If a calligraphy work is recognized as "flat". Its basic point of view is nothing more than the following:
1 The structural features or characteristics of Chinese characters in the book are not prominent enough, and their personality is not strong and they lack innovation. It seems that the work has neither inheritance nor foundation. Then the direction and prospect of future development are not optimistic. So it is often despised by experts.
2. Calligraphy is weak and skills are not at home. Dot painting lacks strength and weight, not to mention the texture of brush strokes. As we all know, artistic effects such as "spirit" and "rhyme" are especially needed in calligraphy works. It has always been emphasized that the aesthetic interest of "seeing first and looking second" is called aesthetics. Only books of this quality can be called excellent works; Only with certain artistic vitality, appeal and shock; It can be fascinating and make people linger.
3 The overall composition and layout are dull and weak, and the three-dimensional space, word-to-word, line-to-line rhythm, rhythm change and aesthetic feeling are insufficient. This is closely related to many factors such as scholars' knowledge, aesthetic style, mentality and realm. There are few famous works in history about knowledge and calligraphy, and their perfect combination. Example: Wang Xizhi's Preface to the Lanting Pavilion is fresh and elegant, melodious and meaningful. This book is naturally beautiful, full of health and elegance, and has an unparalleled charm. Su Shi is a leading figure in the art world. The language of his Huangzhou cold food poems is bold, fresh and beautiful, and his calligraphy style is ups and downs. Mao Zedong, a great modern man, is a master of literature and calligraphy who combines poetry, prose and calligraphy. Writing shows its elegance with books, and writing shows its macro with books. The ink of the poem Qinyuanchun may be the work of Mao Zedong in his later years. In this book, Mao Zedong's pen is clever and quick, connecting the preceding with the following, looking around at the tape, combining Fiona Fang with the Tibetan front, supplemented by the exposed front, showing the artistic effect of coagulation without stagnation and astringency without astringency. The structural layout is free and easy, and the stippling shows the spirit of the North Monument, which is elegant and free and easy, which is pleasing to the eye. Proper layout, sometimes long paintings are interspersed in the array, which not only enlivens the picture but also creates conflicts, seeking safety in dangerous places and saving the day; 15 lines 100 words, the proportion between words is very different, so is the proportion between stippling. Sometimes a prominent stroke can even exceed the proportion of two or three words. This is a talented calligrapher. In order to achieve the ideal artistic effect, he often needs to constantly create contradictions in his works and then resolve them one by one.
Only by writing such works can we really touch people's hearts, have a strong shock, and give people visual impact and inner enjoyment to the greatest extent. Its characteristics are in sharp contrast with the "plainness in calligraphy".