In what ways is the beauty of form reflected in our writing?

No art can ignore the beauty of its form, and art loses its aesthetic value if it loses the beauty of form. Mr. Lu Xun said that China's writing has three beauties, "the beauty of meaning to sense the mouth, one; the beauty of sound to sense the ear, two; the beauty of form to sense the eye, three." The beauty of shape is the beauty of calligraphy. Calligraphy is a treasure of traditional Chinese culture, is a stylized art with Chinese characters as the carrier, through the lines, stylization, pen rhyme and ink fun and chapter to express the emotional meaning, giving people the enjoyment of beauty.

One, line beauty

The use of line modeling is the tradition of China's plastic arts, no matter painting, sculpture, architecture and so on, it is simple and general, simple and profound. Soft line is the basic element of the composition of calligraphy, is the basis of the beauty of the visual image. Calligraphy is also the art of line movement, and the beauty shown to people by a vivid line is very rich, or peaceful and majestic, or smooth and natural ...... essentially reflects the spiritual qualities of the calligrapher. Li Zehou once in the book "the course of beauty", the calligraphy as "meaningful form", is "purified line". Simply from the formal point of view of the line has a thick and thin, broken, square and round, turning, dry and moist, straight and curved, etc., but what kind of line is the beauty of it?

1. Skillful brushwork, full of strength.

The penmanship is the predecessor in the long-term pen and aesthetic practice is constantly improved and enriched. The quality of the line is closely related to whether the brush is skillful. Cai Xiang strangled characters, Su Shi painted characters, Huang Tingjian traced characters, Mi Fu brushed characters, etc. Different strokes produced different strengths and styles. A skilled calligrapher can write a variety of forms of beautiful strokes, high-quality lines are very thin, but still round, full and strong, and vice versa, floating, shallow. Skillful brushwork, the use of the pen in accordance with its nature, to master the rules, the hand of the pen naturally handy, easy to use. The strokes written in this way have a strong sense of force. Thick and short, solid but not clumsy; thin and strong, firm but not stiff; rounded, smooth and natural but not frivolous and slippery; curved and flexed, tumbling and not hard and contrived.

The strokes written by the center-front are solid, rounded and three-dimensional, while the effect of the side-front is sharp and steep, rich in openness. The effect of round and thick lines is mainly reflected in the falling brush, turning and starting and finishing brush, Qing Bao Shichen said: "The method of using the brush is seen at the two ends of the painting". The smoothness and reversal of the brush, the squareness and roundness of the brush, and the lifting and connecting of the brush are all the techniques and methods of the writing line at the change of direction. Astringency is a feeling that the line itself presents to the appreciator, mainly seen in the middle of the painting, and the line should be slow, which can increase the gravity of the brush. Liu Xizai said: "but the pen wants to line, if there is something to reject it, and struggle with it, the period is not expected to astringent and astringent carry on". "Folding hairpin stock", "house leak marks", "cone painting sand", "printing mud", etc., are the beauty of the line of the lively generalization.

2. Coordinated and varied.

To harmonize is to distinguish between the main and the secondary. Liu Xizai said in the Art of the General: "painting the mountain must be the main front, for the peaks of the arch to; the word must be the main pen, for the rest of the pen to the arch to; the main pen has a difference, the rest of the pen is defeated, so the good book must fight this one". Paying attention to the coordination between the main pen and the slave pen is something that calligraphers of all times have attached great importance to, such as Yan Zhenqing's foot, Ouyang Xun's long vertical and so on are very typical; in regular script, there is the saying that "there is no double hook in a word", and in clerical script, there is the mnemonic of "silkworms do not lie down heavily, and swallows do not fly in pairs", and the reason for that is to emphasize the main pen, which is the reason why the main pen has to be the main pen. The reason for this is also to emphasize the main strokes. The reason is also to emphasize the main strokes. Pay attention to the relationship between the lines of articulation, welcome and give way, and the relationship of looking forward and echoing. The articulation between lines is like the joints of the human body, the transition is natural and tight, and the whole character is rigorous and powerful. Between the lines of the welcome to give way to, look forward to not only can cause the whole word of the breath flow through, but also give the line itself dynamic and changeable state. The ancients attached great importance to the changes in the form of lines, for example, Yang Ningshi's "leek flower stickers" of the Fifth Generation, the depth of the boundless, between the point of painting more interesting. Change is the life of art. Wang Xizhi said: "If you make a book of paper, the word must be different, do not make the same", Sun Jiao Ting also has the same view: "a number of paintings, the shape of the different, many points as the body of the Qilian mutual misbehavior". Although the basic strokes of Chinese characters are not many, with the different calligraphic styles and combinations of strokes, there are many variations of each basic stroke. In this way, the overall form of the line is enriched, and the changes in the use of ink add to the beauty of the form of the line.

