Appreciation of Calligraphy Works

Calligraphy is based on the use of brushwork, and the exquisite use of brushwork is an important factor for a piece of work to stand up to a long time to look at, look carefully and repeatedly savor the rubbing. Here I bring you the appreciation of calligraphy, hope you like it.

Calligraphy Appreciation

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Calligraphy of ? Ten beauties?

First, the beauty of form

Calligraphy is based on the use of strokes, which is an important factor for a piece of work to stand up to a long time to look at, look at carefully, and taste and rub over and over again. When several paintings are applied together, their shapes are different, and when many points are listed together, the forms are different from each other. If? If they are similar to each other in terms of straightness, squareness and neatness of the top and bottom, and flushness of the front and back, then they are not as mechanically and monotonously arranged. Such a mechanical and monotonous arrangement will inevitably destroy the structural beauty of the character form. Jiang Kui "renewed book spectrum" said: ? Ancient ink, get a point of a painting, are clear and different, to the subtlety of the pen also? According to legend, Wang Xizhi wrote a point? Ten thousand points of different types? , and then look at Yang Ningshi's "leek flower post", Chu Suiliang's "large character yin fu jing" almost can not find the same form of point painting. And these changes in shape, and are produced under the action of the pen, appear natural, its basic tone of coordination and unity, reasonable, round pen, the square bone of the strong and majestic, hidden front of the implicit, reveal the front of the spirit of the different changes in the form of different forms can be given to the viewer of different artistic feelings.

Changes in the use of the brush, not only in the form, but also includes subtle changes in the angle. Avoid horizontal painting such as ladder racks, do not see a flush strokes arranged together, so the good book in the Ping Ping, not Qi Qi, not proportional to seek proportionality, in order to give the viewer a kind of enjoyment of beauty.

Second, the beauty of texture

? Texture? refers to the texture of the point of painting, texture, weight, strength, elegance and so on. The texture of the point of painting, the meaning of the charm, thick and subtle, although the surface of the simple and no external decorations, but in its? Hidden bones and tendons, including the text package quality? This is an inner and profound beauty. Yan Zhenqing's "offering nephew draft", Yang Ningshi's "leek flower stickers", Li Jianzhong "mother of the earth post" and Zhang Xu "four ancient poems", despite the different styles, but can give a person a kind of thick and full, calm and staccato, painfully, bone and flesh commensurate with the feeling of art. This line in? Content? is rich and full. There is something in the brush? , which is exactly what it means. Therefore, rich texture of the beauty of the point of painting, the painting of the two sides are often not light and hair, or upright and powerful, or graceful and condensed, such as flying into the movement, the rhythms of the brush is fluent, no stagnant board of the situation. This kind of deep? Difficulty and astringency? The pen, if there is no accumulation of deep skills and pure ink skills, as well as robust penmanship, is unable to achieve this artistic effect. On the contrary, some of the thin and flat, ink does not enter the paper, plate carving smooth, timid and weak, throw tendons and bones, bloated flesh, nasty slag residue of the brush, often lose the natural beauty of the brush, are not suitable for the book.

Third, the beauty of rhythm

? Rhyme? Includes a wide range of meanings, in the pen and ink skills, it often indicates the rhythm of the pen and ink color changes. A beautiful and touching poetry, with its staccato, resonant rhythm, so that the reader's cheeks stay warm; a pleasant music, with its smooth and harmonious, rhythmic melody, so that the listener aftertaste; a fun calligraphy, with its light and heavy, downbeat tone, so that the viewer's eyes on the gods. In this regard, all kinds of art have their **** common place. The dynamics of things in the natural world, such as the rolling clouds, the swaying willows, the eagles circling and fighting in the sky, the winding and rushing rivers on the earth, as well as the wind and rain, thunder and lightning, snakes, birds, steeds, springs, dragons flying, phoenixes soaring, tigers crouching, insects eroding, and the people's sitting and lying down, walking and standing, running around, singing and dancing, and fighting and so on, are also in perfect harmony with the divine feelings and interests of the calligraphy. Thus, the characters that are still on the paper will become lively and vibrant. When a calligrapher using different rhythms to express their own mood, their works will inevitably produce a dynamic beauty, so that the viewer reverie, produce emotional **** Ming. Pen, different rhythms can produce different artistic effects, slow rhythm, can give a person a kind of calm and dignified, calm and unhurried artistic feelings; rapid rhythm, can give a person a kind of excitement and excitement, the artistic feeling of pain. Different rhythms can produce vivid changes in the ink rhyme, thick and light, dry and moist mixed, so that the whole piece of work become tiger and angry. On the contrary, if the absolute average speed on the paper slowly, busy book, or no undulating light monotonous strokes, its works are bound to be godlike, lifeless, can not talk about the infectious force of art.

