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The charm of calligraphy is the style comprehensively reflected in the style, chapter layout, content, etc. of a calligraphy work. It is the most direct expression of calligraphy taste.
The first carrier of the charm of calligraphy is the characteristic style contained in various calligraphy styles themselves. Generally speaking, the charm of cursive script is hearty, the regular script is upright, the official script is condensation, the Wei stele is ancient and clumsy, the running script is flowing, the seal script is tough, and the oracle bone script is based on interest. At this level, the charm It's sexual.
The second carrier of the charm of calligraphy is the stylistic characteristics of the individual characters in various calligraphy styles in terms of structure, brushstrokes, and gestures. What we usually call "Yan Jin Liu Gu" is a concrete manifestation. Different calligraphers have different writing personalities, and the charm at this level is individual.
The third carrier of calligraphy charm is chapter processing. Each work has stylistic characteristics in terms of the echo of the characters, the size of the structure, the handling of the threads, and the priorities, etc., which mainly reflect the spirit of the author in creating this calligraphy work. The charm at this level is personal.
The calligraphy work is presented to the viewer as a whole. It is no longer a distant echo of the strokes, no longer the beginning and end of a single word, but a comprehensive charm with rich elements that are both exterior and interior. Just like the distant mountains and rivers and the approaching spring willows, they have the hazy temperament of the distant scenery and the soft whispers of vivid details. This is the charm of calligraphy.
The charm in calligraphy creation is tangible. The fusion of the author's writing spirit and bookishness is unintentionally revealed in the little ink marks of the calligraphy works, which makes people feel comfortable to look at. Through the inscriptions on the inscriptions, we not only restore the superficial things such as the priority of the calligrapher's actions, but also yearn for the state of mind of the calligrapher at that time when he created the work. But in order to read the mentality, it is impossible without a certain degree of literary cultivation. This is also the importance of calligraphy skills. Calligraphy, literature and even philosophy come from the same source and are inextricably linked. If you specialize in one of them, you may not be able to reach a higher level.
The charm of calligraphy also transcends the calligraphy work itself. When calligraphy works appear as the carrier of literary works, they can more fully express the implications that pure literary works themselves cannot express. This kind of calligraphy works with a high degree of unity between inner temperament and outer demeanor always conveys the subtleties of the calligrapher's heart, allowing us to experience the touch of the long-lasting era. "Lanting Preface" is known as "the best running script in the world". Even if the original copy does not exist, the copy is still regarded as a masterpiece. The feeling is the echo between the upward and downward movements in "Lanting Preface" and the agility between the threads, which are all concrete manifestations of straightforward humanity. And this frank creative talent is brought into full play in a state of drunkenness but not drunkenness.
The charm in calligraphy creation and the charm in prose creation belong to the concept of "different things but the same reason". The charm of prose as I understand it is the main theme spirit that is everywhere but nowhere to be found. If it is directly expressed literally, the charm will be wiped out. In other words, the "spirit" of prose is everywhere but nowhere to be found. Therefore, when I am composing prose, I often "think hard" and write a satisfactory prose work, which can take me half to death. Now that I am getting older, I rarely start writing prose because I am too exhausted. The tranquility, calmness, pursuit, and thinking when writing give people a refreshing feeling.
It needs to be emphasized that the external skills of calligraphy are not directly related to the charm of calligraphy. Calligraphy techniques, literary cultivation, and the author's mentality are not concepts in the same category. If your basic calligraphy skills are not up to standard, you will not be able to see through the edge of the knife and the edge of the pen, and you will not be able to find your inner voice through the edge of the pen. Because all the changes that can show the author's mentality and emotion are implemented in the details of movement techniques, and only with proficient techniques can the window of the author's soul be opened to capture the personal temperament scattered among the ink marks, and calligraphy can also realize the transformation from spiritual similarity to physical similarity. leap.
Recently, while practicing calligraphy, I try to use a fountain pen to copy prose that I have published in the past. It is very interesting. Perhaps the charm of calligraphy and the charm of literature are the real ultimate calligraphy.