Calligraphy art in couplets

The writing of Chinese characters, especially the art of calligraphy, is closely related to the couplets of China's ancient poems and the painting environment of Chinese paintings. Calligraphers often create calligraphy at the same time as poems, articles and songs. For example, Wang Xizhi's Preface to the Lanting Pavilion, Li's Shangjie, Yan Zhenqing's Sacrifice to My Nephew, Su Shi's Cold Food Sticker, and Huang Tingjian's Song Fengge Poetry are all examples of the perfect combination of the beauty of articles and poems. As for the mutual growth of poetic landscapes of calligraphy and painting, there are countless more. It's just that today's painters' comprehensive artistic expression ability can't be compared with the ancients, and they often only use labor in writing itself, losing the richness of many arts and the extensiveness of artistic connotation. In order to see the humanistic beauty, richness, humanism and unique spiritual value of the comprehensive beauty of calligraphy art, this paper briefly discusses the couplet art which is still widely used by calligraphers.

The calligraphy art of couplets is a perfect combination of couplets literature and calligraphy art. The appearance and independence of couplets are inseparable from writing and decoration from the beginning, and its source can be traced back to the couplets of "Spring Festival, Changchun First Festival" written by Meng Chang in central Sichuan. The creation of this couplet is used to make door couplets. Therefore, the beauty of couplets and calligraphy is often a combination of the two. Good books combine with good books to add luster to * * *.

The writing of couplets, like nave, banners, banners, bucket squares, fan faces and album pages, is a common calligraphy form for calligraphers. Through the creation of calligraphy art, the flat language image of couplets is vividly displayed in front of the world, making it both in form and spirit, which has high aesthetic value. A good calligraphy work of couplets should not only have the connotation support of good couplets, but also have a good calligraphy appearance. Couplets use the rhyme and ink of calligraphy to express the colorful beauty of Chinese characters. Calligraphy is interesting because of its beautiful words, beautiful antithesis, harmonious rhyme and intriguing poetry, which increases its cultural connotation. The antithetical couplet permeates and condenses the author's unique feelings and sentiments about society and life, and has poetic artistic conception and charm, thus gaining the deep meaning of historical humanities. Calligraphy conveys personality, temperament and emotion with the help of the shape, strength, rhythm and spirit of pen and ink lines, and naturally has the humanistic connotation displayed by couplets. Therefore, couplets and calligraphy are integrated and complement each other. It can even be said that couplets are an important carrier of calligraphy culture, especially modern calligraphy culture. Due to the need of writing couplets, calligraphy creation has gained great impetus. The decorative beauty and artistic beauty of calligraphy promote the creation of couplets. In the benign interaction, the charm of China couplets calligraphy culture is fully displayed, which shows the great influence of China culture.

