What is the aesthetic universality of ancient calligraphy?

First, the aesthetic standards of calligraphy

Generally speaking,? Shape? Including stippling lines and the resulting calligraphy spatial structure; ? God? Mainly refers to the spirit of calligraphy.

(1) The stippling lines in calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image formed by them has no definite meaning, but it should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense.

1, the sense of strength is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out? Hiding the head and protecting the tail, power is between the lines? ,? Do a pen heart and often do some painting? ,? After the stippling is finished, you still have to collect it forcibly? . It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous.

2. The sense of rhythm refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes.

3. The stereoscopic impression is the result of using the pen in the center. The strokes written in the center, looking at the sun, have a wisp of thick ink in the center of the painting, which is in it. As for the folds, there is no bias in it. ? In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere.

(B) the spatial structure of calligraphy

On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.

1, the structure of a single word. The structure of a single word should be neat and straight, with appropriate length and balanced density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger.

2. In the whole line of popular calligraphy works, the characters are connected up and down (or before and after)? Link? It is required to proceed from top to bottom and respond coherently. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked.

3. Overall layout In the calligraphy works, dots become characters, conjunctions are arranged in rows and chapters, which constitutes the cutting of space by dots, thus enriching the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; Running script, cursive script and other dynamic characters change intricately and fluctuate.