An Introduction to the Spatial Theory of Calligraphy

Calligraphy is culture, but it is still a craft. Craft can also be called skill, which seems slightly better, and higher up, it can be called art, which is even better. But it has to be calligraphy, which is a work of art that has been processed and succeeded with the Chinese characters, not the Chinese characters. Because calligraphy is the art of using Chinese characters as a carrier, this nature, in today's culture of emphasizing Chinese characters, this craft has a tendency to be infinitely elevated.

Chinese characters are great, and they are the essence of the culture of the Han people. Ancient Chinese people talked about the sacred mystery of Chinese characters.

In the past, Cangjie made books, and the sky rained corn, and the ghosts cried at night. That refers to the creation of words, not calligraphy, even so, Wang Chong in the "On Heng - book is not" chapter has been disbelieved: the words of the sky rain corn, ghosts cry at night, the real; said it should be Cangjie book, false. Xu Shen "Shuowen Jiezi" narrative: the Yellow Emperor's history of Cangjie, see the birds and beasts swallowed the hoof traces, know that the reason for the separation of the phase can be separated, the first bookmarks, a hundred workers to regulate (paragraph note: 乂, rule is also), ten thousand products to check. Wei Heng "four book potential" also said that, after the name of Cangjie also more than one frustrated recitation. But all refers to the text, not on art. The Tang Dynasty Sun Tou Ting "book spectrum" said: do not know how to move the shape of the words, to take the meaning of the wind; Yang virtual yin tragedy, this is the heart of heaven and earth. This is, of course, talking about the art of writing, but Sun did not leave the craft of empty talk, he went on to say: the use of the party, although from their own, the scale of the establishment, the letter belongs to the present, difference of a millimeter, the loss of a thousand miles, if you know the art, the right both. The heart is not tired of fine, hand not forget familiar. If one's application is as refined as possible, and the rules are dark in one's mind, one will naturally be able to wander, to put the mind before the brush, to flow with style, and to fly with the spirit. This is all about skill. He also put forward the concepts of technique, such as "to hold, to make, to turn, to use". Another cloud: "Fang Fu will be its number of laws, to a way, the compilation of all the work, intricate group of wonderful, lifting the foregoing is not yet, enlightenment after the study of the rules, peep at its roots, analysis of its branch faction. You make the text about reason support, traces of obvious heart through; Phi volume can be clear, the pen without stagnation. Wise words, not detailed." Explain that only through the complex and skillful techniques, only to make the visual artwork as the communication of the mind becomes possible. Sun's theory is so detailed that it imposes harsh requirements on point painting, which are the two phrases that must be remembered by those who learn calligraphy: Between a painting, the change of ups and downs in the peaks and limits; within a single point, the difference has to be thwarted in the millimeters. Another example: "stay not always late, not always fast; with dry party moist, will be thick then withered" and other words, are not separated from the craft, every sentence is pointing to the body of writing. Because he believed that only "with the perversion of the tip", to "the mood on the paper". Of course, the book is indeed as Mr. Shen Yinmo pointed out that "it has a little problem, that is, the rhetoric is too much, often about the writing of the most important significance of the cover, so that readers do not notice, ignore the past. But not only the "book" so, even if the absurdity of the record "former Qin Prime Minister Si saw the book of King Mu of Zhou, seven days sigh, suffering from the lack of bone" such nonsense of the transmission of the Lady Wei "brush diagram", there are still "the three ends of the wonderful, no first to use the pen", "many bones and flesh, the first to use the pen". "more bone micro-flesh is called the tendon book, more flesh micro-bone is called the ink pig; more forceful rich tendon of the holy, powerless and tendonless disease" such a pithy statement. To the Ming Dynasty Xiang Mu "calligraphy elegant words", the ancient book theory for the unique rigorous theoretical system, naturally, some of the set of words, such as the beginning of the article that is: "hippopotamus negative map, Luo Turtle presented book, this heaven and earth to open the text is also. Hsi painting gossip, six lines in the text, the King Kai text also." Also refers to the text. Once the book art, that is very outstanding when the line. Although the argument is too high, such as only to the Jin people, and row Su Shi, Mi Fu, etc., but all of them hold the reason, the words are reasonable. Most of its insights, written as a book, a life-long art, research to the depths. Where seventeen articles, said: book system, ancient and modern, identify the body, form, quality, character, capital learning, rules, often change, positive