The purpose of this book is to demonstrate the artistic trends, aesthetic tastes and criticism methods of various eras through the analysis of traditional Chinese calligraphy theory.
Calligraphy is different from other arts. If we compare calligraphy with painting, painting is directly based on nature and life. It reproduces reality through images. The important principle of painting is verisimilitude. Only on this basis can there be lyricism. Freehand. The pictographic meaning of calligraphy is no longer about imitating and reproducing the objects represented by the meaning of words, but refers to the beauty of natural objects expressed in calligraphy creation, just as people see birds flying out of the forest, snakes entering the grass, and sand alone. Peng and Xia Yunqifeng, the princess fighting for the road with her carrier, and the dance of Gongsun Auntie understood calligraphy; on the contrary, people also saw the beauty of various natural forms in calligraphy works, which originated from the calligraphy praise and calligraphy between the Wei and Jin Dynasties. The best proof is the large number of poems and essays written by later generations that use various natural landscapes as metaphors for calligraphy. Therefore, the charm of calligraphy lies not in the representation of real objects, but in the beauty created by the image and the charm and interest it embodies. Therefore, it has a more implicit and profound beauty than painting, and more directly displays the author's spiritual temperament and aesthetic taste.