II.

Qing Feng Ban in the "blunt Yin book to" said: "calligraphy has no other secret, only the use of pen and knotting ear". Junction, also known as junction, frame, refers to the relationship between the internal collocation of Chinese characters, just like the five senses, the size of the appropriate, proportional and coordinated, the location of the right to form a perfect face. Characters themselves have a beauty of composition, and our predecessors have left us many writings explaining the structure of characters. Calligraphy is an abstract expression of the beauty of form, do not know the beauty of modeling, like building a house without a well-designed ideal blueprint, the lines are just a bunch of useless materials on hand. The beauty of the calligraphic form is premised on the beauty of the line, which means that the structure of the Chinese characters has both changes and echoes, and is both varied and unified. It is not a mechanical patchwork of horizontal and vertical dots and presses. In addition to adhering to the legibility of the characters, the principle of contrast and unity must be observed, so that it can be "against the law, and different", or even and even, sparse and dense; or to the back and forth, looking forward and backward; or different changes, oblique and proper.

Art comes from life, calligraphy is no exception. Han Cai Yong said: "for the body of the book must be into its shape, if sitting if walking, if flying if moving, if going if coming, if lying if rising, if sad if happy, if the insect eats wood and leaves, if the long sword, if a strong bow and hard vectors, if the water and fire, if the clouds, if the sun and the moon, vertical and horizontal can be like the one who, before you get the book carry on". This text from a side to my interpretation of the calligraphy of the shape of the beauty of the human form of all kinds of things in real life for the beginning of the association. Chinese characters are developed by the ancient working people of our country from scratch, from few to many, by convention, after a long period of nurturing, enrichment and refinement. The most important characteristic of Chinese characters is "to show meaning in shape", which is a generalization of the characteristics of natural objects and the use of lines with specific meanings to express certain abstract meanings, with incomparable, rich and varied visual images, which are the qualities of beauty inherent in Chinese characters, and which are the fundamental reasons for the emergence and continuous development of the art of calligraphy. In order to meet the practical needs of society, the calligraphic styles and character shapes have evolved continuously, and since the oracle bone inscriptions and the golden inscriptions, there have been a variety of calligraphic styles such as the big and small seal scripts, the official scripts, the regular scripts, the running scripts, and the cursive scripts, etc.; and the character shapes have also developed in the direction of going from the complicated to the simplified, and from the hieroglyphic to the generalized and the abstract, but with an increasingly rich brushstroke pattern. This not only enriches the visual image of Chinese characters, but also increases the abstract meaning of Chinese characters, making calligraphy an art that skillfully combines intuitive visual images with abstract meanings. Calligraphers realize the truth of it, always closely linking all natural things with human imagery, creating the richness and variability of the Chinese characters' gestures; the same word can show the beauty of different gestures, or dignified and rigorous, or dashing and fluent ...... But no matter how varied they are, there is the beauty of the **** the same law.

1, sparse and dense, which constitutes the word and even the works of the overall beauty of one of the important factors, the Qing Dynasty Deng Shiru said: "word painting can make the sparse place to walk the horse, the dense place does not make the wind, and often to count when the black white, the strange interest is out". Chinese painting especially emphasizes this point. Only sparse and not dense, looks loose and bland, only dense and not sparse, is dull and boring, no vitality.

