Ancient calligraphers often have a representative work, and their representative work can be said that all the calligraphy art of their life is con
Ancient calligraphers often have a representative work, and their representative work can be said that all the calligraphy art of their life is concentrated in that work, which is of great value. The following is what I arranged for you, I hope it will be useful to you!
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Metaphor of the Beauty of "Force" in Calligraphy with the Theory of Muscle and Bone
Calligraphy has a sense of beauty because its stippling, structure, composition and Mo Yun all reflect a kind of vitality. It can be said that "strength", "strength", "strength" and "strength sense" are the basis of calligraphy aesthetic activities.
The "power" of calligraphy art first lies in "strokes", that is, lines, which is a perceptible aesthetic form. "Force" has the characteristics of movement, and its existence is the realization of the beauty of calligraphy from material pen and ink to the aesthetic pleasure experience of human mind. Zhong You's "Calligraphy" said: "Strong is sacred, weak is sick." The aesthetic concept of "abundant tendons" is put forward here. "Abundant tendons" means that the tendons are full and smooth, such as strong bones, full tendons and smooth blood circulation, which makes people feel energetic and energetic. In ancient book theory, "Jin" is a subordinate category of "Jin", and some of them are used together with other words, such as "Jin" and "Gu Jin". In ancient calligraphy aesthetics, there is a distinction between "gold" and "bone". In the Qing Dynasty, Liu Xizai's "Outline of Arts and Books" said: "Words have the power of courage and bones; Have the power of forbearance, muscle also. "
Although "Jin" and "Bone" in calligraphy have their aesthetic definitions and distinctions, this distinction is only relative, and they are more interrelated and have the same attributes: they are interdependent, complementary and similar in nature, and both belong to the category of "Jin". Therefore, the book theory has always been used together. "Bones and muscles" are often associated with "flesh and blood". Feng Fang's Shu Shu in Ming Dynasty and Zhu Luzhen's Shu Xue Yao in Qing Dynasty all said that "books have bones and muscles". In Qing Dynasty, Kang Youwei's "A Double Boat in Guangyi" said: "The people in the Six Dynasties showed no signs, were graceful and graceful, had beautiful manners and music, and wrote humanely. My wife is not sick or exposed. " Kang Youwei equates the exposed tendons in calligraphy art creation with people's health, and his pursuit of art form has reached a highly conscious realm-"no bones and muscles, no flesh attached." Zhong You also practiced this idea in his calligraphy creation. There is also a comment in Liang Wudi Xiao Yan's Twelve Meanings of Zhong You's Calligraphy: "Flat is horizontal. Straight means vertical. Both, that is, between. Secret means international. The front means the end. Force is the body. Lightness means bending. Sure, that's called pulling. " It means that the horizontal direction should be flat, the vertical direction should be straight, the strokes should be even, the connection should be tight, the ends should be sharp, the bones should be strong, the twists and turns should be light, and the traction should be decisive and not hesitant. This paper expounds the importance of "strength" and "bone strength" in calligraphy creation. Zhong You's book theory that "strength and strength are sacred, weakness and lack of strength are sick", especially the aesthetic concept of "strength and strength", has important aesthetic significance and is cited by future generations. In the field of calligraphy aesthetics, many related aesthetic concepts have been derived, such as "rigidity and softness".