The correct way to learn calligraphy appreciation is to learn the history of calligraphy, and what kind of point of view to appreciate it?

When communicating with friends who like calligraphy, I feel that people have talked a lot about pen, ink, paper, inkstone and other material contents, even including the usage of pen and ink, and have a deep understanding. However, there are relatively few theoretical elements that should be accurately grasped in the fundamental understanding of tracing the source, so that there are some obviously fallacious writing and statements because of different understandings of the connotation of calligraphy. Some of them are from the hands of celebrities and from the mouths of famous people, so they follow suit and pass it on incorrectly, delaying later learning. Therefore, I dedicate my learning experience to my friends and communicate with them.

The three words that are crucial to learning and appreciating calligraphy theoretically

One is "Zi". Chinese characters are the basis for the emergence and development of calligraphy. As calligraphy lovers, we deeply feel that our ancestors left precious cultural treasures for the Chinese nation, which has benefited the descendants of dragons to this day. Because it is not only the ancestors of the Chinese nation who created hieroglyphics, countries such as ancient Egypt and Babylon once had hieroglyphics in their historical civilization. However, China is the only one who can make hieroglyphics inherit and continue, and let future generations have the vast world of calligraphy, and can cultivate and harvest it to the fullest. Therefore, while we are grateful to Cang Xie, the ancestor of the Chinese nation, we also thank General Meng Tian of the Qin Dynasty for upgrading the original brush created by ancient ancestors to the brush used by nearly modern people, so that hieroglyphics bearing Chinese civilization can be passed down from pen and ink realism to later generations in Hui Ze. "Zi" is the origin of calligraphy. When we study and appreciate calligraphy, we should have a comprehensive understanding of the original features, evolution process and evolution characteristics of hieroglyphics. Only in this way can we have a panoramic perception of the evolution of the word after its birth; Only in this way can we understand the profound cultural heritage accumulated by calligraphy from ancient times in the process of inheritance from generation to generation; Only through the ancient meaning of calligraphy works, which seems to come from the distant sky, can we have a close relationship with the writer; In order to distinguish whether calligraphy works take rhyme, method, meaning, or both; Only in this way can we clearly appreciate that the calligraphy ink contains bones and muscles, and the brushstrokes that reflect the spirit are there. Therefore, Wang Xizhi said in the preface to the Twelve Chapters of the Theory of Gestures: "There are many variations, and it is difficult to achieve its original; When you turn your pen around, you don't know its source ... So it's more difficult to distinguish its cause. Therefore, existentialists are concerned about the "characters" on which calligraphy depends for survival and evolution. You have to study hard and study the rules.

the second is "Tao". Tao has many meanings, and its main contents are as follows: First, "Tao" originally refers to the road for people to walk, borrowing the universal laws that must be followed for the movement and change of things. Secondly, "Tao" refers to law and law. Calligraphy, as a kind of thing, exists in the society, and naturally it has its own laws and regulations that must be followed, that is, the way of calligraphy. Furthermore, "Tao" also refers to the origin and noumenon of all things in the universe. According to Laozi, there is a cloud: "Things are mixed, born naturally ... can be the mother of the world. "I don't know his name, but the word says," It can be seen that this "Tao", as the "mother of the world", breeds all things in the universe, and derives all kinds of things and all walks of life in the universe. Therefore, different things and industries, and their own laws and regulations, are all conceived as concrete small "Tao" from the ontological big "Tao" of "Mother of the World". Of course, as the law and rule of calligraphy, the way of calligraphy also came into being. Therefore, to learn and appreciate calligraphy, it is necessary to study and follow the calligraphy way accumulated in the history of calligraphy for nearly 1,8 years. Therefore, no matter from which angle we understand the word "Tao", it is always unavoidable.

the third is "virtue". Morality is linked with Taoism. According to the explanation in Ci Hai published by Shanghai Dictionary Publishing House, the word "virtue" in morality really means "virtue".

