[Keywords:] calligraphy, style, aesthetics, category,
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Calligraphy is a unique traditional excellent art in China and a wonderful flower in the world art garden. Aesthetic appreciation of calligraphy art is a common and popular practice. In addition to mastering the most abstract principles of calligraphy and making the most concrete feelings about a calligraphy work, there should also be an intermediate level, that is, an aesthetic grasp of the artistic style of calligraphy. One of the important reasons why China's characters can be sublimated into calligraphy art is that the writing of Chinese characters has reached the realm of aesthetic style.
The artistic style of calligraphy is the main ideological and artistic feature of calligraphy works, which is extremely rich and diverse. Macroscopically, it can be divided into two styles: group style and individual style. The group style of living art is the style characteristic of a cluster as a whole, which is more caused by objective factors. Including the style of calligraphy (seal script, official script, regular script, running script and cursive script) and the individual style of calligraphy art in the calligraphy era (pre-Qin) are the beauty of different styles of specific works created by calligraphers including Anonymous under different time and space conditions.
The individual styles of calligraphy art are varied, but there are various similarities and similarities between them. On the basis of comparing and distinguishing the similarities and differences of individual styles in China's calligraphy works in past dynasties, this paper sums up the following 25 typical expressions and makes corresponding explanations. As a preliminary exploration of the aesthetic category of individual styles in calligraphy art, due to the limitation of space and printing style, the photocopies of calligraphy works mentioned in this paper are not attached here.
Upper guide bearing
1, wonderful workmanship. Craft is an exquisite decorative style. It is related, equivalent or similar to meticulous workmanship, ingenuity, exquisiteness, sculpture and ornamentation, and corresponds to the styles of "nature", "simplicity" and "wildness". The wonderful workmanship gives people the impression of straight rope, square ruler, latitude and longitude, handy handwriting and more than enough margin. It is not a branch work, but a positive result of painstaking management and meticulous carving. A highly skilled work should be equal to the writer's own skills in order to be "authentic". Han Li's "Cao Quanbei", "Zhang Jingbei" and lower case letters, especially the low case letters, all show the beauty of originality.
2. Naive. Naivety is a style that is unpretentious and unadorned. It is the result of calligrapher's simple heart, unrestrained temperament, unique spiritual expression and faithful hand, which is not limited to the formation of Buddhism and secular affairs. In the historical process of calligraphy, the Song Dynasty was full of naivety. Su Shi's Fengle Pavilion, Zuiweng Pavilion and Mi Fei's Shu Su Tie were all extremely naive.
3. nature Nature is a style close to or just like nature. It is the result of the writer's sudden breakthrough on the basis of long-term practice, which leads to the "epiphany" of natural images and writes for books. In the history of China's calligraphy, there are many metaphors about nature, such as "leaking marks", "tearing down walls", "moth eating wood", "painting sand with a cone" and "Yin Yinni". In the history of China's calligraphy, there are only a handful of works with natural style, such as Oracle Bone Inscriptions in the Shang Dynasty, bronze inscriptions in the Western Zhou Dynasty, Seventeen Postures and Preface to Lanting by Wang Xizhi in the Jin Dynasty, which are quite interesting and are the best of natural style beauty.
4. Founder. Founder is a full, neat, founder and straight font style. It gives people a sense of solemnity, fullness, silence and generosity. Zhang Qianbei is the representative work of Han Li's founder beauty. Other works with founder style include Epitaph of Wang Xingzhi and his wife in Jin Dynasty, The Good King of Koguryo and so on.
5, cooked. Maturity is a style evolved from skillful calligraphy skills. Because calligraphers usually have a deep understanding of ancient calligraphy masters' posts, their skills are already in their hearts, and all skills can be achieved by hand. Of course, the quality of the integrated skills is guaranteed. Mature works are expressive, and rich skills and movements are naturally better. However, due to their mature and thoughtful movements and not too subtle adjustment ability, their own style is relatively fixed, lacking span, spicy and strong flavor. Zhao's calligraphy in Qing Dynasty is the representative of mellow style. Before that, there were calligraphy works by Zhi Yong in Sui Dynasty and Zhao Meng in Yuan Dynasty.
