is not just a kind of clumsiness. It is the kind of thought that calligraphy must reach a state of great skill and clumsiness. There is no carving and everything is natural. Doing nothing means reaching the state of "old people and calligraphy", which is a misunderstanding, because if we only understand "old" as clumsy, it will be inconsistent with the aesthetic style of the era when Sun Guoting and calligraphers in the early Tang Dynasty admired Wang Xizhi. No. Sun Guoting and other calligraphers of the early Tang Dynasty did not praise Wang Xizhi's calligraphy because of his clumsy style, nor did Sun Guoting's own calligraphy style belong to clumsy style.
"People's calligraphy." "Ju Lao", the core lies in the grasp of the sense of rhythm. This is not only a musical rhythm, but also a rhythm of life. The flow and expression of this rhythm with perfection is reflected in - a kind of maturity, a kind of rhythm. Calmness, a kind of sophistication, it is the externalization of a clear spiritual order and rhythm. "It is said to be unreachable in the beginning, passed in the middle, and understood in the end. "The so-called "Tonghui" is the expression of the rhythm of life that "people's desires should not exceed the rules." So Sun Guoting continued, "Zhongni said: At fifty, you know your destiny, and at seventy, you follow your heart. "So, the rhythm of "people and books grow old" comes from the human heart. This is the music-like characteristic of calligraphy, and it is also the greatest charm of line art. Liang T once said: "It must be known that the beginning is fair, the structure is dead; The one who is fair and upright is the one who can adapt and adapt. "The old state of art is not that there are no laws, nor is it limited to laws, but the grasp of the right structure of the soul and the perfection of one's mind. It is a kind of character, and it is also a kind of calmness and calmness after experiencing the hardships of life. Look at it this way , "People grow old with calligraphy" has nothing to do with age. Some arts are attached to youth, such as singing and dancing, and they are based on a certain physiological basis, while the maturity of calligraphy is usually in middle age. Or in old age, because it takes a certain amount of time to master the performance of some tools such as brushes, and using the brush to convey and express one's inner inner rhythm and emotional rhythm requires repeated tempering. More importantly, that kind of calmness and calmness. The psychology and realm of calligraphy require the hard work of life. It is not the brilliance of morning flowers, but the rainbow after the storm [4]
The art of calligraphy requires us to spend a lifetime of energy to explore its profound meaning. Connotation, secondly, we must not be eager for quick success or quick success; the art of calligraphy requires our persistent pursuit, not impetuous imitation; the art of calligraphy needs to advocate personality, conduct, and individuality, but cannot be submissive and sentimental, wearing a fake mask to charm people. In the future, I will further study "Calligraphy" to enrich my theoretical knowledge and improve my calligraphy copying and creation abilities.
References
[1] Cui Shuqiang. Between Black and White: Chinese Calligraphy Aesthetic Culture [M]. Hefei: Anhui Education Press, 2008 (11): 17.
[2] Lu Fusheng. On the Ecology of Calligraphy [M]. Shanghai: Shanghai Painting and Calligraphy Publishing House, 2003 (12): 49.
[3] Sun Guoting. Translation and Annotation of "Shu Pu" [ M]. Zhengzhou: Henan Fine Arts Publishing House, 2007 (01): 83.
[4] Editorial Department of "Calligraphy" Magazine. Meditation on Beauty. Criticism [M]. Shanghai: Shanghai Painting and Calligraphy Publishing House, 2008 (01): 37.
[5] Chen Fangji. The Spirit of Chinese Calligraphy [M]. Changsha: Hunan Fine Arts Publishing House, 1992.
[6] Chen Zhenlian. Calligraphy Aesthetics[M]. Xi'an: Shaanxi People's Fine Arts Publishing House, 1993.;