the understanding and cultivation of "Tao" has "gain" from oneself, which is also called "virtue". That is to say, it is used as a special law or special property that concrete things "get" from Tao. Faced with the objective, chaotic and colorful Tao, if we "get" to moisten our quality with the way of truth, goodness and beauty, it is the noble moral quality or what we "get" from the Tao that makes our quality noble. If "getting" fills our souls with false, evil and ugly ways, it is poor moral quality or what we "get" from the Tao causes poor quality. In this way, it is not difficult to see that the level and taste of our study and appreciation of calligraphy depends on whether we get the laws and rules that determine truth, goodness and beauty from the way of calligraphy, or get the things that are full of falsehood, ugliness and ugliness. The word "de" plays a decisive role in learning calligraphy and improving the appreciation level of calligraphy for a calligraphy lover.

A prerequisite for learning and appreciating calligraphy in theory

The prerequisite for learning and appreciating calligraphy is that there are laws to follow.

Cihai records that calligraphy is one of the traditional arts in China. Refers to the method of writing with brush strokes, mainly focusing on the methods of holding a pen, using a pen, stippling, structure, distribution (line times, composition) and so on. If you write, you must point to the palm of your hand, and your fingers are Qi Li; Use a pen to ask the center to spread the hair; Point painting should be complete and thoughtful; The structure should be horizontal and straight, and the meaning should echo; The distribution should be intricate, the density should be appropriate, and the whole chapter should be permeated with gas.

From the early mature characters of Oracle Bone Inscriptions, Jinwen and Ziwen in the early Shang and Zhou Dynasties, to the Eight-style calligraphy promulgated by Qin Shihuang after he unified the whole country, and then to the late Han Dynasty, a more accurate concept of calligraphy was formed. Subsequently, in the process of the development of national culture for about 1,8 years, calligraphy has been greatly enriched and developed by the tireless research and exploration of the sages of past dynasties. From Li Si's Calligraphy in Qin Dynasty; To Cai Yong, the originator of calligraphy in the Eastern Han Dynasty, "On Pen" and "Nine Potential"; Wei Heng's "Four-body Book Potential" in Jin Dynasty; Wei Shuo's "Pen Diagram"; Wang Xizhi's "Book Theory" and "The Twelve Chapters of the Theory of Gestures are in Parallel Order"; Liang Wudi Xiao Yan's "Twelve Ideas of Viewing Zhong You's Calligraphy" in the Southern Dynasties; Yu Shinan's Theory of Pen's Essence in Tang Dynasty; Ou Yangxun's Eight Tactics and Thirty-six Laws; Li Shimin's "Calligraphy Tactics"; Zhang Huaiguan's "On Ten Methods of Using Pen" and "Forbidden Sutra in Yutang"; Yan Zhenqing's "The Twelve Meanings of Zhang Changshi's brushwork"; Han Fangming's "Giving a Pen to Say" and so on, too numerous to mention. It has fully displayed the splendid and colorful essence of calligraphy theory in the history of calligraphy development to today's book lovers. These calligraphy secrets, which are the crystallization of the painstaking efforts and wisdom of generations of calligraphy sages, are the shortcuts for future generations to enter the door of calligraphy, learn, study and appreciate calligraphy. As Cai Yong said at the end of "Nine Potentials", "Although the name of the Nine Potentials is not taught by a teacher, it can also be combined with the ancients, and it requires a lot of calligraphy, that is, creating a beautiful ear."

Learning and appreciating calligraphy should be "two musts"

(1). Learning and appreciating calligraphy-a must for law enforcement

Learning and appreciating calligraphy must involve using the standards regulated in calligraphy theory as the basis for judging, and it is fundamentally inseparable from calligraphy theory's guidance. Therefore, whether learning or appreciating calligraphy, it is necessary to study the academic theory of calligraphy to a certain extent. However, in the face of the theory of calligraphy, which has been handed down so far, how to grasp it and how to apply what you have learned to your own practice of learning and appreciating calligraphy. The author thinks that we should start from the following three aspects: first, using a pen is the basic skill of calligraphy, and it is a compulsory course to write words with a good look. Ancient sages of calligraphy discussed the method of using a pen. In The Method of Using a Pen, Li Si of Qin Dynasty put forward: "A husband's method of using a pen is to recover from illness first, and then fall ill, such as an eagle looking at Peng's death and believing in nature, and cannot be changed again."