6. Have money. Abundance is a style in which solemn spirit is hidden inside, full of muscles and attached to bones. The whole work has a feeling of moistening, whether it is skin or bearing. The extreme of wealth is "fat", and fat is not necessarily fat. "Rich" should be "moist", not "ink pig". The plump beauty includes internal and external aspects: first, the surface is plump, that is, it is not dry and uneven, nor does it tend to brush quickly, and the sense of speed should be peaceful and unchangeable. Second, the inner surface is smooth, that is, the arrangement of strokes and glyphs is very natural and harmonious, without exaggeration and exaggeration. The tablet of Confucius Temple in Yu Shinan in Tang Dynasty is a model with rich style.
7, thin and hard. Thin is just a kind of painting style corresponding to "rich", which is thin and hard. People feel clean and healthy, with heavy bones and cold spirit. Han Li's Monument to the Book of Rites has always been regarded as a masterpiece of thin and hard beauty. In the cursive script of the Tang Dynasty, if Zhang Xu's calligraphy style tends to be fat, then Huai Su's works tend to be thin and hard.
8. Tight knot. Tight knot is a style that combines words and thoughts, giving people a feeling of tight-fitting and meticulous structure. The representative works that show the beauty of this style are Monument by Zhang Menglong in the Northern Dynasty, Monument to the Xuanta by Liu Gongquan in the Tang Dynasty and Song Fengge Poetry by Huang Tingjian in the Song Dynasty.
9. Wide wave. Wide wave is a style corresponding to the "tight knot" style, which is characterized by being full outside and thin inside, especially in the middle palace. Hengfangbei is the representative of Han Li's broad style. In the history of calligraphy, Yan Zhenqing's regular script in Tang Dynasty is a monument of great beauty.
10, vigorous. Boldness is a style, which is as huge as a monument and as heavy as the flag of Shang and Zhou Dynasties. People feel deep, broad-minded, resolute, powerful and masculine. For example, the inscriptions in Brown Han Dynasty in Qin Dynasty, Shang Ding in Tang Dynasty, Yan Zhenqing's regular script of Zhouyi, and Yi Bingshou's ancient characters in Qing Dynasty all belong to vigorous style.
1 1, vigorous. Boldness is a style with "vigorous" masculinity, but what emphasizes "the key" is the sense of strength. Vigorous beauty lies in "force", which is not a physical force, but is presented through a series of auxiliary means such as comparison, elasticity and contrarian, and blunt carving is unsustainable. Oracle Bone Inscriptions is vigorous and powerful. Liu Zhongshi written by Yan Zhenqing in the Tang Dynasty is full of lines like a steel bow, which is one of the best representatives of vigorous style.
Take a break, 12. A break is a style in sharp contrast to the "vigorous" style. It can be beautiful, elegant, quiet, relaxed, charming, gentle and beautiful, reflecting the characteristics of maturity and rationality. Nantie is a model of elegant calligraphy style, such as Wang Xizhi's calligraphy in Jin Dynasty, Zhao Meng's running script in Yuan Dynasty and Cai Xiang's running script in early Song Dynasty.
13, quaint. Simplicity is a style of getting rid of clever decoration and seeing nature and true temperament. Simple content includes quality and clumsiness. It is not limited to the subtle handling of small things, but based on the grasp of the atmosphere. It is a grand aesthetic temperament, so from the beauty of simplicity, we can draw out grand contents such as majestic atmosphere, magnificent image, deep and calm. The wind of primitive simplicity often gives people a sense of history, and sometimes it is manifested as ignorance, cleverness, or childish frustration. Calligraphy appreciation is to find the beauty of simplicity in non-calligraphy works that belong to nature, and to experience the beauty of simplicity in works that later generations deliberately seek for antiquity, such as the handwriting left by the ancients, the cliff stone carvings left by the ancients during their travels, the seal script of the teachers of Jinshi Primary School in Qing Dynasty, etc., emphasizing breath, not seeking minor changes, and the style is very simple.
