How to evaluate cursive calligraphy works

Question 1: How to evaluate calligraphy? Hey, I'm also a calligraphy lover. Calligraphy, as a national culture in China, is the essence of traditional culture in China, which is worth learning. If you really want to develop it on us, it will take a lot of effort. We know that thirty-six lines is the best, which means that calligraphy is also promising. The key is how to face the ups and downs. As long as it can achieve strength, then there is no need to worry that it has no future. In fact, the most important thing is not that it has no future, but that our foundation is not enough, so we have not passed it on, which is our dereliction of duty in itself. Learning calligraphy is a lifetime thing, not a day's work. The same book is not in the pool every day, and we can't be calligraphers for life in a few days. I hope you can stick to it and make a contribution to our China culture.

Question 2: How are calligraphy works evaluated? It is very difficult to judge the quality of calligraphy, and the subjective factors of the evaluator often play a decisive role. First of all, different hobbies, ups and downs have their own advantages. Some people like to be slender and beautiful, while others like to be thick and rough; Some people prefer regular script, while others prefer vivid and fluent cursive script. Secondly, there are different levels of literary accomplishment and aesthetic taste. Some people pursue realism, while others pursue freehand brushwork; Some people admire tradition, while others admire innovation.

The general way to judge calligraphy is to see whether the overall layout, color and other external forms are unified and coordinated, and whether they are attractive. The overall layout (composition) first attracts the attention of calligraphy itself. The whole regular script, official script and seal script are somewhat similar to group gymnastics, requiring neatness. If the running script is like a line, it should be fluent; Cursive writing is a kind of dancing, which requires one integrated mass, miscellaneous but not chaotic. The first thing that affects a work is its color. The quality of paper, ink, inkpad and seal does not determine the quality of words, but affects the effect of works. Then look at the local details (strokes, structure, brushwork, rhythm, etc. ) See if there is any change in skill and vividness. Dotting is the building material of Chinese characters, and the quality must be excellent. Writing without paying attention to basic strokes is equivalent to picking up some branches and stones and building a house with mud. Calligraphy works consist of a single Chinese character, which consists of multiple strokes, each of which has multiple shapes. By combining dozens of lines with different shapes, various pictures can be formed. There are length, thickness, Fiona Fang, straightness, etc. In appearance, vertical and horizontal, vertical and horizontal, turning, etc. In composition, there are rigidity, softness, fullness, thinness, tenderness, roughness and wildness. The completion of each stroke is divided into three steps: starting, walking and closing. The pen starts with Fiona Fang sharp and hidden changes, and the trajectory of line strokes should be thick and three-dimensional, and the pen should be collected cleanly. The basic requirements of the structure are: flat pen for danger, uneven pen, no cursive writing and no crazy writing. The same font, the same words, the same strokes, a person writing a person's face, just like the five senses have a certain shape and a certain part, which does not prevent people from having their own unique looks and postures. To see whether a single word is well written, besides strokes and shelves, there is another important factor, that is, writing ability. Writing ability is as strong as one's energy, and writing ability is as weak as one's depression. There are two ways to express strength: exposure is suitable for expressing cheerful content, and implication is suitable for expressing profound content. When writing, the pen moves or presses, or moves or stops, and the pen speed is fast or slow, forming a rhythm. A word has a word rhythm, and a word has a word rhythm. The beauty of form is determined by brush strokes, shelves and layout, and expression is determined by strength and rhythm.

When judging calligraphy, we can also judge it from other different angles. Any art should pay attention to difficulty, and calligraphy as an art should also pay attention to difficulty. Calligraphy that is not difficult or not difficult is not called calligraphy, but can only be said to be writing. Stroke by stroke, very weak, no fluctuation, thickness, straightness, Fiona Fang, length without contrast, can not be said to be difficult. Therefore, from a certain point of view, to evaluate the quality of calligraphy, as long as there is no difficulty. Difficult calligraphy is generally good, and vice versa. Any art should pay attention to basic skills, and calligraphy as an art should also pay attention to basic skills. If a calligraphy doesn't even pass the basic strokes, the structure can't be discussed, and there is something wrong with the composition, it is definitely not good. Therefore, when we evaluate the quality of calligraphy, we can first look at whether its basic skills have passed the standard, and then look at its degree of innovation.