Cai Yong of the Eastern Han Dynasty also put forward in Nine Potential: "If you write hard, your skin will be beautiful. Therefore, they say, "When the tide comes to Fukashi, it will be unstoppable. Therefore, the meticulous use of the pen, no description, no hesitation, moderation, momentum to open, the shape of the next pen has a reason, the trend of closing the pen has a purpose. Little by little, the novelty overflows with ancient rhyme; There is a clear school between strength and embellishment. The image of rising charm makes experts know at a glance that the calligrapher has authentic calligraphy skills. The second is the knot. Writing is the concrete embodiment of the coordination skill with a pen. Cai Yong made it clear in the form of word-knot: "Where a word is written, the upper part will cover the lower part, and the lower part will inherit it, so that the situation will set each other off, and there will be no potential back."

Wang Xizhi, in On Books, put forward the technique of word-closing: "Every word must be written with several meanings, or the horizontal painting is like eight points, and the hair is like a seal; Or vertically pulling like a tree in a deep forest, and bending like a steel hook ... is a word, and several bodies are involved. If you make a book of paper, you must have different meanings, not the same. " If we say what Cai Yong put forward on the form of knot words: "Make its situation contrast with each other, and make it impossible to make it back." If the requirements can be met through "more calligraphy", then Wang Xizhi's standard of "one word, multiple styles" is to consider the calligrapher's grasp of the evolution of the relevant ancient characters and the comprehensive level of pen techniques. There are also some calligraphy theories handed down to the world by famous calligraphers, which are mostly involved in the method of using pens and tying words, and readers can gradually understand them in their study. The third is the composition. The original meaning of composition refers to some methods used by the author of poetry to arrange the whole chapter. Including the article's body, bearing, cutting and so on. Citation in calligraphy refers to distribution and layout, which embodies the overall effect of calligraphy works. Before writing, the writer makes an intentional conception based on the writing content, ruler, whether the writing material is silk or paper, the arrangement of the size and density of words, and what kind of writing style is used, in order to achieve the harmonious effect of setting off and contrasting each other. When writing, the writer tries to make his own techniques such as writing with a pen and knot words reach a high level of * * * vibration between pen and ink, and finally it is fixed as the intricate distribution of ink. In the Tang Dynasty, Han Fangming put forward in "Giving a Pen to Say": "If you want to write a book, you should think first, and look at what words and phrases are in a piece of paper, how many words are there, and the color of the paper, so as to match the book with the style, whether it is true, line or grass, which is equivalent to paper. "However, before writing and after writing, you must use brushwork. If you think of words that are difficult to write, arrange them in your mind, and then write. Naturally, you can tolerate and wander, and you can't be temporarily unable. If you write, you can't say that you can solve them."

(2) Learning and Appreciating Calligraphy-If you break the law, you must correct it

For many years, there have been different opinions on learning and appreciating calligraphy, and there are different interpretations from different angles. Here, the author analyzes and discusses some * * problems that calligraphers should learn or correct in the process of learning and appreciating calligraphy:

First, famous works are not refined. The works mentioned here are the finished products that calligraphers have finished writing, and think that the writing content is correct and the writing skills have reached their satisfactory level at that time, which can be displayed to the society, or for relevant units and individuals to hang and collect. In other words, the works contain and show the practical skills of calligraphers in writing, such as using pens, knot words and composition, and show the comprehensive level of calligraphers in writing. Therefore, as a writer, the influence of his calligraphy works on society and his reputation cannot be ignored. Different historical periods and social conditions can make calligraphers show different psychological and mental states in calligraphy ink. For example, in the Tang Dynasty, Yan Zhenqing was known as the second running script in the world, the "Manuscript for Sacrificing a Nephew" was written in "His subordinate brother Yan Gaoqing and his son were besieged by rebels in Changshan County, and our time in Taiyuan made Wang Chengye fight for help because he was jealous of talents, so that the city was broken. Yan Gaoqing and his son Yan Jiming were killed at the same time. When Yan Zhenqing sent someone to look for them, they only got Yan Gaoqing's foot and Yan Jiming's skull "written in this extremely sad and hateful state. The sincere, sincere and frank ink shows the great disaster brought to people by the turbulent and chaotic society at that time and the great pain borne by the writer. Here, there is no need to use a pen and the method of writing words, so that his mood can be poured out and vented to the maximum extent through calligraphy. The whole ink truly records and conveys the writer's inner feelings and tragic state of heartbreaking at that time, which is precious. The calligraphy works in the Anhe period should pay attention to its writing rules and fully show the highest level of the calligrapher's calligraphy skills. For example, in the nine-year outing of Yu Yonghe, Wang Xizhi of the Eastern Jin Dynasty, when the group of outstanding people arrived, the friends gathered with salt, the wind was smooth, and when the wine was slightly drunk, they were pushed by the stars like the moon. At this time, the calligrapher's wind-like mood and cloud-like thinking are all at the peak of free and easy, so he wrote the Preface to Lanting Collection, which is exquisite in brushwork, elegant in writing, elegant in composition, natural and unrestrained and harmonious, and is still regarded as a classic in the history of calligraphy in China, as a model, and is known as the first book in the world. A few months ago, when I was reading an article in a periodical in this province, I saw one of the author's works: every word is full of strength, complacent and vain; Unified vision, hand in hand with momentum; Throughout the composition, it is reflected in the same spirit, powerful but not fierce, and the weather is neutral, which can be called a top-grade masterpiece. However, after careful study, I found that there are three words that are slightly less particular about the change of pen. The radicals of these three words are all three points of water, and they are concentrated in the upper part of the vertical picture. When calligraphers write these three points of water, there is almost no change in pen techniques. They all write three points of water into three dots with slightly different sizes. Compared with the three points of each word, they are only slightly different in size, which makes people feel that they are writing books with pens and rules after observing and scrutinizing. Unlike the twenty "zhi" characters with different strokes in Preface to Lanting, it gives people a profound shock with the great master's writing and deep intention.

the second is: misunderstanding the concept of calligraphy. First of all, the most basic element of the concept of calligraphy is writing with a brush. Thinking and demanding according to the standard of calligraphy concept, it is not difficult to find that there are some sayings that are not clear about the basic concept of calligraphy and do not conform to it, but spread in the formal media, which is misleading and delays learning. Whether paper, silk, bamboo, wood, gold and stone are used as carriers, or monuments, plaques and door lists are used as forms of existence, if the works are not written with brush, according to the substantive content contained in the concept of calligraphy, a clear judgment will be made: it is not calligraphy. Secondly, it is the method and requirement of writing. Calligraphy requires that when you write, you should refer to the real palm, and the five fingers should be Qi Li. The standard writing method should be that the forefinger and middle finger hook the pen tube and thumb to form a stable pinching trend, and the ring finger overlaps the little finger to press against the pen tube below to form a five-finger Qi Li, which means that the fingers are solid and the palms are weak. However, in order to show everyone's demeanor, some friends hold the brush tube with their thumb, forefinger and middle finger like primary school students holding a pencil, and the pen is not spread by the center, but the pen is written sideways. He also introduced the experience that there is no need to pay attention to writing, as long as he feels comfortable holding it and can write beautifully. This seems reasonable at first glance, but it is absurd to think about it carefully, which is misleading. After many years of copying and practicing, famous artists and everyone have practiced superb and arbitrary kung fu, and they are even blind followers under the worship of everyone. Even nonsense is regarded as a classic. However, if such a writer is an ordinary calligrapher or an ordinary learner, he will be ridiculed as not even able to write at least. However, turning over the picture of calligraphy history, facing the chaotic theory of "using a pen", this friend's statement about "writing a pen" is not without foundation. In the Tang Dynasty, Han Fangming's "Giving a Pen to Say" recorded a cloud: "There are five kinds of pens for husbands ... the first one is to control them. The beauty of Fu Shu lies in holding the tube, which is not only held by two fingers, but also by five fingers. It should be held by real fingers and empty palms, and say "flat"