In the field of Chinese calligraphy art, the aesthetic characteristics of calligraphy lines are mainly reflected in the following aspects.
(1) Sense of power
The sense of power discussed here is a kind of skill in calligraphy. It is the coordination and control of palms, fingers, wrists and arms by human consciousness. It also integrates the natural movement of the writer's aesthetic concepts and writing experience. Chinese calligraphy has always emphasized the power of the strokes. Mrs. Wei's "Brush Formation Diagram" says: "The strokes, strokes, waves, bends and bends all need to be delivered with all one's strength." Cai Yong of the Eastern Han Dynasty pointed out in "Nine Potentials": "Press hard and your skin will be beautiful." The skin is the form and feeling of beautiful lines. Generally speaking, if the strokes are powerful, the lines will be beautiful, and the skin will have rich connotations. "There is still a contrasting relationship between light and dark in the power of technique: the sudden twists and turns at the beginning and end of the line are called 'bright', and the force that moves smoothly in the middle of the line is called 'dark'." This passage points out the true beauty of line strength. The reason why powerful calligraphy works of art are beautiful is that they allow viewers to appreciate the grace of life and the rhythm of the soul in such solid and static glyphs. If the pen power is weak, the beauty of calligraphy cannot be fully expressed and brought into play.
(2) Three-dimensional sense
For calligraphy, a two-dimensional art form, three-dimensional sense is a contradictory statement. Because the lines themselves are flat, it is impossible to meet the physical standards of three-dimensional space. However, if a calligraphy work lacks a sense of three-dimensionality, the lines will be thin, boring and unattractive. True three-dimensional sensing is calm, rich and allows people to feel the rich information contained in the lines. Simply put, the three-dimensional sense emphasized by calligraphy is an abstract and refined space. In the creation of specific calligraphy works, they have their own forms due to different calligraphy styles and the different aesthetic tastes of the calligraphers. The emphasis on lines to have a three-dimensional feel is of course closely related to the traditional spirit of the Chinese people. Any kind of aesthetic consciousness is inseparable from the constraints of social content, and calligraphy is no exception. For example, Mrs. Wei, a female calligrapher, pointed out in "Bi Zhen Tu": "The beauty of the three arts lies in the use of the brush, and the secret of the six arts lies in the silver hook." The reasoning formula of this passage is: calligraphy - Use the pen first; when using the pen, the center is the most important; the lines must be three-dimensional to be beautiful.
From the perspective of calligraphy beauty, center skills are absolute. The side forward skill is relative. It cannot be used independently and can only complement the center forward alternately. And it cannot be in a dominant position. The reason for this is that the purpose of paying attention to the brushwork in calligraphy is to pursue the beauty of lines, and the most important thing about the beauty of lines is that they must have a strong three-dimensional sense and thickness. We can modify the way we use pens, but we cannot overcome the ultimate goal of calligraphy beauty. It is by no means a simple technical issue, but essentially a beauty issue.
(3) Rhythm
We can find a kind of vitality in the rhythm of calligraphy works, and then experience the value of life in the vitality. The principle of rhythm is the intersection of contrasts. Implemented in calligraphy form, it is the ratio of blank to ink, the ratio of blank size, the ratio of blank shape, the ratio of ink dots and lines, and even the ratio of ink thickness, dryness and wetness, square and circle, and turning. Everything that constitutes a contrast contains elements of rhythm. "One yin and one yang is called Tao", and "yin and yang" is the foundation of rhythm. The movement characteristics of the pen during the formation of lines - tightness, weight, speed, are the specific content of the rhythm of the lines. The nature and types of various movements are also different. No matter what kind of rhythm they are, they exist in contrast. Brush calligraphy can express a lot of the calligrapher's personality. The vitality of every calligrapher's life reflects the aesthetic value of the rhythm of lines. Such as: space rhythm, undulation rhythm of pen, blank rhythm, directional rhythm, etc.
The principle of rhythm seems to be relatively simple compared to the principles of power and three-dimensionality. Because for the strength and thickness of the lines, we can start from a practical starting point and make an in-depth description of the appearance. But for rhythm, visible forms abound, and the invisible deep content is not only about calligraphy, but also involves physical and psychological issues. The sense of three-dimensionality, strength and rhythm basically encompass the entire content of line aesthetic consciousness. Not only that, even in the writing skills of calligraphy, the existence of "three senses" already includes the entire spatial content of the skills.
The composition of the sense of strength relies on lifting, pressing, pausing, setting back, turning, folding, square and circle, emphasizing the ups and downs of the pen - up and down movement; the composition of the three-dimensional sense relies on The center mainly uses the pen, and the pen rules are implemented in the specific range of line beauty. The pursuit is not just to draw lines on a flat paper, but to create a three-dimensional effect; the composition of the rhythm relies on the control of speed and interruption. There is a progression of continuity, severity and severity of illness, so it has the attribute of time. The sense of three-dimensionality and power, plane movement and up-and-down movement constitute a three-dimensional action space. Together with a sense of rhythm, they constitute a contrast between time and space. The three intersect and penetrate each other, forming the broadest artistic world of calligraphy skills.