Liu Wenhua, male, Han nationality, born in Beijing, 1955. He is currently the Secretary-General of the Creation Committee of China Calligraphers Association, a me
Liu Wenhua, male, Han nationality, born in Beijing, 1955. He is currently the Secretary-General of the Creation Committee of China Calligraphers Association, a member of the Appraisal Committee of China Calligraphers Association, the director of the Calligraphy Training Center of China Calligraphers Association, and a visiting professor of Capital Normal University. Engaged in the teaching, research and management of calligraphy, writing and publishing all kinds of copybooks, teaching materials, teaching CDs, etc. The following is what I arranged for you, I hope it will be useful to you!
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Calligraphy image
Judging from the dispute of calligraphy aesthetics, the key is that the understanding of the word "elephant" is completely different. Many people are used to the explanation of the meaning of "figuration", so. "Artistic image" is quietly transformed into "concrete artistic image", which is the reason for all kinds of misunderstandings. Of course, there is a reason for this misunderstanding-since the establishment of aesthetics in China, it has failed to fully absorb all kinds of rich nutrients and has been bound by the fixed and stubborn creed that "beauty lies in life" and "beauty is a reflection of life".
As a result, abstract beauty has become a forbidden area. When discussing the image, it is how to "fly vividly". Art has become a means to imitate life, but its dominant position is declining. Once this prejudice is coupled with political influence, its invincibility is beyond doubt. The classical character of China's calligraphy makes it unable to find a suitable position in the aesthetic framework with strong colors in the West, while the western classical oil painting and the realism criterion of Big Brother in the Soviet Union make the curtain imitation theory flood the art world. Everything in visual art is on par with painting, and painting has to be on par with realism under political pressure, so every "image" should be figurative to "lifelike", and the abstraction is both decadent and feudal. Of course, it must succumb to the concrete image, at least in theory. It is conceivable that China's modern visual art is right if it is not based on classical realistic painting, but on oriental calligraphy, western architecture and music. The understanding of "image" will certainly not be so narrow. However, the abstraction of calligraphy image and Chinese character image exists objectively and cannot be changed.
Therefore, it is meaningless to use a rigid theoretical framework. Calligraphy once had a moment of figurative period-from abstract painted pottery symbols to hieroglyphics and then to the reflection of inscriptions on bronze, which was an abstraction. The process of concretization and re-abstraction. In this process, the concrete pictographic stage plays the role of process, means and media rather than the ultimate goal. It is also a visual image-not a concrete image, but an abstract image. The former is manifested in scenes, plots, gestures, expressions, etc. The latter is represented by lines, dots, blocks and blanks. Calligraphy is visible, but it is more attracted by the charm of the latter. Of course, it is not spotless. After a brief hieroglyph, the abstraction of calligraphy is no longer imaginary, but obviously has a rich personality in the modeling space. It is this kind of confusion that once went to concretization that helped it establish an abstract but not simplified modeling vocabulary. In contrast, other abstract arts are dwarfed by laws and constraints, so they are much inferior in expressing vocabulary. Colorful abstraction: abstraction is the basis of modeling, the intuitive effect of calligraphy visual image and the conclusion of calligraphy form.
In a calligraphy work, we don't look for any natural shape, but we can use it as a metaphor. They are more interested in the intersection of points and lines, cutting blanks and composition, rhythm, three-dimensional sense and three-dimensional space. Beginners who have not received plastic arts training may not be able to master these things. They can start with stippling structure, but in the end they must come down to these contents. The external image of nature is dazzling, but the internal image contains these visual laws. The abstraction of calligraphy directly tells people that it only sticks to these rules and is not interested in the expression of nature. Someone once thought that calligraphy was an "art of imagery", which was neither abstract nor concrete. It is true that "image" with subjective "meaning" is a subjective image, which is also in line with the reality of calligraphy. But as a definition, the word "image" is usually used on the premise that it is invisible, but it is tangible. For example, some descriptions in poetry outline very specific images, but they cannot be seen directly because of subjective structure.
The image of calligraphy is tangible and does not need to be understood or reproduced by imagination. Therefore, the word "elephant" should not be used in calligraphy. Visible with images, invisible with images. Both are abstract and concrete. Calligraphy is an abstract image, while painting is realistic and concrete. In poetry, "people don't see the end of the song" belongs to the abstract image, and "lonely smoke in the desert" belongs to the concrete image. If classified in this way, it must be clear at a glance. The complexity of calligraphy image mainly lies in its comprehensiveness. Find an objective correspondence, which is neither concrete nor vivid. It has strong subjective intervention and annotation significance, but it is directly visible and not limited to images that need to be supplemented and completed. Its modeling vocabulary is just embellishment, but it is rich in modeling factors * * *, which obviously benefits from the pictographic stage.