How to cultivate the aesthetic vision of calligraphy?

Calligraphy aesthetics is a big problem in calligraphy learning. Eyes above hands, as long as you study hard, you will make rapid progress. If your hands are higher than your eyes, you can hardly make any progress! There are also many questions about the aesthetics of calligraphy. For example, some people say, why do I think Tian Yingzhang's handwriting is better than that of the ancients? For example, there are many words, why is it called silly sweet? Why do some people regard Liang as a classic, while others scoff?

In my opinion, the aesthetics of calligraphy depends on two major issues: vision and experience.

1 The most direct way to broaden your horizons is to study the history of calligraphy.

Someone asked: Why is the history of calligraphy so important?

Because the core of calligraphy history is the evolution of calligraphers, works and styles. Reading legal history is mainly based on pictures, supplemented by words. When you have hundreds of classic inscriptions in your heart, your calligraphy vision will naturally improve. Because you have naturally classified and graded these pictures, this continuous processing of thinking gives you a vision, and the vision determines your vision. This is the same as identifying antiques, appreciating famous paintings and evaluating food, wine, tea and cheese.

Experience is also a process of constantly posting, writing, and constantly acquiring and mastering skills.

Another key process of calligraphy aesthetics is practice. Sticking with your heart and writing with your heart will make you truly appreciate the beauty of the details of calligraphy. For example, how unfathomable Wang Xizhi's beauty is, how faint Huai Su's ci is, how vigorous Yan Zhenqing's ci is, and how beautiful Zhao Mengfu's ci is, we should not only see it with our eyes, but also experience it with our hands. On the other hand, the exploration of problems is also a part of calligraphy experience, such as the study of brushwork skills, which will make you rationally understand the specific scale of calligraphy aesthetics. For example, Yan Zhenqing's Zhang Changshi's Twelve-character brushwork and Zhang Huaiguan Yutang's Forbidden Scripture all illustrate the beauty of lines.

I have to add that shallow cognition cannot make a valuable judgment on culture.

Some people will say that carrots and vegetables have their own tastes. I am a primary school student. What's wrong with thinking that Tian Yingzhang is particularly beautiful? You indoctrinate me with historical and traditional standards, and I don't accept it. Just take care of yourself, the value is limited to yourself. It's like you take sauerkraut that you can't bear to eat for gold, and others will never pay attention to you.

Cultural standards and thinking, some of which are very profound, need deep elutriation, rather than shallow or even pretentious views. The awe of history cannot be absent.