14, chic. Handsome is a free and easy, relaxed and elegant style to write. There is a beauty that is biased towards appearance, flexible in tone and graceful. The chic style is the expression of the sublimation of calligraphy skills to the style level. Appreciating such works can reflect the skillful skills of calligraphers. Elegant officials, Hanlin bachelor, and literati who are proficient in art all love cats. They like the fashionable lifestyle. Chu Suiliang's regular script in Tang Dynasty, Mi Fei's regular script in Song Dynasty, Idle Fish Book in Yuan Dynasty, and Zhu Zhishan's and Wang Wenzhi's calligraphy in Qing Dynasty all have chic styles.
15, quiet. Static is a style of implicit internal force, restrained form and winning by static. It is a typical scholar-bureaucrat with jewels, rich knowledge and extraordinary intelligence. Quiet is by no means completely indifferent to the sense of movement of calligraphy, but the sense of movement is not expressed by strong dynamics. It is to lead the sense of movement from the surface form to the deep, not to the inside, and to do it in a way of playing hard to get in response to the concession. Quiet style is quite leisurely, which often makes people feel that it disdains elegant atmosphere and gives people a peaceful, quiet, elegant and soft aesthetic feeling. Dong Qichang's regular script in Qing Dynasty is a typical still body.
16, elegant. Elegance is a style similar to "quietness", but it focuses on the extraction of rhyme rather than introverted style. "Qing" is beautiful but not magnificent, and "Ya" is profound but not secular. It despises those who pose and pretends to be amazing. It spreads freely between peace and tranquility, and everything moves from tempering to emptiness. People's feelings about the works are unique scroll breath. Some works by Zhiyong in Sui Dynasty, Wang Xianzhi in Jin Dynasty and even Wang Xizhi are well-deserved elegant styles, and Li Yan's two postscripts for Lu Jianzhi's literary works in Yuan Dynasty are also typical of elegant styles.
17, dignified. Dignity is a style, with the majesty of a temple, steady and well-founded, and looks like a "gentleman". The bookshelves of this kind of books have ordinary structure, horizontal and vertical, and thick and solid lines. Even if there is a weak pen, it is not too much to look at the purpose of stability. The composition is staggered and peaceful, and the overall atmosphere of the work presents a sense of wholeness. "Dignity" should not be oppressive, but it is handy in skill handling, which requires perfect tempering. Only by careful appreciation can we see its subtle changes and realize the rich connotation hidden under the humble appearance. Compared with seal script, official script, running script and cursive script, regular script has the most dignity. The regular script handed down by Ou Yangxun in Tang Dynasty is a model of dignified style.
18, calm down. Calm is a style similar to "dignified". Its pen is not frivolous, not weak, not delicate, rich and full lines, leaving something in the line, and can hold paper and leave a pen. It gives people the impression that painting sand is like a cone, penetrating the back of the paper, deep and steady, refined and frustrated. In the Tang Dynasty, Yan Zhenqing's Monument to Li Yanqin and his Poems in Sacrifice to His Nephew fully showed calm demeanor, and Liu Gongquan, a contemporary, also used a pen to calm down.
Li Shuang, 19. Li Shuang's technique is a style of seeking "expressiveness" but not "concealment". His pen is neat and neat, and he is clear in advance and retreat, disdaining vagueness but still clear, not seeking maturity but emphasizing vigilance. For example, Huang Tingjian in the Song Dynasty cut and polished with a pen, and every setback was marked with a linear jitter, breaking gold and breaking iron. There is a polish beauty in technique, and its text structure develops with the lines. The most typical is the "radiation" body, which contracts the middle palace and opens around. This is a Polish building similar to a spear and halberd. In Song Dynasty, Mi Fei's writing style was very refreshing.
