Enjoy the fun of calligraphy:
1. True interest
This refers to a natural interest.
Books are precious and natural. Chinese calligraphy emphasizes the unity of nature and man, and follows the natural way. Cai Yong of the Eastern Han Dynasty said: "The person who writes is to scatter. If you want to write, you should first scatter in your arms and let your emotions run wild, and then write." What is said here about "spreading in your arms and letting your emotions run wild" refers to this kind of writing. The "interest of heaven" where nature and man are one. For example, imitating a child's body, at first glance it seems to be crooked and childish; in fact, the writing is powerful, the hair is childish, and the face is childlike, wonderful and full of childishness. For example, the inscriptions on the stone gates on the cliffs, the inscriptions on the cranes, and the calligraphy of Zheng Banqiao in the Qing Dynasty all embody this natural beauty.
2. Clumsy taste
This refers to the old and clumsy beauty of calligraphy that is mature and mature, solemn and simple, noble and elegant, and as clever as clumsy. , or called clumsy interest. This kind of clumsy taste is often found in oracle bones, bronze inscriptions, official script, and Zhangcao. There are also some clumsy characters in regular script, cursive script, seal script, and running script. Yan Zhenqing's masterpiece in his later years, "The Monument of Yan's Family Temple", has a broad and majestic structure, dense on the outside and sparse on the inside.
3. Charming interest
Charming interest is the opposite of clumsy interest. It advocates roundness, softness, beauty, handsomeness and beauty, giving people a charming beauty, or beauty and beauty. Wang Xianzhi's regular script is graceful and graceful. "Book of Jin·Biography of Wang Xian" says that "Xian's bone strength is far less than that of his father, but he is quite charming"; Yang Xin from the Southern Dynasties and Song Dynasty also said: "Xian's bone strength is not as good as that of his father, but his charm is more charming".
After Wang Xianzhi, the charm in calligraphy was further developed and became more prominent in the Yuan Dynasty. This is because at that time, "the ancient quality is beautiful now, and the number is constant; the beauty is beautiful but the quality is thin, which is human emotion." It should be noted here that the beauty in calligraphy is to be fresh and handsome without applying makeup, and avoid knotting. The body is soft and boneless, fluid and kitsch.
4. Elegance
This refers to elegance, elegance and leisure. The predecessors said that the calligraphy of Wei Shuo (Mrs. Wei) of the Jin Dynasty was "graceful like a fragrant tree, and the wood is like a breeze", which embodies this elegance. In his early years, Wang Xizhi learned calligraphy from the Zhong Yao School from Wei Shuo. Later, he became a master of calligraphy and became his own calligraphy style.
Dong Qichang's works of the Ming Dynasty used his brushwork leisurely, with slightly slanted characters, moderate fat and thin strokes, sparse structure, and clear handwriting. His "Book of Filial Piety" can be called a classic work of elegant calligraphy.