2, back to back that is facing each other, like two people talking on their knees, such as Yan Zhenqing's vertical painting; back that is facing each other, like two people back to back, such as Wei Suiliang's vertical painting; from the word modeling point of view, the left and right structure of the word is more expressive, can make the posture lively, elegant and generous. Skillful use, can avoid the monotony of the line and the dullness of the knot, but also increase the strokes in the spirit and flavor, like the music of the high and low notes, poetry, the sound of the words of the flat and narrow so that the work has a sense of rhythm.

3, the difference between multiple line segments and the combination of the word should be different, staggering. Dong Qichang "painting Zen room Essays" said: "the most taboo position of the word, such as uniform, and such as a word must be put, there is the spirit of the pull, Wang Xianzhi book from the left and right and the head of the person, the right army, such as the phoenix soar and luanxiang, like the leaning anyway, Mi Fu said that Dainian thousands of articles, the view of the side of the situation, out of the two Wang, which said that the layout is not uniform, when the length of the intricate, sparse and dense, too! ".

4, the combination of bias and positive words and the relationship between bias and positive, monograms have the main and secondary strokes of the problem. Positive is dignified, bias is surprising, but a flavor of the positive is easy to dull, "like a calculator", a flavor of bias will be a messy situation. The positive is complementary, is to be partial in the positive, static and dynamic, so that the structure of the word is both robust and dangerous.

5, open and close mainly used in the left and right structure, the open place has the interest of stretching and bold, and the closed place has the sense of dense and full, open and close the use of appropriate, can make the character form vivid, handsome.

6, let the word strokes and composition through the line of the expansion, displacement, interspersed, saving and other means of processing, in order to avoid repetition, loose, crowded, so that the word between the various components of the formation of an interdependent and harmonious, reflecting the band connected to the whole. In the use of the relationship between borrowing and letting, pay more attention to the surrounding borrowing and letting, let the borrower let, let the borrower borrowed, interspersed, in order to achieve the overall balance.

7, vertical and horizontal up and down structure of the word and the left and right structure of the word, you can also use the vertical and horizontal method to deal with. Or the upper vertical and lower horizontal, or the upper horizontal and lower vertical, or the left horizontal and right vertical, or the right horizontal and left vertical, so as to make the junction rich in variation.

8, square and round square and round form itself gives people a different aesthetic feeling, round, soft and moist, flesh and blood, the square is very neat and strong, tendons old bone healthy. Square and round are mainly used to enclose structures. Changes in the square and round are reflected in the shape and the use of two aspects of the pen, a word can be written as a square or written as a circle, some words have a circle in the square, round in the square, it is more interesting. For example, "Zheng Wengong Stele" is a square with a round shape, while other northern stele is a square with a round shape.

The above is only the basic laws and means of conjugation changes, a word is often a combination of many laws, only skillfully mastered, in order to make the book, naturally adjusted to shape the beauty of the form. Such as Zheng Banqiao's calligraphy will be the word sparse, short, long, big and small through its ingenuity and extreme changes, gestures; and then the Huangshan Valley will be the point of exaggerated elongation, like a long paddle boat, sparse shadow across the slanting and so on.