The specific evaluation of calligraphy depends on the number of calligraphy works, and different methods are adopted: First, the evaluation of a large number of people's calligraphy generally only adopts the comparison method to survive the fittest. For example, due to the limitation of places, only a few good exhibitions were selected, and a large number of relatively poor exhibitions were unsuccessful. These good ones are better, but they may not be very good calligraphy; These unsuccessful calligraphies are relatively poor, but they may also be quite good. The second is to evaluate the quality of a person's calligraphy works, which is generally evaluated by combining comparative method and analytical method. If someone holds a personal calligraphy exhibition, people will judge which calligraphy is good, which calligraphy is bad, which calligraphy is good and which calligraphy is bad, and carefully analyze which parts of a calligraphy are good and which parts are bad. The third is to evaluate a person's calligraphy, generally only through analysis.

People who don't know calligraphy often ask me what kind of calligraphy is good. Then I will answer this big question in an easy-to-understand way. Generally, only the strokes are like cylinders. >>

Question 3: How to evaluate a calligraphy work? All works of art have a judging phenomenon of "different people have different opinions". For example, Song Zhenzong Evonne is good at "thin gold body". Some people say that his calligraphy is good, while others say that he is weak.

Generally speaking, there are still some general standards to evaluate the quality of a calligraphy:

1, it seems that people are not uncomfortable and have a sense of pleasure.

2, it seems that people are not blocked and have a sense of fluency.

3, it seems to have the change of ink color and three-dimensional sense.

Question 4: How to appreciate the advantages and disadvantages of cursive or cursive works? Nowadays, many people like to appreciate calligraphy and have a strong interest in it. Here is how to appreciate cursive script, hoping to give you a deeper understanding of cursive script.

Calligraphy is a highly personalized art and has been loved by people for thousands of years. It has a special significance and status in the hearts of China people, just as music is in the hearts of westerners. Because it is highly personalized and elusive, there has always been a question of how to appreciate it. Tang Sun Guoting once said with emotion: "I tried my best to write a book called Perfect Fit. I call it a knowledgeable person, and I take it as a lesson: among them, smart and beautiful, never left a deep impression on people; Or if you make a mistake, you will be rewarded. " There are good and bad, bad and good. Although there are many discussions on calligraphy appreciation in past dynasties, they are often concise, flowery and abstruse, which makes people deeply touched after reading. Therefore, until today, calligraphy appreciation is still a common concern and interest of calligraphy lovers and learners. Gong Xian, one of the "Eight Schools of Jinling", also said: "It is difficult to paint, and it is even more difficult to know painting. There are many painters in the world, but how many people know how to paint? " It is still so difficult to appreciate painting as an image art, so it is even more difficult to identify calligraphy works belonging to abstract art, so it is necessary to talk about the appreciation of cursive art.