and strange, neutral, old and young, God, heart phase, take, work order, apparatus, knowledge. Rich dialectic, extremely eloquent, sprawling, take the metaphor, fascinating, and are closely related to the body of calligraphy. If it discusses "form and quality" cloud: between the dome and soil, teeth, horns, claws and wings, things are not complete, the gas endowment is also. The book of the body shape of many ends, people's attainments are different, we must want to all the subtleties, ancient and modern fear that there is no full book carry on. Another cloud: people in the book, the heart of the hand, a thousand shapes and forms, but said neutral, said fat, said thin only. If the book is also, the repair of short and degree, light and heavy balance, yin and yang appropriate, rigid and flexible. Judging the world on the phase, not fat, not thin, not long, not short, for the end of the United States, this line of the book also. If you specialize in clean and strong, biased towards thin, thin is easy to strength, and more barren body. Work alone rich and colorful, biased fat, fat is often Yan, and every weak bone. Judaism of the discussion of the phase, thin not show bone, fat not show meat, is also Shang. Make the bones thin and craggy, coupled with the sinking of dense Ya Run, dignified and smooth, although thin and actually fat. Body fat and slender, coupled with convenient and robust, flowing Li Junjie, although fat and really show. Thin and fat is said to be clear and wonderful, not clear is not wonderful. Fat and show is called the abundance of show, not steep is not show. If its theory of "just odd" cloud: calligraphy, there are positive and odd. The so-called positive, supine staccato, uncovered in accordance with should, tendons and bones, indeed have control is also. The so-called strange, the difference between the rise and fall, Teng Ling shot air, style posture, skillful and multi-faceted is also. Qi that is even in the positive, positive that is listed in the odd. Positive and no odd, although solemn and solid, constant plain and less text; odd and Fuzheng, although XiongShuangFeiYan, more treacherous and lack of elegance. Nef appreciation home, each refers to the tip of the crossbow to fight the trick, do not realize the rules of the law over. The pool of people, each show off skills in the situation of fierce micro, do not seek in the flavor of the bone of the wonderful. And so on. All smooth and elegant, thick and peaceful, all from the bottom of the heart outflow, did not try to hook ratcheting the words to shock the world to take the reputation of the natural from the moment in the degree. Mu theory although Zong over the court, but strict and detailed support far beyond Sun over the court, no plagiarism and malpractice. Calligraphy elegant words" is the ancient book of calligraphy aesthetics work. On the technique of fine, the first early qing dynasty gala heavy light of "book raft". Today can see only two or three pages, so there is doubt that it is not the whole text. Wang Wenzhi thought that "the book of the depth of the Samadhi, straight and Sun Piety Li successive and pass, "Penjingtu" is not enough to count". Can be said to be the highest praise, but not overrated. That is, now I can see the two or three pages of a thousand words, can be used for life. It is too refined, sentence fine, word fine, if the quote will be a quote in the end, but always have to quote a few sentences with the same way to read: the pen of the executive to make in the horizontal painting, the word of the three-dimensional in the vertical painting, the gas stretch in the apostrophe, the tendons of the fusion of knot in the new turn ...... interesting to show in the hook point, the light of the bright in the distribution of the line of the dense in the flow of the situation of the stagger in the odd and the positive! ...... The number of paintings of the transfer of the fold, a painting of the rotation of the round ...... law in the use of the pen with the potential, not about the wrist of the strong and weak also. Converse outline of the white, hand cloth uniform; scattered white, eye cloth well-proportioned ...... excellent when the line, not only non-empty theorists can write, I'm afraid that even read and understand are difficult. Following Sun Tiaoting, Xiang Mu, Gala Shiguang, there are Bao Shichen's "Art Boat Double Oar", Liu Xizai's "book", all can be to the broad, as subtle as possible, not only from the philosophical height of the macro, but also from the perspective of the skills of the micro, all of them have a sense of intimacy to the "craft", never away from the calligraphy ontology, the real theory of the book also. To modern times, Mr. Feng Zikai said: calligraphy is the highest representative of Chinese art. Mr. Zong Baihua said calligraphy can express personality, thoughts and feelings. More Chinese-French scholar and artist Mr. Xiong Bingming said: the core of Chinese culture is Chinese philosophy, calligraphy is the core of the core of Chinese culture. These three are both Chinese and Western cultures, but also for my admiration of the characters. Especially the latter, because of the "Chinese calligraphy theory system" book, to the Western methodology to analyze