How to appreciate a good piece of calligraphy

1, from the whole to the local, and then from the local to the whole.

Calligraphy appreciation, you should first look at the overall picture, its expression and artistic style has a general impression. Then pay attention to the use of pen, word, chapter, ink rhyme, and other local whether the law and meaning of both, vivid and lively.

After the partial appreciation is completed, then stand back and look at the whole picture from a distance, correct the "general impression" gained from the first viewing, and grasp it from the height of reason again. Pay attention to the artistic expression and artistic style is coordinated, where the work is brilliant, where there are still shortcomings, from the macroscopic and microscopic full appreciation.

2. Reduce the static image to the process of movement, and develop the association.

Calligraphy is relatively static as a result of creation. Appreciation should be with the author of the creative process, the use of "moving the line of sight" method, according to the works of before and after (language, time) order, imagine the author of the creative process of the author of the rhythm of the pen, the strength of the author's feelings as well as the different changes in the image of the rest of the rest of the process of movement. That is, to imitate the author's creative process, to correctly grasp the author's creative intentions, emotional changes, and so on.

3. From the calligraphic image to the concrete image, develop the association and correctly comprehend the meaning of the work.

In the process of appreciating calligraphy, we should fully develop association, compare the image of calligraphy with similar things in real life, so as to make the image of calligraphy concrete. And then by the aesthetic characteristics of things similar to the calligraphic image, and further associated with the aesthetic value of the work, so as to understand the meaning of the work.

For example, if you appreciate Yan Zhenqing's regular script, you can compare his calligraphic image with the specific images of "Jingqing pressing the sword, Fan Kuai embracing the shield, King Kong dazzling, Rex waving his fist" and so on, and thus you can come up with the following ideas: strong physique -- with masculine energy --- rich in heroism --- solemn and inviolable characteristics, which is associated with the Yan Zhenqing Regular Script dignified and majestic artistic style.

4. Understand the background of the creation of the work, and correctly grasp the mood of the work.

Any piece of calligraphy is the accumulation of a certain culture and history, and is the product of a specific historical and cultural background. Therefore, to understand the background of the creation of works (including the creative environment), to clarify the works contained in the unique cultural flavor and the author's personality training, aesthetic taste, creative state of mind, the purpose of the creation, etc., for the correct understanding of the author's creative intent to correctly grasp the mood of the work is very beneficial.

Wang Shu of the Qing Dynasty, "the false boat inscription - Tang Yan Zhenqing told Haosu uncle draft" cloud: "the sacrifice of the Jiming draft" heart and liver cracked, not to endure, so its book staccato depression, not controllable le. This "tell Bowen" peace of mind, so the guest razor smooth, no more "nephew sacrifice" strange gas. The so-called music is smiling, sad words have sighed. The situation is different, the calligraphy is also different, should feel the reason."

It can be seen, whether it is the author's personality cultivation, creative state of mind, or the creative environment, have a considerable impact on the mood of the work. In addition to the calligraphy works by a particular era of calligraphy and aesthetic style of influence, more so that the works of calligraphy reflect a diversity of cultural flavor. This undoubtedly increases the difficulty of appreciation of calligraphy, but at the same time more interesting to appreciate calligraphy.

Expanded Information

Calligraphy Appreciation of the local analysis

1, the word method. Character method is the structural arrangement of the character, that is, "set of dots and paintings into the character". Through the treatment of violating and harmonizing, correcting and slanting, sparsely and densely, increasing and decreasing, facing and backward, loosely and tightly, flatly and dangerously, avoiding and on, the shape of Chinese characters constitutes the beauty of the character, which is the ideal character method. Calligraphers have always listed the form of a character as the most important factor in calligraphy skills. Because the chapter is beautiful, but only a sense of form, and the word is not good, it is difficult to call a good work.

2, penmanship. Literally the method of using the pen. From the point of view of calligraphy appreciation, it should be the correct use of the pen to write the form of standardized dots and drawings. Dots and paintings are naturally different depending on the style of calligraphy. However, it has been recognized in calligraphy reviews throughout the ages that "any use of the brush (line or dots) that gives a sense of beauty should be strong". This kind of strength is called "brush power" in traditional calligraphy.

The aesthetic conditions for judging whether a stroke has "brush power" - that is, calligraphic lines - are mainly based on the criteria of "roundness" and "astringency". The main criteria for judging whether a dot stroke has "brush power" - that is, the aesthetic condition of calligraphy lines - are "roundness" and "astringency". Round, is a three-dimensional rather than a flat concept. Round lines are full and firm, with a sense of relief, and can show the strength of fullness and roundness. Round lines is the result of the center of the brush, that is, the ancient saying "make the heart of the brush in the line, make the heart of the brush from the point in the painting," written out of the strokes.

Then talk about "astringency". Shibui is not smooth and fluid. Used in writing on the pen, is the line breaks through the resistance of the paper, struggling to advance the artistic effect, the pen encountered obstacles and resistance on the surface of the paper, and the pen is late and astringent into. The more fully this obstruction and counter-obstruction is expressed, the more the line shows its own sense of force.

"Round" and "astringent" are also intrinsically linked. Round is the center of the brush, astringent is also to brush upright, artificially create a countervailing astringent line. The ancients had "horizontal scales vertical le" said, meaning that the writing of horizontal to be like a reverse scraping fish scales, creating a certain resistance; writing vertical like riding a horse forward, but also to use the reins of the horse control, is a kind of momentum forward. Liu Xizai said, "the pen wants to line, if there is something to reject it, and try their best to fight with it, S not expect astringent and astringent." Such a line, not light and smooth, not fluttering weak, but calm, heavy, strong and old effect.

In addition, the rhythm of calligraphy lines is also one of the important conditions for evaluation and appreciation of works. The rhythm of calligraphy lines is also like the length, height, speed and slowness of tones in music, which can not be flat. Embodied in calligraphy, not only in the length of the line, the weight, but also in the speed of the strokes. No matter what kind of calligraphy, the pen is not a "uniform" movement, but with the mood of the writer and the requirements of the chapter to regulate the speed of the pen, so that the appreciators from the works of the writer's emotional infection.

3, ink method. Ink method is the skill of ink. It is an important subject in the art form of calligraphy. "The word is with the pen, and into the ink" "flesh born of ink, blood born of water", no ink color changes, with the effect of the pen is difficult to achieve. Word lack of flesh and blood, there is no life. So the Qing Bao Shichen said: "calligraphy calligraphy in the pen into the ink, the ink method, especially a major key to the art of calligraphy also". Tang Sun said: "with dry square moist, will be thick then withered", also points out the key to the ink. "Dry", "moist", "thick", "withered" and contradictory laws.

Ink can not be too withered, withered pen more dry; and not too much moisture, humidity will be too fat and unclear. Du Fu's poem: "the ink is dripping hanging scroll is still wet", is the ideal ink. Even after many years, also seems to have just written out the same, the essence of the spirit is indelible. "Not good with ink, thick is easy to wither, light is nearly thin, not a few years has been drowning lifeless carry on".

Baidu Encyclopedia - Appreciation of Calligraphy