(stippling, the second wonderful series because of your difference)
First of all, stippling is tangible
Feature (1) stippling is not independent.
Feature (2) stippling can be decomposed.
Features (3) stippling has a unique connotation.
Second, stippling is invisible.
Understanding 1: the creation and development of Chinese characters.
The second understanding: national philosophy and aesthetic consciousness.
The third understanding: the basic principles of calligraphy creation
The fourth understanding: the essence of stippling
Whether we analyze the calligraphy modeling from the spatial form, appreciate the visual aesthetic form, study the practice of calligraphy brushwork, or deeply understand the relationship between Chinese characters and calligraphy and fully understand the hidden plasticity of Chinese characters, we need to further understand China's stippling and grasp the essence and characteristics of stippling.
The series "stippling is wonderful because of your differences" is divided into several short articles. This paper discusses the tangible and intangible of stippling.
First of all, stippling is tangible
China stippling (strokes) forms, from Oracle Bone Inscriptions to Qin Zhuan, and then to Han Li, Tang Kai, Song Dynasty, imitation Song Dynasty and so on. In different fonts, it is obviously different, maintaining the established characteristics and laws, or stippling in different fonts has obvious certainty and stability. This is the tangibility of stippling. However, this substance is relative and concrete.
Feature (1) stippling is not independent. The definite form of stippling cannot exist independently without a specific font. They always have a direct and inseparable connection with every Chinese character, and they are interrelated, echoing each other, unified in style, interdependent and indispensable.
When these stipplings are combined with specific words, they are endowed with concrete, vivid and special images and meanings. The strokes contained in Chinese characters are various expressions of Chinese characters. When they leave Chinese characters, they lose their special meaning. Therefore, the stipulation or certainty of stippling is the stipulation or certainty of a specific font in a limited range, or the particularity of a specific spatial form in a specific spatial range. Without a specific font, this limited form of determination cannot be determined.
Without the modeling factors of works of art, it is not an aesthetic form of art. Re-created stippling is a combination of basic modeling factors, which further forms one side of calligraphy art form. Without re-created Chinese characters, stippling is meaningless.
Feature (2) stippling can be decomposed. Pointillism refers to the strokes that constitute Chinese characters, such as dots, horizontal, vertical, strokes, strokes and hooks. According to the spatial visual form of modeling decomposition, it can always be decomposed into simple basic modeling elements such as points, lines and surfaces and their combinations.
The morphological elements of calligraphy and the basic elements of modeling are two levels of concepts. The strokes of China's calligraphy include the use and changes of points, lines and surfaces, and a stroke often includes a variety of basic modeling factors and complex transformation processes. Stippling can be decomposed. Studying the spatial form of calligraphy and appreciating the visual form of calligraphy are inseparable from the method of decomposition and synthesis (modeling) of forms.
Because of the unique methods of calligraphy creation, such as one-off, continuity and non-repetition, and the correlation between them, it often includes the concealment of the brush stroke process. "Keep the strength and hide the front, and eliminate the hidden end" (on Wang Xizhi's book). Such as hidden front, rear front, turning, rotation, frustration and so on. Special attention should be paid to the decomposition of stippling in the process of pen movement.
If Chinese characters have to undergo the simplest random description because they are limited to the original productive forces, then with the progress of social productive forces, Chinese characters will inevitably experience the development process of constantly enriching the means of expression. For example, the use of magic brushes is inevitable (and necessary) to show the variability and complexity of stippling. The stippling created by China's calligraphy is a vivid combination of more abundant, vivid, changeable and beautiful basic modeling elements, such as point, line and surface.
Features (3) stippling has a unique connotation. The stipulation or certainty of these specific font stippling means not only the connection with Chinese characters, but also the specific ideas, tools and methods of brushwork.
The unique connotation of China's stippling will inevitably directly affect the brushwork practice of calligraphy creation with different fonts. The unique morphological elements of calligraphy not only come from special sources, including re-created stippling, their special relationship, echoing elements and some widely used radicals (some long-term fixed patterns), but also relate to the brushwork and brushwork that are crucial to calligraphy creation, as well as rhythm, rhythm, symmetry, balance, continuity, interval, overlap, independence, repetition, intersection, intricacy, consistency and change. Not only have rich writing skills, but also strict writing procedures; There are not only traditional rules, but also innovative ideas. There are eternal classics here, which cannot but be a creative process of continuous development and sublation.
Stippling varies from person to person, from time to time, from person to person and from text to text.
The creation of stippling is inseparable from the brushwork of calligraphy. If the aesthetics of calligraphy is locked in the people-oriented concept, then the aesthetic significance of brushwork can best reflect the relationship between people and things (shapes), the relationship between predecessors and descendants, the relationship between others and themselves, and the relationship between inheritance and innovation.
Second, stippling is invisible.
Stippling has two properties. Or things often have two sides. When we observe stippling from another angle and understand it at a deeper level, we can find that once these concepts leave the specific font, there will be no actual definite shape, and the specific shape, shape and image of stippling will have no stipulation or certainty. It is important that some concepts such as the orientation and order of Chinese characters cannot be separated. The irregularity or uncertainty of Chinese stippling is the invisibility of Chinese stippling. This invisibility is basic and universal.
One of the understandings: it conforms to the creation and development of Chinese characters. From Oracle Bone Inscriptions to modern Chinese characters, in the long evolution of Chinese characters, stippling is prescriptive or deterministic only in a limited range of specific fonts. With the development of social productive forces and the changes of writing tools and methods, Chinese characters and their stippling have changed in the convention according to special national psychology and cultural concepts.