Fourth, force sense of beauty

Calligraphy art, regardless of the style, must be backed by force,? The force is the most important element in the art of calligraphy. is the accumulation of an author's power in the long-term practice of calligraphy, and it is the embodiment of the skills of writing, leaving the power of writing, the whole piece of work will look lifeless and tired. In recent times, Mr. Liang Qichao put the Mr. Liang Qichao took the beauty of force as the main basis for appreciating calligraphy. as the main basis for appreciating calligraphy, so it can be seen that? Power of the brush This shows the significance of the power of the brush. Many calligraphers throughout the ages have been famous for their penmanship. The strength of the force, such as iron painting silver hook, firm square fold; soft force, sheepish needle, graceful condensed. Here, despite the difference in style, but all with different means of expression in their works reflect the **** nature of the beauty of the force. Power sense of beauty. The so-called? All the wonderful is important, the service to save the bones. No wonder that the famous calligraphy critic Wang Shengqi in the Southern Dynasty lamented that: "The ancient and modern is different, no way to argue. Ancient and modern both different, no way to argue its advantages and disadvantages, but to see the power of the pen amazing ear. Rich force works so beautiful, it is because it can make the viewer appreciation in this solid and not static character in the appreciation of the movement of life. Lack of force, the beauty of the full performance and play.

Fifth, the momentum of the United States

China's calligraphy art, although it is based on the text of the plastic arts, but? The shape of the calligraphy can not be created without the use of the word. can not be produced without? Potential? Soldiers heavy situation, boxing heavy pugilistic potential, article heavy momentum, and calligraphy heavy potential. The former commentaries all talk about? The potential? The so-called? The book must first recognize the potential? The book must know the potential first, can be seen? Potential? in calligraphy occupies a very important position, is also an important symbol of appreciation of the beauty of calligraphy. In pen and ink techniques, it often represents the word? The tendons and veins of a character are often represented in the brush and ink techniques. and blood? and The line of qi. A work of art, if the dots and paintings between the dots, looking forward to echo; words and words, by potential to look forward to; lines and lines between the progressive mirror with; the whole word will appear to be the intention of the gas together, the spirit of the knot. And to the viewer with a smooth, breath, God finished the artistic feeling. Many of our country's ancient works of excellence, some of the majestic, some of the unrestrained, some of the twisting Xu calm, there can not be curbed, some of the excitement of the staccato, there is the attitude of the spirit of flying, some of the quiet dense, some of the drenching, some of the horizontal and vertical stretching, there is the spirit of the reunion, the techniques, although different, but all of them are not galloped, the text from the rationale of the smooth, the heart of the hand will be, the manipulation of the freedom to give a person a kind of bloodline, together, together with the art of the feeling! The work that lacks momentum is just like a work of art. Lack of momentum of the work, like clay and wood carvings, do not say no smile, fixed stifled stagnation, the whole work will appear to gas loose God scattered, no business. Therefore? Potential? The beauty of the word, is a spiritual realm throughout the word, can knowledge? Potential? The potential is also an important criterion for the evaluation of calligraphy.

