Appreciation of He Classic Calligraphy Works
Pictures of He Classic Calligraphy Works 1
Pictures of He Classic Calligraphy Works 2
Figure 3 He Classic Calligraphy Works
Figure 4 of He Classic Calligraphy Works
He Ji Shao? biography
He Ji Shao (1799? 1873), a native of Daozhou, Hunan Province, whose real name is Zizhen, whose name is Dongzhou, and whose alias is Dongzhou Jushi, whose name isNo.. Houyi He was a poet, scholar and calligrapher in Qing Dynasty. He's representative works include Xi Daojing Shuo and Dongzhou Caotang Poetry. Wen Chao and Shuowen refute Zheng et al.
His father He is a senior official of the Ministry of Civil Affairs. He was a protege of Ruan Yuan and Cheng Enze in his early years. In the 15th year of Daoguang (1835), B Wei won the first place after having obtained the provincial examination in Xie Yuan, and in the 16th year of Daoguang (1836), he was a Chinese second-class scholar. Later, he served as editor of imperial academy and proofreader of Wen Yuan Pavilion. Xianfeng was a political scholar in Sichuan in the second year (1852) and was dismissed for libel. He was born in a scholarly family, and his father He was a famous bibliophile. His four brothers in Ji Shao all learned to write good books, saying? He Sijie? .
Jiaqing was born in Dongmen Village, Dongmen Township with Di Shaoye in April and December of the lunar calendar. When he was a child, his family was poor. He and his younger brother followed his mother to eat in Xiaoping Liao Jia, Xizhou. He went to Beijing with his mother at the age of 8, and was a protege of Ruan Yuan and Cheng Enze in his early years. 18 years old, to take the Jingzhao test, record it as soon as possible. In the 11th year of Daoguang (183 1 year), he was awarded excellent tribute. In the fifteenth year of Daoguang (1835), he was awarded the position of scholar in the middle of the following year and was awarded editing by the Hanlin Academy. He has served as a school manager of Wenyuange and promoted by the National History Museum, and served as an examiner after passing the examinations in Fujian, Guizhou and Guangdong provinces. In the second year of Xianfeng (1852), he was appointed to study politics in Sichuan. He only served as an official for two years, and the next year he was demoted to? Nonsense? , hurt by slander, demoted and transferred. He resigned from his official position, founded Caotang Academy, and gave lectures. In the sixth year of Xianfeng (1856), he started from Sichuan, arrived in Jinan via Shaanxi and other places, and gave lectures at Zhuowu Academy in Shandong. After giving lectures, I visited Daming Lake, Baotu Spring, Pearl Spring and Qianfo Mountain in Jinan, leaving many poems. In the tenth year of Xianfeng (1860), he left Jinan for Changsha at the invitation of Changsha Chengnan Academy. He has taught in Shandong Chengnan Academy and Changsha for more than ten years. In his later years, he presided over Suzhou and Yangzhou Bookstore, published notes of Thirteen Classics, lectured at Zhejiang Xiaoliantang, and traveled to and from wuyue to teach students and apprentices. I've been drinking and traveling all my life, I've been to many famous mountains and rivers, I've visited many places of interest and I've also been to ancient times. Guangxu four years (1873), died in Suzhou and was buried in the southern suburbs of Changsha.
Aesthetic standards of calligraphy
Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Praise of Writing":? The wonderful way of books is that the spirit is paramount, followed by the form and quality. Can you see the ancients? . Here, it is emphasized to write the spirit in form, with both form and spirit.
Generally speaking,? Shape? Including stippling lines and the resulting calligraphy spatial structure; ? God? Mainly refers to the spirit of calligraphy.
First, calligraphy stippling lines
The stippling lines of calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image they form has no definite meaning, but it should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense.
1, sense of strength
The power of stippling lines is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out? Hiding the head and protecting the tail, power is between the lines? ,? Do a pen heart and often do some painting? ,? After the stippling is finished, you still have to collect it forcibly? . It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous.
2. sense of rhythm
Rhythm originally refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes.
3, three-dimensional sense
The stereoscopic impression is the result of using the pen in the center. The strokes written in the center, looking at the sun, have a wisp of thick ink in the center of the painting, which is in it. As for the folds, there is no bias in it. ? In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere.
Second, the spatial structure of calligraphy
On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.
1, single word structure
The structure of a single word requires neatness, fluency, balance of length and density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger.
2, the whole line of qi
Are the characters in calligraphy works connected up and down (or before and after)? Link? It is required to proceed from top to bottom and respond coherently. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked.
3. Overall layout
In calligraphy works, the combination of dots into characters, hyphens into rows and lines into chapters constitutes the cutting of space by dots, thus adding salt to the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs.
Third, the expression of calligraphy
Spirit refers to the air and brilliance on a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. ? Appearance first, shape second, both of which can be seen in the ancients? . That means the spirit is higher than? Shape and quality? (stippling the shape and appearance of lines and their structural layout), shape and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing the spirit and expressing the spirit of nature will always be the highest realm that calligraphers strive to pursue.
On the one hand, the acquisition of calligraphy spirit depends on skillful creative skills, which is the premise and foundation; On the other hand, only when the creative mind is calm and comfortable, the creative center is fluent in both hands, and I forget myself, can I write my true feelings and integrate my knowledge and aesthetic taste.