20, old spicy. Laura is a style of "people and books are old", which is very personal and unpretentious. It is often characterized by vigorous brushwork, strong bones and muscles, simple style and magnificent physique, which generally belongs to masculine beauty. "Old people" not only means old age, but also means that calligraphers have a natural personality and mature style. The "old man" means that his calligraphy skills are profound and naturally revealed. Laura is the product of kung fu accumulation, and is the artistic expression of kung fu with flesh and blood. To say that it is the accumulation of hard work refers to its thoughtless personality, which is a natural process, and it is useless to seek it deliberately. Without rich social experience and historical vicissitudes, it is hypocritical to be old. It is an artistic expression, that is, it is rooted in the writer's aesthetic personality. Chu Suiliang's Preface to the Great Wild Goose Pagoda in Tang Dynasty is an old and spicy work. Wu Changshuo's seal script in Qing Dynasty was full of vigor and heroism. It is old and thick, and it is stubborn and merciless. The modern calligraphy of Huang and Pan Tianshou also has an ancient and pungent style.
2 1, alcohol. Alcohol is a kind of perfect, far-reaching artistic conception, plain form and mediocre skill, but it has been tempered.
People are peaceful, calm, detached and have a long aftertaste. It is plain and not shallow, not against conflict and contrast in general, but harmony under the premise of conflict. It has its own thickness and depth, and it is a lasting and leisurely fragrance of aged wine. In this style of works, the skills and movements are usually hidden, the structure is smooth and stable, and the rules of the chapter are won by putting order rather than comparison, but there are subtle changes everywhere in putting order. For example, Zhu Zhishan's small letters and Wang Chong's calligraphy in Ming Dynasty are ideal examples of alcohol and style.
22, danger. Danger and strength is a style of getting rid of dullness and order and seeking change. It corresponds to the "quiet" style. Abnormal change is called "danger", which shows that the line organization of the text has obvious tension, giving people obvious feelings of instability, tension, contraction and diffusion. In this style of books, the stroke lines usually present an inclined triangle, which extends along the tip of the triangle and can feel the impact trend of infinite extension of movement, so "danger" must be hand in hand with "strength". The North Monument embodies the style of danger and strength.
23, wild. Wild is a style that runs counter to neat arrangement, giving people the impression of being unfamiliar, naive, clumsy and clumsy, giving people the impression of being chaotic and rude, and almost making people feel unhappy and dissatisfied. It is an irrational and wild pursuit, which often does not pay attention to the roundness and thoughtfulness of the lines themselves, nor does it consider that the structure must be balanced and stable, which is the embodiment of the complex personality of the book. The wild style in calligraphy is mainly reflected in cursive script, such as a large number of works by Zhang Xu and Huai Su in the Tang Dynasty, especially those swept by Yang Wei's frame rate pen.
24, strange. Weirdness is a style in which different styles of writing or different pen variants are mixed together, giving people a natural surprise. For example, Yan Zhenqing's Poem of General Pei in the Tang Dynasty has a strange brushwork, and the representative of Yangzhou Eight Eccentrics in the Qing Dynasty is good at writing strange books, and his Rare Confusion is very famous.
25, fierce. Intense is an inherent technical tradition of "contempt", which hardly reflects the established writing norms, with stiff lines and strange corners, and the writing style does not reveal any traces of rational thinking. Fierceness is a kind of verve beauty, advocating strength and exaggerating strength, with a spirit so strong that people often can't stand it, reminding people of hell and the devil. It is also obvious that ugly beauty is not elegant. Strictly speaking, the masculine beauty of prints in the Northern Wei Dynasty is manifested in the neglect, forgetting and destruction of calligraphy skills. For example, the famous "Longmen Twenty Products" is the representative of the fierce style.