Six, structural beauty

? Structure? is the study of each word between the dots and paintings oh collocation method. As a text, each word has a specific standardized combination of forms, thus showing its ? regularity. However, as calligraphy, a kind of writing art dependent on the text, but also shows its ? complexity. How can we find out what is the ****same law from the thousands of variations of character shapes? The structure of a Chinese character is like a kind of architecture, in which there are aesthetics and mechanics. Different variations of dot patterns and different combinations can produce different structures. The same character can show different gestures, some sparse, some tight, some stretch, some flow, some simple, some strange, some craggy and thin, some rich, these structural collocation can not be separated from the changes of qi and zheng. Too flat is vulgar and lack of gesture, too risky is involved in the meaning of crazy strange, wonderful care about the flat in the odd, is not stagnant. Qi does not involve strange, reasonable. The size of the word, length, width and narrowness, sparse and dense and to comply with the laws of natural beauty, not only to exhaust the word's natural uneven posture, but also must be in the pen under the control of the combination. The more dangerous structure, the more it can show its beautiful posture, but once beyond the center of gravity of the balance of the range, the structure of the word will lose the natural beauty of the rationale, seemingly dangerous, actually flat, is not able to withstand the appreciation of the scrutiny of the audience.

Seven, the chapter of beauty

Chapter law is also known as? The chapter law is also known as the division between the cloth white? Viewing a work of art gives the first impression of the layout of the artistic effect. Different layout methods, is one of the important conditions for the formation of different styles. For example, there are chapters, neat and well-proportioned, according to the strict, such as a team of disciplined soldiers; there are chapters, the size of the sparse, staggered in between, such as the night sky flickering stars; there are works between the lines of dense, left and right reflective band; there are works, open and sparse, up and down echoes. The success of a piece of work, the layout of the chapter occupies a large factor. Chapter of the set of words into a piece, to the whole as one, in calligraphy skills, although it is an independent part, but with the rhythm of the pen, the ink rhyme changes, the force and momentum, structure and mood, etc. has a close relationship. A piece of work is a unified whole, it is through the size of the characters, length, expansion, opening and closing to the lightness of the pen, the ink rhyme, the changes in the intensity of the withering and moist, in the control of the pen, combined into a balanced and unified whole. Lanting Preface" final structure, the first and last correspond to each other, the brushwork GuanYan, supine ups and downs, like Qi anyway, the bloodline is connected, a gas through the focus. So in the layout of the up and down, left and right echo, folded into a piece, the whole chapter of the effect of reunion not scattered.

The layout of the layout of the chapter of the beauty lies in its ability to comply with the laws of natural beauty, wonderful in each case. Su Dongpo's "Huangzhou cold food poetry post" throughout the structure, size, length, sparseness and other changes in the confusion, intentionally or unintentionally, revealing a kind of interest in the carving. The spirit of the meeting, running to the bottom of the wrist, so that the entire work shows a bold and majestic momentum. On the contrary, too neat and flat without change, disorganized and lack of charm, and some too choked and confined, or too distant God scattered chapter, often can not give a person a kind of beauty to enjoy.

Eight, the beauty of the mood

? Context? Is the author of the natural world and life through the observation of some phenomena, thinking and experience, the use of skillful writing skills, so that his work in the flow of his thoughts, feelings and artistic cultivation. It does not refer to a certain glyph or a specific point of painting, but a spiritual realm throughout the whole picture, the higher the realm of meaning, the more it can show the charm of its beauty. Only law and lack of mood, can only be called? Word craftsman. Therefore, all the writers, all the charm, mood for the peak of the book; and the history of the book writer, although the spirit of the exhaustion of the day and night, but only in vain to depict, only to take the appearance, is not enough to say that the book, only have both sex, to be able to God's rich.

Ancient calligraphers, from the changes in the natural world of all things to draw nourishment, which greatly enriched the calligraphic art of expression. Such as the night sky from the size of the stars in the staggered realization? Rain and snow? The chapter, from the undulating and uneven and the air veins are straight peaks and foothills, rivers and streams in the meaning of the curvature to take the straight strokes, to change the summer clouds and rushing rivers to describe the smooth strokes, to the absolute shore of the decadent peaks of the situation, the danger of according to the shape of the haggard to the metaphor of the structure of the dangerous, and so on. This kind of image thinking to the creation of imagery, it is in the creation of the true meaning of their realization, the results of the relocation of the idea of wonderful.