Third, the rhyme of the brush, ink interest

Chinese characters as a written language, itself has the function of expression, which by virtue of the shape of the brush, the word potential, the line of air, cloth, white, the meaning of the changes to reflect the writing of the thoughts, feelings, personality, quality, state of mind, etc., which is why there is a "book for the heart of the painting," said. With the invention of writing tools such as brushes, ink and paper, the art of calligraphy has gained a more suitable medium of expression. Calligraphy is an art of time, because the rhythmic flow of lines over time cannot be duplicated and superimposed, nor can it be modified and reduced. The flexibility of the brush, the thickness and luster of the ink, so that the writer's creative process of the strength of the force, the rhythm of the changes are very fine and subtle performance, it is through human intuition, giving a person a rich sense of beauty, or elegant and elegant, or stagnant and stumbling, or the eight sides out of the front, or brocade hidden needles ...... In a word, in the static phase of the ink, the flow of the writer's strokes In short, in the static ink phase, there are a series of complicated situations such as lifting and pressing, twisting and turning, and reflecting. When the calligrapher creates, he is making up his own show. The ancients emphasized that "the intention of the pen first", before the pen, the image of the work has been more clearly presented in his mind, and how the pen, ink, etc. to do a good idea. Wang Xizhi said: "If you want to book, the first dry research ink, concentrate on quiet thinking, think about the size of the word, supine, straight, vibration, so that the tendons are connected to the intention of the pen first, and then for the book." The same line, painting will be human subjectivity into the line, objective often cover the subjective; and calligraphy is just the opposite, its subjective arbitrariness (especially the line, cursive), to some extent, cover the line of objectivity, the most prominent human spirit. For example, Mi Fu's composure and painstakingness, Yan Zhenqing's awe-inspiring style, Zhao Mengfu's clear and charming style, and so on and so forth. Calligraphy is a fusion of line and mind. It is precisely because of the infectious power inherent in the calligraphic line that impacts the visual and psychological senses, and in the destruction, search and reorganization of the order, our inner feelings and psychological rhythms gain enjoyment along with the movement of the work.

Calligraphy is a combination of black and white space composition art, I have you, you have me, its interest in the performance of different combinations of black and white, the calligrapher in this different black and white structure to give their own interest, write their own joy and anger. Ancient people have "counting white as black" said, "the book in the place of ink and brush, the book of the wonderful in the place of no ink and brush, there is only a sign of the place, there is no place is the charm". The so-called charm is a kind of imagery, such as qi baishi painting shrimp, paper only a few lifelike shrimp, but in the eyes of Mr. Baishi and appreciators is the shrimp in the water. Calligraphy is the same when creating, can intentionally leave white, is the key to the formation of the interest of black and white. It can be said that the beauty of white cloth is a kind of organic combination of figurative and abstract. In terms of ink, it is generally desirable to use the right amount of ink. However, due to the different habits and styles of the calligraphers, they have different ideas and choices of ink thickness, dryness and moistness. Su Dongpo advocated that the ink should be thick and glossy, and that the ink should be "as clear as a child's eyes", black and glossy. Ouyang Xun advocates the appropriate thickness, that "the ink is light that hurt the spirit, absolutely thick will be stagnant hair". Qing Liu Shian, Wang Menglou ink color also have advocated, there is a "thick ink prime minister, light ink flowers," said. Ming Dong Qichang's light-ink calligraphy is like the lake and willow bank, with a sense of freshness and dispassion. Wang Duo made good use of ink, with endless variations. Song Jiang Kui in the "renewed spectrum of the book" said: "Cursive to dry and moist mixed, Run to take the Yan, dry to take the risk", the ink is dry and moist properly, then, there can be "dry and cold autumn winds, Run contains spring rain" mood, the two differences in the staggering, interplay, thick makeup and light dash is always appropriate. It can be seen that the ink color, as long as it is used properly, can to a certain extent constitute a personal artistic style.

Historically, calligraphers have attached great importance to the method of brushwork and ink, emphasizing the individuality of the color of ink and brushwork. Pen running on the paper, on the one hand, leaving the ink phase of the handwriting, on the other hand, cut out the blank of different images, the two contrast each other, thus forming a general image, resulting in the calligrapher's unexpected interest. The so-called "brush rhyme and ink interest" contains the sense of force and rhythm of this movement. From the point of view of appreciation, you can play with the calligrapher's craftsmanship in terms of the lines of the strokes, the potential of the characters, the lines between the characters and the use of ink colors. Rhythmic ink interest has a very rich aesthetic connotation, compared with the physical beauty of the word, it is more subtle, intriguing.

Four, the chapter of beauty

"A truly perfect work of art, no part is more important than the whole" (Rodin language). Calligraphy chapter is a work of pattern and expression, is the synthesis of the elements of calligraphy. Calligraphy, also known as the distribution of intervals, is the study of the layout of words and words, between lines and lines and between the entire word to show the unity of diversity, "water out of the hibiscus, naturally decorated," in order to show the beauty of the style of the harmony of change. The beauty of calligraphy depends on the overall beauty, people often say, "not than do not know, than a shock", "do not know the true face of Mount Lushan, only in this mountain," these sayings are out of the calligraphy of the overall beauty.