Create the world, create Chinese characters, that's all. Shuo Wen Jie Zi says: According to hieroglyphics, there are many kinds of milk. I talked about six methods, articles, words and books. After all, there are no specific rules for the shape of Chinese strokes.
"Books are like". What is dairy industry? Xu Shen recorded: "Borrow the world of five emperors and three kings to change the style of writing; There are 70 generations of people who have been sealed in Mount Tai, and there are similarities "; And 15 Zhou Zhuan characters, "same or different from ancient Chinese"; He also said that "it is quite economical to change, and it is easy to be teased." Qierqin has eight styles: big seal, small seal, seal cutting, insect book, copying, official book, dead book and official book; To Hanxing cursive script, and proofread the text should be made, change the ancient prose, there are six books: ancient prose, variant characters, Xiao Zhuan, Zhushu (Qin Li), Miao Zhuan (so copy), bird and insect book (so write by letter); And so on.
"Such as", change is easy, the world is also, the time is also, the place is also, people are also, generation is also?
The second understanding: it conforms to the philosophical thought and aesthetic consciousness of the Chinese nation. "Nothing, the beginning of heaven and earth; Yes, the mother of all things. Therefore, there is often nothing and I want to see its wonders; Often, I want to see it. Both of them, with different names, are called metaphysics. Mysterious and mysterious, the gate of Wan Qi. " Lao Zi, an ancient scholar in China, made a wonderful exposition, which contains profound philosophical and aesthetic principles.
Words, milk also. "how grand, the festival is better than Nanshan." Bobby, but you know how to become a poor ghost. Pointillism takes the shape of characters, which changes with books and is invisible.
The intangibility of stippling inevitably shows the infinity of stippling plasticity. Nature provides infinite space for the re-creation of calligraphy, and it also shows from another side that Chinese characters contain unparalleled plasticity. As the object of China's calligraphy creation, Chinese characters contain unparalleled modeling ability and artistic expression, which is the most important material basis for the emergence and development of China's calligraphy.
Although the creative object of China's calligraphy is unique, it is infinite.
The third understanding: it is helpful to understand the essential principle of calligraphy creation. Where is "Miaomen"? Xu Shen said that "books are like", and Cai Yong said that "books are scattered"; Yang Xiong said, "Book, heart painting also"; There is also Zhong You's "Calligraphy is also a world, and beauty is also a person"; There is also Wang Xizhi's Husband Calligrapher, Mysterious Geisha; Wait a minute. The morphological elements of China's calligraphy (recreating stippling) vary from point to point. This is the text of the book, the shape of the book, but there is no definite shape. Can we say that stippling is shapeless and has no image? Can it help to understand the profound meaning of calligraphy creation?
"If several paintings are painted at the same time, the shapes are different; All the points are on the same line, which is good for each other. A word is a rule, and a word is the last rule. If you violate it, you will not commit it, and it will be different. " What is the regularity and accuracy of stippling?
"You don't know what to say, with coquettish meaning; Yang Shu is miserable, which depends on the heart of heaven and earth. I have lost my feelings. I am reasonable. In fact, it was caused by my husband. I have a body! " What is the shape and style of stippling?
"Books change as soon as they pass." If it seems that there is only the specific orientation and order of stippling that must be followed, that is, the specific connection and echo relationship between them and the ideas, principles and methods that must be followed.
Distinguish their similarities and differences and judge their differences. There are similarities and differences, different stippling, different shapes, different faces and different habits; There are differences and similarities, form and spirit depend on each other, and the principles and methods are the same. In short, they have their own temperament and style. Writing your own temperament according to the testimonies of the ancients can be a book.
Understanding 4: It helps to understand the essence of stippling. Grasping the intangibility of stippling may be of great significance to calligraphy modeling, stippling cognition, brushwork practice and calligraphy aesthetics research. The study of calligraphy should start from the ontology of calligraphy, not from the so-called artistic classification, but from the actual evolution of calligraphy, not from the ready-made model framework. China's calligraphy has many unique beauties. China's calligraphy has opened a new window for aesthetic research.
Calligraphy stippling may always be in the moment of existence and absence. The discussion of the tangible and intangible of stippling is the cognition of the essence of stippling. Perhaps we can fundamentally question China's calligraphy line theory. Lines are not the development of stippling, and stippling is not the development of lines. "Calligraphy takes lines as its own language" is just a specious argument (see cursive writing tutorial). "Calligraphy can become an art dependent on lines" (see Aesthetics of Calligraphy), calligraphy is an art of lines, and calligraphy is an art of lines independent of symbolic meaning (word meaning) (see Three Books of Aesthetics) and so on.
Some friends are extremely eager to "explore the form of calligraphy", and their feelings are understandable. What is the form of calligraphy, how to express it, what to express it with and what to express it with? Not knowing Chinese characters and their stippling may be the "foundation" and also the need to know the history and essence of calligraphy. It is the need to explore the so-called calligraphy expression. You can't seek fish from the edge of the tree. I hope the appointment is good, so I will come naturally. I still insist that calligraphy is not a line art, and the beauty of calligraphy has no absolute independence. The history of calligraphy is a history of studying the relationship between Chinese characters, characters and calligraphy.
Metaphysical refers to the Tao, while physical refers to the device. The understanding of the existence of stippling and the cognition of emptiness and reality are also the understanding and cognition of the contradiction between metaphysics and metaphysics in ancient China. It may be beneficial to understand and create the expression forms of calligraphy.
Dot painting is wonderful because you are different!
Please criticize.
Calligraphy Jinsha
2004、8、8、
* Refer to the decomposition of calligraphy form (modeling) in Chinese brush love.
* * See On China's Calligraphy Is Not Line Art..