How to appreciate calligraphy

First of all, to have a deeper appreciation of calligraphy, there must be two brushes--a "brush of history" and a "brush of calligraphy." The brush of history contains the history of calligraphy and Chinese history (the background of the calligrapher's creation). The brush of calligraphy contains the knowledge of linguistics, writing skills, the ability to identify rubbings and artistic conservation. They are all inseparable.

Knowing the Evolution of Calligraphy in Ancient and Modern Times: History of Calligraphy:

If you don't know the history of calligraphy when you appreciate it, compare it to cursive script and regular script—which one looks better—is like a historical film in which Zhang Fei and Yue Fei appear in one scene at the same time. ?

Know the ancient and modern calligrapher background - history:

As you may have known, Wang Xizhi's famous "lanting order" was written with a slight sense of wine. Afterwards, he could not write better works after several attempts. If you don't know it, you won't be able to appreciate the "Lan Ting Preface" deeply because you can't figure out the cause and effect of it, and the strokes can't be understood.

The so-called “interviewers watch people outside the door watching the excitement” In fact, to appreciate any kind of art, it should be like “putting in” the general input, and the heart to see, in order to truly feel the “bone strength”, “stance”, “spirit”, “ "Dispelling," it makes sense to appreciate calligraphy.

The performance of calligraphy is nothing but "real" and "virtual". The "real" aspect is tangible. It includes the use of pens, structures, and tactics; the "virtual" aspect is intangible, including content such as spirit, spirit, and mood. Both sides are interdependent and use each other to show the aesthetic value of calligraphy works.

Explicating the aesthetic standards of calligraphy appreciation is the basis for proper calligraphy appreciation; mastering the methods of calligraphy appreciation is the key to calligraphy appreciation.

Calligraphy aesthetic standards The Southern Han Dynasty booker Wang Shuo said in the “British-Italian Praise”: “The book's ingeniousness, its appearance is the highest, and its quality is secondarily followed by Fang Keshao in the ancients”. Here, emphasizing to write God, both form and spirit.

Generally speaking, "shape" includes the point-painting lines and the resulting calligraphic space structure; "God" mainly refers to the vividness of calligraphy.

(1) Calligraphy of point-painting lines Calligraphy of point-painting lines has unlimited expressive power. It is abstract in itself, and the composition of the calligraphic image is inconclusive. However, all aesthetic qualities must be included. Requires a sense of power, rhythm, and three-dimensionality.

1. The sense of power of the power line is one of the elements of the line beauty. It is a kind of metaphor, pointing to the feeling of force that lines draw in the human mind. As early as in the Han Dynasty, Cai Yong’s “Nine Potentials” made a special study on the point-painting lines, pointing out that “hiding the head and protecting the tail is a force in the word”, “making the pen-heart always in the middle of the point,” and The." It is required that the dot paintings be deep in the Kyu Kok, and that there must be collections, beginnings and endings to facilitate display. It should be noted that we emphasize that keeping the tail in the tail, without revealing the Cape, does not mean that you can ignore the middle strokes. The middle line must take a Shibuya center so that the lines of the pointillism are rounded and warm, but soft and gentle. However, it is not always the beginning and the end of the dot painting lines that are hidden in the corners of Kyu Kok Kok. Calligraphy is often based on the need to hide and combine, especially in cursive, ever-changing. When admiring, we must pay attention to the beginning and ending of the reception and echo, but also pay attention to whether the middle of the skid light.

2, the rhythm of the rhythm of the rhythm of the music refers to the musical notes of regular height, strength, length and length. Calligraphy has different strengths and speeds in the creation process. It produces regular and alternating changes in lightness, weight, length, size and other forms, making the calligraphic lines have a rhythm. The strokes of Chinese characters vary in length and length, which further enhances the sense of rhythm in calligraphic lines. In general, static book styles (such as regular script, official script, and regular script) have a weak sense of rhythm, and dynamic book styles (running script, cursive script) have a strong sense of rhythm and rich changes.

3, stereoscopic three-dimensional feeling is the result of the pen. The strokes drawn by the center, “The reflection of the sun, the center of the painting, there is a deep impression of ink, just as they are, as for the fold, but also no side.” In this way, the line can be full of plump, rounded and generous. As a result, the center pen has always been highly valued. However, we cannot find that pens are also widely used in calligraphy writing. With the exception of Xiao Yan, other book bodies can not be separated from the flanks. Especially in the cursive script, the front-line wing complements and complements the center.

(2) Calligraphy of Spatial Structure Calligraphy of point-painting lines are cross-assembled on the premise of following the principles of Chinese characters and stroke order, dividing the space and forming the spatial structure of calligraphy. The spatial structure consists of three parts: the shape of a single word, the entire line of gas, and the overall layout.

1. The knot of a single word requires a neat, flat, long, and short balance. In this way, we can pay attention to the positive foundation and pay attention to dying, intricate changes, and the image of nature.

2. Words and characters in the entire line of calligraphy calligraphy works are linked up and down (or before and after) to form a “concatenation”, which requires acceptance from top to bottom, echoing and coherence. Although static characters such as regular script, official script, and regular script are independent, their pens are interrupted. Dynamic script such as running script, cursive script, etc. can be coherent, and hairspring traction. In addition, the entire line should also pay attention to the changes in size, echoes, comparisons between reality and reality, and the resulting sense of rhythm. In this way, natural coherence and blood flow can be achieved.

3, the overall layout of the calligraphy works in the set of points into the word, ligatures into the line, set the line into a chapter, constitutes a point-painted lines of space cutting, and thus constitute the overall layout of the calligraphy works. The demand for words and words, between lines and lines is appropriate, and the balance between white and black is required; the balance is balanced, and the opposite is true; the participation and change are varied. Among them, static books, such as regular script, official script, and regular script, are dominated by the balance of Pingzheng; dynamic calligraphy, such as running script and cursive script, are complicated and ups and downs.

3) Calligraphy's vividness means the person's facial air and brilliance. The expression in calligraphy refers to the collective expression of spirit, style, temperament, taste and meaning revealed in the point-painted lines and their structural combinations. "The appearance is the best, the quality is the next, and Fang Keshao is the ancient person." Explain that the spirit is higher than the “quality” (the shape and appearance of the line and its structure layout). The quality is the premise and basis for the existence of the vision; therefore, the essence of the calligraphy art is the overall harmony of the point-painting lines and their spatial combination. . The quest for grace and descriptiveness have always been the highest realm of calligraphers.

The acquisition of calligraphy in calligraphy relies on the mastery of creative techniques on the one hand. This is the premise and foundation. On the other hand, only creative minds are bleak and the creative center has hands and feet, and I can forget to write true feelings to sex. Into their own intellectual cultivation and aesthetic taste.

In short, the influence of individual psychology in the process of appreciation of calligraphy makes the method of appreciation not have a fixed pattern. The above is just a method of calligraphy appreciation. You can use several methods alternately during the appreciation process. In addition, in the process of appreciation, it is also necessary to comprehensively apply various calligraphy skills, techniques, and calligraphy theory knowledge, to maximize the extent of excavation of their own aesthetic evaluation ability, and try their best to appreciate the artistic conception of the works according to the author’s intentions. Efforts are made to provide rewards in the evaluation, in the evaluation of rewards, and in the specific historical environment to examine the work, to make a correct appreciation of the work and fair and objective evaluation. Of course, after mastering the correct appreciation methods, admiring more is an important way to improve the ability to appreciate. Yang Xiong said, “You can observe thousands of swords, and then you can sword; you can read thousands of verses, and then you can assign them.” this means.