China's calligraphy is based on Chinese characters, with images, thoughts and natural situations. Seek the layout of the article and the charm of heaven and earth. Calligraphy not only bears the aesthetic quality of China people, but also embodies the spiritual temperament of China people. This is a cultural event in China.
In the history of China, groups of outstanding calligraphers have emerged. Their calligraphy inherits the tradition and has its own style. They show the beauty of Chinese characters in China with different fonts such as official script, regular script, running script and cursive script. Today, the art of calligraphy is still timeless, and it is an indispensable artistic existence in the spiritual life of China people.
Chinese characters are the foundation of calligraphy. Chinese characters are both pictographic and ideographic, which laid the artistic foundation of China's calligraphy.
It is said that Cang Xie, a historian in the Yellow Emperor period, created the shape of Chinese characters, which is what we call hieroglyphics today. Although Chinese characters have evolved from pictographs to abstract symbols after a long period of development, there are still outlines, shapes and pictographs in calligraphy creation, which makes calligraphy creation tangible.
People describe calligraphy as "like a thousand miles of clouds, vaguely tangible;" Points are as real as peaks and falls, but they are as real as collapses, which embodies the pictographic beauty of calligraphy.
Chinese characters are basically "square" characters, and the length of the characters is roughly equal, which is convenient for horizontal and vertical arrangement. The vertical arrangement of writing from top to bottom is beneficial to the charm of calligraphy.
Chinese characters are complex in structure and vivid in form. Chinese character * * * consists of more than 300 different parts, including left-right structure, left-middle-right structure, up-down structure, upper-middle-lower structure, semi-enclosed structure, all-inclusive structure, spelling or inverted spelling, etc.
There is a strong contrast between the strokes of Chinese characters. For example, there are 24 paintings of the word Zhu and only one painting of the word Yi, which makes calligraphy works have the beauty of scattered density and different shapes.
The above characteristics of Chinese characters provide convenience for calligraphers to create a variety of fonts such as truth, cursive script, official script and seal script, and each font is subdivided into several categories: if you want to express concisely, you can choose seal script; You can choose regular script when you are solemn; Re-performance can choose official script; Those who are bold and unrestrained can choose cursive script; You can choose running script if you are lively.
Good calligraphy works also show originality in their structural arrangement. Some of them are carefully arranged and the fonts are rigorous and wonderful; Some of them are wonderful, natural and unexpected. Generally speaking, the structure of calligraphy is good, which can better express the vivid posture and expression of words. Just like architectural design, solid lines and white cloth are used to set off characters, the combination of reality and reality, the contrast of primary and secondary density and the echo of strokes constitute the unique artistic beauty of calligraphy works.
Song Sushi's "Huangzhou Cold Food Poetry Sticker" shows momentum and is full of domineering emotions. Experienced ups and downs. Slow and steady, in one go. Or frontal front, or lateral front, the conversion is changeable and naturally disconnected. Its characters are odd, big or small, sparse or dense, light or heavy, wide or narrow, and uneven. Wild, weird, ever-changing
Appreciators of past dynasties praised Huangzhou Cold Food Poetry Sticker, calling it a masterpiece.
The beauty of China's calligraphy lies not only in form, but also in stippling, structure and composition. Combining the content of words with the form of calligraphy, we can appreciate the comprehensive aesthetic feeling of its content and form, and its artistic beauty is even more amazing.
2. With the love of all things, the rhyme of heaven and earth.
China's calligraphy is rooted in the pictogram and understanding of Chinese characters, so China's calligraphy has always had the concept of "natural calligraphy". The so-called "calligraphy is natural" means that calligraphy takes its meaning, takes its shape in heaven and earth, and enriches the images, situations and meanings of all things in heaven and earth.
Zhao Mengfu's masterpiece "Ode to the Goddess of Luo" won the heritage of the "two kings" (Wang Xizhi's harmony) with its combination and stippling: symmetrical structure, beautiful and unique characters, mellow and delicate brushwork, dense and elegant layout, etc. At the same time, Zhao Mengfu's calligraphy style is unique. His rich stippling, dexterous Lian Bi, elegant and restrained Feng Yun and graceful ups and downs all show his own artistic style. Gao said: "Zhao Wei wrote" Luo Shen Fu "in cursive script. Although his methods went in and out between Wang and his son, he enjoyed himself and had a unique interest in nature. Therefore, his body posture is like seeing a dragon swimming in the smoke. "
Calligraphers observe the appearance of nature, pay attention to the appearance of natural gods, and see everything in detail. Every grass and tree will touch their emotional heartstrings. As for calligraphy, it is beautiful and elegant, and it is really a painting.
The layout of calligraphy works still has the rhyme of heaven and earth. In the layout of calligraphy works, we should not only deal with the internal spatial relationship, but also reflect China culture's understanding of the universe and its deep aesthetic appreciation of the charm of heaven and earth. Although different calligraphy styles have different strokes, styles, words and layouts, the layout of calligraphy should conform to the natural way, so that the spirit of heaven and earth can be cultivated and a unique sense of space and strewn at random can be formed in a calligraphy work.
The Immortal Living Method is one of Yang Ningshi's representative works. Yang Ningshi's cursive script is wild and uninhibited, and his writing style is unexpected, but he can look forward to life, change and harmony. The publication of the whole book "The Immortal Living Method" seems to be careless, but in fact it is slow to use the pen in one go, which shows Yang Ningshi's superb skills in controlling the rhythm. This post is wild and patchy, and its style is like a long note in music with a jumping tone. The more I follow the path of writing, the more I feel that it summarizes everything in terms of technique and is a model of arbitrariness. Written leisurely and romantic, quite elegant. Mi Fei, a great calligrapher, praised his brushwork as "stormy, clouds falling and smoke rising, dripping quickly" and said his calligraphy was "naive and free and easy".
Calligraphy is nature and Buddhism is the audience. When appreciating everyone's calligraphy works, the more you read, the more you believe the sentence "words are like people". From the works, we can see that the author is either steady and modest, or bold and generous, or serene and Philip Burkart, or resolute, with both inheritance and innovation, showing personality and individuality. Every excellent calligraphy work contains the author's inheritance and respect for China's calligraphy art, and also fully demonstrates the spirit and charm of each of them.