2011-05-10 16:40:40 The subjectivity of calligraphy appreciation Calligraphy appreciation is a cognitive activity, a thinking activity, and an artistic re-creation. Therefore, the appreciation process must have a strong subjective color. The so-called "the benevolent people enjoy the mountains, the wise people enjoy the water", "Kangxi liked Dong (Qichang), Qianlong respected Zhao" refers to this meaning. Facing the same work, different appreciators will have different praises and criticisms; for the same calligraphy work, the same appreciator will have different feelings as his life experience, cultural accomplishment, and appreciation ability improve. This is determined by the subjective nature of knowledge. It should be said that this phenomenon is normal. But this does not mean that there are no certain standards and standards for calligraphy appreciation. During the appreciation process, it is harmful to one-sidedly emphasize the subjectivity of the appreciator and deny the universal law of calligraphy beauty, or to only one-sidedly emphasize the beauty of calligraphy and exclude the subjective consciousness and judgment of the appreciator. Only when the appreciator's subjective consciousness and judgment are based on the corresponding universal laws of calligraphy beauty can his judgment show brilliance and appreciation be correct and valuable. The Initiative of Calligraphy Appreciation Human cognitive activities are subjective, and calligraphy appreciation is no exception. "Wang Xizhi's calligraphy is majestic and majestic, like a fish jumping over a dragon's gate or a tiger lying on a phoenix tower." Xiao Ziyun's calligraphy is like a dangerous peak blocking the sun, a lone pine branch, Jing Ke holding a sword, a strong man bending his bow, a hero hunting a tiger, a fierce heart and a sharp edge. It's hard to believe. "This kind of imagination is magnificent and bizarre, even unreasonable. This is the result of human subjective initiative. In the appreciation of calligraphy, there is no supplement of rich imagination and association. If calligraphy works are only regarded as some abstract symbols like character recognition, there will be no way to talk about appreciation of calligraphy. Shen Yinmo, a master of modern calligraphy, said in "Calligraphy Treatise Series": "Whether it is stone carvings or ink marks, what is expressed on the outside is always a static situation, and the reason why it can become such a situation is the result of actions. The original action posture is now Only by staying in the static form through the work can the stillness be revived through the activities of the player's imagination and experience, so that the interaction can be seen vividly in the established form. Uncertain momentum. At this moment, you can not only find the colorful expressions, but also feel the gentle and slow rhythm of music. This expression appreciation is active only through the imagination and imagination of the appreciator. Only by combining visual images with kinesthetic images can appreciation of calligraphy be realized. However, it is not enough to just use imagination and association. There is always a historical accumulation in any calligraphy work. Temperament, thoughts and emotions, and aesthetic taste are poured into it, and it always leaves a specific imprint of the era. Therefore, when appreciating calligraphy, you must have a detailed understanding of the author and the work. Calligraphy appreciation is a cognitive activity. We must follow the general rules of understanding, that is, from the shallow to the deep, from the outside to the inside, from the part to the whole, from perceptual knowledge to rational knowledge, and then from rational knowledge back to perceptual knowledge. This cycle continues, and the understanding of calligraphy works is deepened each time. When the image appeals to the viewer's vision, the first thing people feel is the external form of the work, such as the style and size of the work. On this basis, the perceptual materials are synthesized to form a perceptual image due to the stimulation of perception. Imagination and association, selection and addition of works, and so on, continuously improve the taste and grade of calligraphy appreciation. According to the "Shu Lin Chronicle" written by Ma Zonghuo, "Xun Dang saw the ancient stele, written by Suo Jing of Jin Dynasty." Standing on horseback to watch, it took a long time to leave. After several hundred steps back, he dismounted and stood there. When he was tired, he sat down in cloth and watched. He stayed beside him and left in three days. "This shows the repetitive nature of calligraphy appreciation. People generally believe that appreciation is more important than emotion, and criticism is more important than rationality. The former is the basis of the latter, and the latter is the sublimation of the former. In fact, this is not the case, as far as calligraphy appreciation is concerned Generally speaking, appreciation and criticism are twin sisters. As long as the calligraphy works are displayed, the appreciators will always make judgments, although this short-term judgment is simple and rough. The color of criticism is already quite strong.
In the process of appreciation, we often see two extremely wrong tendencies: one is to appreciate without criticizing, and regard appreciation as an irrational and playful activity; the other is to criticize without appreciating, and regard appreciation as purely rational. , critical behavior. This leads to criticism for the sake of criticism, pursuing sensational effects, and using criticism as a tool to curse and kill; or appreciating for the sake of appreciation, using appreciation as a means of flattery. We clarify the critical nature in calligraphy appreciation, not to defeat the author, but to facilitate us to discard the shortcomings and deficiencies in the works. There is criticism within appreciation, and there is appreciation within criticism. This is the materialistic, objective and correct appreciation of calligraphy. In short, calligraphy appreciation is dynamic and subjective. We acknowledge the subjectivity of calligraphy appreciation, but that does not mean that there are no standards for calligraphy appreciation. On the contrary, calligraphy appreciation can only be fair and objective if it is based on the aesthetic standards of calligraphy, repeated and deepened, and there is criticism within the appreciation, and there is appreciation within the criticism. of. 02