1, harmonious works should strive to center of gravity, static and static complement each other, sparse and dense, chakra coherent. The center of gravity is smooth for the real works, it is obvious, but for the works of cursive writing may be objectionable. Because of the need to cooperate with each other, the individual, although sometimes unbalanced, but in combination with the neighboring words and lines constitute a new balance, especially in cursive, which is designed to create a flowing, unrestrained momentum. This single character is always balanced in combination with the surrounding characters or in the overall layout. Sparse and dense, that is to say, the character's internal and external space, black and white distribution is relatively proportional. "Sparse can walk a horse, dense wind" refers to the line strokes tendons and knots to be tight, stretch to be free and natural, this contrast between sparse and dense, is to build a visual image of a "proportionality". A successful piece of work, from conception to creation, from the pen to the pen, the pen and ink is like deploying troops, calm, stretching, relaxation and order, in one fell swoop, in order to express the strength of the calligraphy works, rhyme and grace. "A little into a word of the rules, a word is the end of the standard", each exhaustive gesture, but also in line with the laws of natural beauty.

2, change change is an important expression of the beauty of art form, the calligraphy of the chapter is also characterized by change. Seal script, official script, regular script, running script and cursive script works are all the same. For example, in Wang Xizhi's "Lanting Preface", there are more than 20 characters of "之", each with its own form, and none of them is the same; the beauty of the "Lanting Preface" not only embodies the beauty of the stylization of each character, but also reflects the beauty of the overall visual image, and to a certain extent, the beauty of the calligraphy's chapters is an extension of the beauty of the Chinese character's body and momentum and broadening. In order to realize the beauty of the changes in the calligraphy, different calligraphers in different times have not only sought changes in size, orthography, movement and static, but have also used various techniques and life accumulations. For example, changes in brushwork and ink colors were used to achieve novelty in the form, such as the use of both sides of a character, the square and the round, and the intertwining and fusion of various styles of calligraphy, and Deng Shiru's introduction of the brushwork of the Official Script into the Seal Script is the best example of this. The beauty of the change of the chapter, in the cursive script is even more apparent in its artistic charm.

3, style style that is, the person, with or without a unique style, is a measure of the size of the calligraphic achievements of a significant sign. Style is one of the important manifestations of the beauty of the chapter, the famous calligraphers throughout the ages do not have this point. Chapter layout is not chopped, which runs through a tone, a unified and coordinated style. Then, in the main key of the pipe under the leadership of the combination of changes, as if the main key and variations in the music, the same in the different, different in the same, naturally rich in the wind and spirit. Such as Zhang Xu's "rain and snow" chapter, Dong Qichang's Shu Kuang chapter, Zheng Banqiao's chaotic stone paved street chapter ...... art is the manifestation of personality, these distinctive style, so that their works have a variety of unity and harmony of the beauty of the work, so that people will know at a glance that the work of a calligrapher.

Calligraphy works of structure is the line of space division produced by the modeling, it has full spatial freedom, can be shifted and exaggerated through the line, constitute the life of the whole work. The chapter of calligraphy work focuses on the beat and melody, and must arrange the modeling between words and characters, lines and rows, and deal with the balance, coherence and change of the lines of the whole work, and so on. After a form is selected, besides conforming to the general rules of such styles, such as the gap between heaven and earth, the inscription and the seal, etc., the characters and the characters, the lines and the lines should also be changed by means of the size of the characters, the length, the sparseness and the density, the correctness of the diagonal, the expansion and contraction, the opening and closing, and even the urgency of the strokes, etc., so that the top and the bottom can be connected, the left and the right can respond to the left and the right, and the white can be the black, and the virtual and the real can be combined to form a well-balanced and united whole, which can give a person a strong sense of artistic beauty. The art of beauty.