The appearance of virtual and real calligraphy has something to do with China's ancient aesthetic thought, which is the fundamental reason why calligraphy was born in China rather than anywhere else. It can be said that China's ancient cultural thoughts nourished the childhood of calligraphy. The Yijing, which originated in the Yin and Shang Dynasties, takes Gankun as the two poles, Gankun as the sky and Kunkun as the earth, and the sixty-four hexagrams evolved from it, only Gankun is true, and the rest are empty. It is a philosophical thought and understanding, as well as a cultural attitude and aesthetic concept. The Yin-Yang diagram of Tai Chi derived from this is black and white, and the virtual and the real are alternating, which is undoubtedly a very magical and wonderful calligraphy. Laozi, the originator of Laozi and Zhuangzi's philosophy, also explained the relationship between nothingness and existence and between emptiness and reality in Tao Te Ching in great detail, saying that "less leads to more confusion", "strength leads to the destruction of the army, and strength leads to the breaking of the wood", and "the world is not weak, and those who attack the enemy cannot win", all of which are excellent footnotes for the beauty of calligraphy. Mencius said, "Enrichment is beauty." It seems to emphasize reality; In fact, this is only one aspect of the enterprising thought of joining the WTO. Confucianism founded by Confucius and Mencius also has another saying, "If you are rich, you will help the world, and if you are poor, you will be immune to it." This is a virtual environment accompanied by reality and a necessary supplement to the truth and beauty of life.
From the theory of "painting and calligraphy are homologous", we can still see the status of virtual and real calligraphy. Chinese painting pays special attention to truth and falsehood. In fact, it is heavy, and emptiness is ethereal. If it's only true, it's a board. If it's not true, it's a blessing. The so-called "counting white is black" and "knowing black and keeping white" are suitable for painting and calligraphy. Clouds and water in landscape paintings are mostly blank, while rocks and trees are mostly written in real words. Shi Tao's theory of "one painting" still emphasizes that less wins more. Even like Zhang Daqian's panoramic splash-ink landscape in modern times, the composition is still intentional and empty, and there are layers in the real large ink group, revealing the charm and making it flow, echo and implicate. Chinese painting pays attention to artistic conception, external business image and virtual reality, which is an eternal and difficult aesthetic law. The flickering of bees and ancient temples hidden in the mountains are the crowning touch to drive away the limited and reach the infinite. "Calligraphy and painting are of the same origin" is not only the same writing method, but also the same aesthetic concepts such as reality and falsehood. It is very reasonable to say that "a point is like a rock falling, and it is like a thousand miles of clouds".
The existence of "flying white" is another concrete manifestation of the emptiness of calligraphy, and "hanging one thing and leaking 10 thousand" is a high summary of the beauty of reality and falsehood. The solid (or black) of calligraphy lines is out of proportion to the imaginary (or white) outside the lines. They are much more empty if they are exquisite and detached, and much more solid if they are heavy. But from the whole chapter, white is more than black, and virtual is more than real, which is caused by the balance between real and virtual.
Calligraphy pen also has the aesthetic principle of virtual and real, and hidden front and exposed front are its basic manifestations. What is the Tibetan front? Hiding is nothing, a kind of transfer, an invisible existence, a realm of deliberate pursuit. The exposure front is the opposition of the Tibetan front, an open and frank white blade, a true exposure, a subversion of Tibet and a supplement to the Tibetan front. Therefore, the seal script does not show the front to show ambiguity; Li Shu's regular script is hidden, rigorous but lively; The cursive script hides and reveals the belt, and the middle side unfolds synchronously, and the actual situation rises, with thousands of intentions.
The structure of calligraphy also has the dialectical relationship between truth and beauty. The structure pays attention to echo, between stippling, between parts, between words, between lines, between parts, between parts, between parts and the whole, between words and inscriptions, etc. And the echo relationship is everywhere. In cursive script, the echo of strokes and characters can be a match, which is a real existence; In the book, meaning is the embodiment of emptiness. Real and vivid, empty and implicit. The echo of the chapter mostly depends on the momentum, which is the actual line and full of verve spirit. It can be seen that the realm of emptiness in calligraphy is not dispensable. It is based on reality and detached from things, and has become a wonderful place that entities can't catch up with. It is a supplement to reality and an extension of reality.
The beauty of truth and falsehood in calligraphy is not only reflected in the specific technique operation, but also runs through the whole process of calligraphy practice. Sun in the Tang Dynasty said in Yue Ji: "Beginners only seek righteousness, know righteousness and seek danger; Return to righteousness after knowing danger. "Visible, flat is a beginning, is the foundation of reality, at the same time, it is an end, is the ultimate realm of emptiness. Danger is definitely a process and the only way to interweave peace. Walking along fairness means that the craft is vulgar; Walking on a dangerous road, weird and crazy; The real transcendence, the beauty of calligraphy, is only the true and false transformation from fairness and danger to fairness.
From the perspective of calligraphy appreciation, the highest realm of calligraphy in the traditional sense is virtual rather than real, meaning rather than form, and line symbols are only processes, means and steps. The so-called "vivid charm", "taking the spirit with the form" and "careless brushwork, not seeking the shape". Only in this way can we be free and easy, have the beauty and elegance of the "two kings", and have the massiness and broadness of Yan calligraphy. China people appreciate calligraphy through the contrast between reality and reality, and reflect the aesthetic essence of calligraphy through the dotted line between reality and reality. Or sage like style, or elegant, or sinking into quaint, or "the dancer bends down and smiles in front of the mirror ..." is the generalization and concentration of style characteristics, and it is also another kind of beauty that comes out of the "virtual" environment.