the traditional Chinese book theory, to the Chinese calligraphy community injected fresh blood, so that accustomed to the traditional thinking, and cultural literacy is generally relatively low in the calligraphy community in awe, worship, a reputation, Luoyang paper, the impact of the great, far more than his work. Therefore, its "core of the core" said also classic view carry on. Feng's, Zong's speech at the time, on the calligraphy has little impact, because there is no so-called "book forum". Rather, there is a book forum, borrowing the two said to get a big impact. Xiong's statement, so that the status of calligraphy, in the book world rocketed up (please note "in the book world" three words). Calligraphy is a craft that seems to be able to carry the weight of all Chinese culture and encompass the beauty of all cultures. For example, Wang Meng's speech "For the Great Revival of Chinese Character and Culture" at the 2004 Cultural Summit Forum (organized by the Association for the Promotion of Chinese National Culture), in which he did not say a single word about calligraphy, was reprinted in the 10th issue of 2004 of Chinese Calligraphy, entitled "Calligraphy and Culture". However, it was reprinted in the tenth issue of Chinese Calligraphy in 2004 in the column of "Calligraphy and Culture". There is nothing wrong with reproducing it, but it is not appropriate to summarize it under the name of calligraphy. The improvement of the status of calligraphy, for teaching calligraphy as a profession of my generation, when it is a good thing, should be happy and jumping. I did have a high time, but soon, but can not follow the wave and become a man of Qiyi. Separated from the body of calligraphy talk about the culture of the wind blazing, the nature of the craft is despised. "Skill is high is also low level", "stay in the skill level" and other layman's words appear high rate. There are also many people who say, "Skill is easy, you can do it once you learn it. What's more, actually in the press openly claimed that all the skills of him has been no problem, this arrogant words and the actual is a layman's words. Some scholars do not write the brush, talk about the culture of calligraphy, profound, young people began to listen to the fear, followed by confusion. The art of calligraphy can't carry the weight of all cultures, and the theorists who are not good at writing are produced in large quantities, and according to the main road, the body of calligraphy is pressed into a corner and shivering, whether it is happy or sad, we'll see what happens. In this context, the white main gentleman's "calligraphy space theory" by rongbaozhai publishing house grand launch, I think it has its special significance. Baibei, real name Zhao Aimin, known by the pen name Baibei. Shaoxing, zhejiang province. 1987 into the China academy of fine arts (then called zhejiang academy of fine arts) for master's degree in calligraphy, under sha menghai, liu jiang, zhang zu an, for Mr. sha menghai's closed disciple (not counting the private sha Mr.). 1996 again from shanghai into the China academy of fine arts calligraphy major. In 1996, he was admitted into the Calligraphy Department of the China Academy of Art from Shanghai, and studied for the doctoral degree in the direction of Calligraphy Theory. The Theory of Calligraphic Space is his dissertation for the defense, which was awarded as an excellent dissertation by the defense committee of the academy, and is now published after modification and supplementation. Bai Moi's strong brushwork is mainly due to his diligent study and practice; his strong sense of space in calligraphy is mainly due to his talent. The topic of his dissertation was chosen because of his proximity to nature and skill, and because of his wisdom. The latter specifically means that Baizi realized that the spatial composition of calligraphy (character formation, cloth white, air, etc.) has a great relationship with the unique appearance of the work; and that the ancients have left us a great space to pursue and explore. At the same time, I talked about the spatial awareness of calligraphy of Master Weizhao and Mao Zedong. During his master's program, Baishi had already developed a strong ability to construct calligraphic space, which was clearly reflected in his works, and later he became prominent in the calligraphy world. Therefore, his doctoral dissertation, are introduced to the ancients, from their own practical experience out of, not for generalization, to unique system and detailed support theory, "calligraphy space theory" is the first dedicated to the space of calligraphy throw brick work. In the above Wang Meng's speech at the end of the speech, about the love of Chinese food, said: "delicious Chinese food, after all, the first to appear on the table, rather than appear in my speech", and this sentence as the end. Today, following the format of Wang Wen thought that the concluding sentence said: "elegant calligraphy culture, after all, the first to appear in calligraphy masterpieces, rather than appear in the theorist's article." And allow me to add one more sentence: how to make their own works become masterpieces, read Bai Jijun's "Calligraphy Space Theory", may be slightly helpful.