The beauty of the mood reflects the author's thoughts and feelings, personality and temperament, any living artwork, always permeated and nurtured by the author's rich feelings. Calligraphers of all times are no exception, such as Zhong Yao, Shen Kites, so his book is strong and square; Wang Xizhi, the style of faraway, so his book is elegant and elegant; Yen Zhenshu, such as the pen with the wind and waves. The works of these writers, full of interest, or to gallop the will of the vertical and horizontal, or to express the feelings of depression, where? Joy and anger, embarrassment and poverty, pleasant, resentment, admiration, drunkenness, boredom, not to have moved in the heart, will be in the cursive book of the hair? Visible mood of the beauty is a more profound content of the beauty, but it must be built on? Law On the basis of, leaving the? Law? The first thing you need to do is to make sure that you have a good idea of what you want to do and how you want to do it.

Nine, the beauty of style

The beauty of style is a primary condition for the evaluation of the art of calligraphy, but also to distinguish? The book of slavery? or? The book writer? It is also an important symbol for distinguishing between a "slave" and a "scholar". In addition to the generation of style with the teacher, family learning, the influence of contemporaries and absorbed traditional techniques, but also with the author's personality, temperament, boldness, literary and artistic literacy, aesthetic interest, intention and even character and other aspects have a close relationship. The style is the person, is the unity of thought and art.

Ancient writers, they can boldly innovate on the basis of their predecessors, a unique way to create many different styles. For example, there are works, square strength and firm, rigid and strong, as if a majestic warrior; there are works, beautiful and mellow, Zhuoyao colorful, as if a beautiful woman; there are works of simple and mellow, deep and strong, there is the ancient quality of the wind; there are works of suave, sparse Yeanyeu, the elegance of the scholars; there are works of rectangular norms and strict, dense and peaceful, there is a degree of the strategist; there are works of the bone, God clear, rhyme and Xiaozhan, there is the attitude of the Yishi? The attitude of the scholar? All of these, different styles, showing different people's personality and temperament, between them, the struggle for Yan struggle, each reserved skillfully, so that the viewer's eyes not long attention, in the strange flowers and flowers in the memorable. There is no style of work, such as Handan learning to walk. Only the old rut is to follow, even if you can into the wood, but also be regarded as? Book slaves?

This is the first time I've ever seen a book in my life.

Tenth, natural beauty

Natural beauty is the art of calligraphy in the most simple form of beauty, it removed the intentional decoration of the coat, obliterated the traces of artificial axe chiseling, thus showing a natural, charming beauty.

Natural beauty throughout all aspects of the art of calligraphy, is the art of calligraphy *** with a form of expression of the United States, such as penmanship in some of the leakage marks, folding hairpin stock, wall demolition, paddling, sand and mud lines, in the structure of the requirements of each exhaustive word of the true state of the natural jagged state of nature and the layout of the same Shaw, the layout of the ? The layout is like a street paved with stones. The layout of the chapter, the momentum of the writing of clouds and flowing water in the rhyme are rich in the interest of nature.

To achieve the natural beauty of the state of the art, we must start from the intention, natural is never casual, sloppy, unconstrained form, do not abide by the law. On the contrary, it is a perfect combination of pure skill and a high degree of meaning, and therefore must undergo a long period of painstaking and strict legal training. Both carving and carving, and then return to the simplicity? So the natural beauty of the works of the surface seems light and simple, not carving and decorating, but it contains a great inner beauty, is the extreme of the strange, is the extreme of the work, is the extreme of the skill, is the extreme of the beauty. Wang Xizhi's line of calligraphy Thu Li Tiancheng? Judging from the female court officials of the West, heavenly beauty, without any powder, the glory of moving people carry on? This is a state of the art, the ancients ligustrum, (such as Yan's manuscript) to its intention is not in the book, a natural, and the na?ve exhausted, so-called? Do not expect to work from work? Therefore, their works are often into the God, so that people have unexpected ideas.