1. Use simplicity to control complexity
The form of calligraphy art is the simplest - only Chinese characters, only a combination of black and white, at most adding changes in paper color, mounting form and red. Matching of seals. However, this simplest form contains infinite changes and infinitely rich forms.
First, the complexity of the font. The historical form of Chinese characters itself is rich and diverse. From the initial oracle bone inscriptions, to the bronze inscriptions of the Shang and Zhou dynasties, to the seal script and official script of the Qin and Han Dynasties, to the running script and regular script after the Han Dynasty, there are also various transitional styles between these forms, and between various historical forms and transitional styles, there are If there are differences and connections, the possibility of communication between them is great. It can be said that there are all kinds of them, which themselves constitute a complex and changeable system. Calligraphy uses Chinese characters as the material for artistic creation, which has an innate superior foundation and richness of expression. This is beyond the reach of Japanese, Korean and linear Western characters derived from Chinese characters.
Secondly, the plasticity of the structure. Chinese characters are used as a recording tool, and each character has its basic requirements in configuration to ensure the accuracy of character reading. However, this requirement is not rigid. As long as the mutual positional relationship between the dots and dashes and the structure is kept basically stable, there is great flexibility in processing its oblique, length, square and circle, etc. Therefore, when it comes to the writing of each writer, the shape of Chinese characters is always ever-changing and not the same for everyone, even the Guange style of the Qing Dynasty is no exception.
Third, the diversity of dots and dashes. Each Chinese character font has corresponding basic specifications in dot and dash form. But like the structure, it is not rigid. During the writing process, its specific form is extremely malleable. The writing tool of Chinese calligraphy, the brush, has superior performance in shaping dots and dashes. The combination of the two makes the image of dots and dashes, the basic formal element of the art of Chinese calligraphy, infinitely richer.
Finally, the comprehensiveness of the chapter. Chapters in Chinese characters organized by single characters and words, like chapters in other texts, always have unlimited combination possibilities under the premise of complying with grammar. The structure and dots of Chinese characters themselves are changeable and complex. After being combined into chapters, the various relationships they form with each other are more complex than the chapter relationships of ordinary characters.
In addition, the forms of seals and mounting art that are part of a complete work are also rich and diverse.
It can be seen that in this simplest form, there are such complicated formal relationship problems! It is from this point of view that Chinese calligraphy, based on Chinese culture, has refined a series of concepts on formal processing issues, formed a set of conceptual systems on formal beauty, and radiated to other art forms. Lin Yutang said: "Although Chinese characters are square in theory, they are actually composed of the most peculiar strokes, which forces calligraphers to try to solve the ever-changing structural problems. So through calligraphy, Chinese characters Scholars have trained themselves to appreciate various kinds of beauty, such as strength, smoothness, reserve, subtlety, speed, elegance, majesty, roughness, rigor or freedom in lines, harmony, symmetry, contrast, balance, length, length, etc. in form. Tight, sometimes even lazy or jagged beauty." He even believed that in the process of solving these problems, "the art of calligraphy provides a whole set of terms for aesthetic appreciation" and "the concepts represented by these terms can be combined. regarded as the basis of Chinese national aesthetic concepts." These concepts (as well as the principles of form and structure) have also influenced "the lines and concepts of Chinese painting" and "the form and structure of Chinese architecture." ") These basic concepts of rhythm, form, and scope give various categories of Chinese art, such as poetry, painting, architectural porcelain, and house decoration, a basic spiritual system."