Throughout the ages, couplets, a calligraphy art, have been handed down to this day, and have the following functions: adding auspiciousness and happiness, activating the atmosphere, warning the world and inspiring people, remembering grief, warning the world and decorating and beautifying. Now hanging in Daguanlou, Kunming, Yunnan, the "The First Long Couplet in Ancient and Modern Times" written by Zhao Fan, a calligrapher and couplets scientist, was written at the invitation of Cen, Governor of Yunnan and Guizhou at the age of 38. His vigorous and mellow calligraphy complements Sun Ranweng's long couplet. Zhao Fan's calligraphy attainments are extremely profound. He lives in Yan Zhenqing and Qian Nanyuan, and is strong and agile in Nanyuan. His writing style is simple and vigorous, and he is one of the four great calligraphers in central Yunnan in the Qing Dynasty. Zhao Fanshu's couplet in Wuhou Temple: "If you can attack your heart, it will be self-defeating. From ancient times, soldiers are not good at fighting; Do not judge the situation, temper leniency with severity. In the future, you should think hard. " Not only the couplets are wonderful and intriguing, but also the calligraphy is simple and vigorous, heavy and rigorous, which is highly valued throughout the country. Therefore, due to the perfect combination of the beauty of calligraphy and the beauty of couplets, Zhao Fan's Daguanlou Changlian and Chengdu Wuhou Temple were made into paperweights and other handicrafts by businessmen in many places, which were widely sold and circulated. Zhao Fan's couplets and calligraphy are well preserved. His couplet creation level is very high, and his works are rich and numerous, which is embodied in the Notes on Xiean Sentences. Only the book "Combined Notes" recorded 542 copies. Among the scenic spots and historical sites in Yunnan, such as Kunming, he wrote many of them, except the Grand View Building Longlian in Kunming, such as the Golden Temple archway plaque in Kunming. It can be said that Zhao Fan's couplets creation and calligraphy art are the model of calligraphy art of couplets in central Yunnan. During the Republic of China, there were Chen Rongchang, Yuan Jiagu, Zhou Zhongyue and Li Genyuan. They are all famous couplets and their calligraphy level is extremely high. Their creation has become the embodiment of literati's calligraphy style and literary style. Contemporary Yunnan calligraphers Mr. Li Qunjie, Mr. Zhou, Mr. Zhao, Mr. Yang Xiupin, etc. are all artists with a high level of creation of poetry and calligraphy couplets, which embodies profound cultural and artistic accomplishment. Zhao wrote a book couplet, such as: "Mountains and rivers are in my arms, and poetry is elegant; The bamboo plum wall rhyme is particularly high. " "Water is only good and becomes the sea below; The mountain is not arrogant. " Waiting for research; And scenic spots such as Cuihu Haixinge: "A hundred acres of biyi have been washed away by rain; Surrounded by green willows, the wind combs. " Wait a minute. These works either contain rich life interest and unique life experience, or are picturesque and vivid, adding luster to the land of Sancha. Mr. Zhao often works with good friends and writes couplets on the spot, which is full of the beauty of literati chanting, and has created many works with excellent couplets for colleagues in the cultural and educational circles and lovers of calligraphy couplets. For example, 199 1, the Chinese Department of Yunnan Normal University organized a training course for calligraphy teachers in normal schools throughout the province. At that time, Mr. Li Qunjie, Mr. Zhou, Mr. Zhao, Mr. Yang Xiupin, Mr. Liu, and Mr. Feng Guoyu in Yunnan calligraphy taught in person. They not only taught calligraphy skills, but also demonstrated their profound skills in poetry couplets in the exhibition activities of creative practice classes. At that time, I asked Mr. Zhao to write a couplet for Mr. Wang, then the head of the Chinese Department. Mr. Zhao asked me about Mr. Zhang's main research direction, and I said it was pre-Qin and Han literature. So he wrote a book on the spot, saying: "Wen takes the pre-Qin success theory;" See Cai Hong after learning Dezhao. " Books and couplets are excellent, and the word "Dehong" is cleverly embedded. The content of the couplets written conforms to Professor Zhang Dehong's learning direction and character cultivation, which is appropriate and accurate. Time flies, Mr. Zhang returned to Daoshan. Recalling today, snow mud claws; The scene of that year is still in the present.

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At the same time, calligraphy culture is also associated with the spread of Confucianism, Taoism and Buddhism. There are many couplets hanging in Buddhist temples, Confucius temples and Taoist temples, which explain and spread the spirit of Chinese culture, and its influence is often beyond the reach of ordinary textbooks. Calligraphy couplets culture has shaped China people's outlook on life, philosophy, culture and world, and is a powerful weapon to spread China culture and China philosophy.

The combination of calligraphy and poetry couplets is not only a cultural tradition in China, but also regarded as an elegant way of cultural existence in other eastern countries, such as Japan, South Korea and Southeast Asian countries and regions. For example, Mr. Xu Fancheng introduced the Japanese calligraphy exhibition held in Cologne, West Germany, in the article Talking about Books (a classic review of Xu Fancheng's prose, Peking University Publishing House, June 2007), which mainly displayed a large number of calligraphy works of monks and nuns from all walks of life in Japan, some of which were works spread to Japan by monks from China. It shows the romantic ideal of Japanese higher cultural life, and also embodies the spiritual charm of China culture and the aesthetic spirit in harmony with China Chinese character culture. In the works of Japanese monks, there is much talk about Zen, but it just reflects the spiritual interest of China culture and the way of thinking of China culture. Interestingly, Japanese culture is always moving forward in the process of learning and inheriting China's cultural spirit, reaching a more refined and abstract thinking situation. For example, the cursive banner at No.1 Avenue (1292— 1370):

There is no life, it fills the emptiness;

Spring and snow, blue sky and breeze.

Another example is the vertical axis of Tan Xi Xin Liang (1301-1374): "Heart is Buddha"; The vertical axis of Qingyan Zong Wei (1588— 16 1): "Song has no ancient and modern colors"; And the vertical axis of the break (1394— 148 1):

Headlight Buddhism is not brilliant. Who is in Longbaoshan today?

Children and grandchildren in the East China Sea for thousands of years, Xu Hun's poems are still bitter.

And so on, the level of calligraphy is different from China's so-called calligraphy, but its interest is beautiful, full of Zen, and it is a display of China's cultural spirit, but it also has the lightness and profound meaning of Japanese monks. As for the cursive script on the vertical axis of Shousheng Lai (1666-1728), it reads: "The sand in front of Lehui Peak is like snow, and the moon outside the city is like frost." It's Tang poetry directly. Fan Qun (1751-1837) wrote: "Don't read the book of the East Land, strive for the West." This shows his understanding of the essence of China culture, especially Confucianism, in the spirit of Buddhism and Zen. As for Juan Hu Ling's official couplet (1777-1843):

Full of books, win glory;

Xuan Ying Songju is known as Penzer's high standard.

It is the perfect combination of couplets and calligraphy, and it is the inheritance of China culture, China couplets art and calligraphy cultural spirit. As for this "Japanese Calligraphy Exhibition", China monks, such as Lanxi Daolong (Sichuanese, 12 13- 1278), Wuxue Zuyuan (Zhejiang, 1226- 1286) and Zhuo. 1247- 13 17), Mu Anxing (Qiongzhou native,161-1684), that is, Fei Ruyi (Fujian native, Golden lion under Castanopsis kawakamii forest, white cow on grassland. My hands are too empty to scream, and my heart is cold. Haidong cloth is as small as a male, and Daye fine gold is soft around the finger. "There is a Zen saying, such as the vertical axis of a wooden temple:" It's much cooler in an empty field. "There's a Zen poem, if it's not the same:" Sweep buddha magic's emptiness, leaving no trace, showing its whole, stripping it, but supplementing it. "Calligraphy is more open and legal. Some of his works were written in China, brought to Japan, and some were written in Japan. For example, Yining's cursive vertical axis: "The cold current is not as high as the waist, freezing the guest's feelings in Aoshan. "I have been busy for a long time after playing the window all night." His calligraphy is thicker and more organized than the agile and light Japanese works. Interestingly, they are all displayed to western audiences as the contents of the Japanese calligraphy exhibition. However, it can be seen that the spread of calligraphy culture and the spread of couplets' literary spirit play an important role in cultural exchange, cultural fashion and aesthetic taste shaping.

The combination of calligraphy and poetry couplets makes calligraphy beautiful for poetry and better spread; At the same time, the beauty of couplets of poems, words and fu also complements calligraphy, enriching the aesthetic connotation of calligraphy, enhancing the humanistic spirit of calligraphy, making the spiritual realm and aesthetic soul of writers and creators better connected with the plastic arts of calligraphy and creating a unique aesthetic style. For example, Wang Xizhi's Preface to the Lanting Pavilion and Yan Zhenqing's Sacrifice to My Nephew are just so. Of course, we also need to realize that when we talk about the relationship between calligraphy beauty and literature, not all characters can establish the relationship between calligraphy and literature, only the unique modeling style and monosyllabic expression of Chinese characters can become possible. This is the image uniqueness of China's calligraphy. China's calligraphy art is cherished by neighboring countries, and we can treat our own culture casually, which can also be used as a stone for other mountains. China strives to shape its own culture, and our blindness in turning a blind eye to its rich and profound cultural traditions can also cause our culture to think consciously.