Calligraphy appreciation is an extremely complicated problem. Because it is not easy to understand the calligrapher's thoughts, emotions, skills, character and cultivation from lines and spaces. Only by in-depth understanding can we get a fair and accurate evaluation. However, due to the different accomplishments of the appreciators; Different personalities; Different hobbies have different angles of understanding art; And the level of aesthetic power, including the gap of the times, unwarranted prejudice and so on. ; It can make the viewer's subjective view not quite in line with the objective reality of the work. Even Mi Fei, who is famous for his incisive articles, said when commenting on Yan Zhenqing's calligraphy in the Tang Dynasty: "Yan's calligraphy is teachable and really vulgar." To make matters worse, he said, "Yan Liu was critical and the ancestor of ugly and evil letters in later generations. Since then, the ancient law has been completely exposed. " The so-called ancient law here is based on the French style of the Wei and Jin Dynasties. I'm naturally dissatisfied with Yan Zhenqing's "reform and innovation", which is the prejudice brought by different aesthetic standards. Shen Du in the Ming Dynasty was called "I am Wang Xizhi" by the Yongle Emperor Judy, and was much loved. Compared with the right army, it is far from reality and naturally beautiful. Emperor Yongle was suspected of usurping the throne and was afraid of being slandered by literati. Therefore, there is this saying, in order to win over scholars to show the sages of the DPRK, skillfully flaunt peace and prosperity. This kind of intentional evaluation has its political purpose, so it will not be fair. In the late Qing Dynasty, Kang Youwei wrote Guang Yi and Zhou Shuang, which had a great influence. There used to be a saying that "respecting steles over the Tang Dynasty" was an extreme word to promote the study of steles. Inscriptions in the Northern and Southern Dynasties are of great value, but Tang Kai can't be frivolous. They can complement each other and lead to the same goal. Any art has different genres and styles, and there is absolutely no need to suppress one and promote the other. The above is just an example, which shows that there is no fixed model and unified standard for evaluating calligraphy. By extension, we can't make arbitrary judgments in calligraphy appreciation. Nowadays, there are disputes about inscriptions. In fact, the inscriptions are extremely remote and elegant, such as breeze, rosy clouds, secluded flowers and Bixi River, which can make people feel happy spring breeze. The beauty of epigraphy is extremely vigorous and broad-minded, such as mountains, Yuan Ye, Linhai and the Yangtze River. Beautiful mountains and rivers, elegant bridges, masculine beauty and feminine beauty; This is due to the origin, geographical environment, customs, aesthetic taste and other factors. There is no such beauty in the world, there is no masculinity without femininity, and there is no femininity without masculinity. This is called complementarity. Of course, hobbies can be different, but the evaluation should be fair. Appreciating calligraphy is actually an exchange between the appreciator's psychology and the calligrapher's works, and a spiritual collision and cooperation between them. This kind of communication is by no means easy and requires certain conditions. Calligraphers' works should have skills and clear intentions. Appreciators should have a certain understanding and practical ability of calligraphy art, and should know about famous calligraphers, schools and their masterpieces in past dynasties; It is necessary to know a little pen and ink skills and some historical knowledge, including reading more books and writing more, otherwise it is difficult to understand the inner mystery of calligraphy art. Then, how can we specifically understand and appreciate the changeable and vital calligraphy art? In short, we can start with "form and quality" and "temperament".

Calligraphy works are the real records of the movements of the pen in the calligrapher's hand on the paper, and any slight changes are exposed on the paper at a glance, becoming what is commonly called ink or handwriting. There are two factors in the color of ink, one is "shape and quality", and the other is > >

Question 5: How to appreciate a calligraphy and how to evaluate a calligraphy work depends on the brushwork, the unsmooth flow, the top-down order and the rigidity of words. Of course, we should pay attention to different formats, from different writing forms.

Question 6: How to appreciate a good calligraphy work? Calligraphy appreciation and practice are interrelated, which has never been seen by a calligrapher with a high eye and a low hand. Calligraphers in past dynasties were mostly calligraphy critics with high appreciation ability. Everyone attaches great importance to "reading posts". The so-called "reading posts" is to understand the artistic style and techniques adopted or created by calligraphers by observing the traces of calligraphy and inscriptions, so as to improve their appreciation level. For a person who is interested in learning calligraphy, it is also necessary to pay attention to reading posts, gradually learn the ability of analysis and appreciation of calligraphy works, learn from their strengths and compete for their shortcomings, so as to continuously improve their calligraphy level. If we analyze and appreciate calligraphy works indiscriminately, we will often make slow progress and even take detours. This is an extremely complicated problem, and there are always different opinions. So far, there is no common appreciation standard.

Kang Youwei in "Guangyi Shuangzhen? Ten criteria were put forward in sixteen cases, namely, the so-called "Ten Beauties": "One is vigorous, the other is brilliant, the third is brushwork jumping, the fourth is bold and bold, the fifth is fantastic posture, the sixth is full of spirit, the seventh is full of interest, the eighth is full of bones, the ninth is natural structure and the tenth is full of flesh and blood. "Guo Shaoyu put forward six criteria on how to appreciate calligraphy:" First, the shape and structure are natural, horizontal, flat, vertical and peaceful; The second is courage, from the perspective of pen power and pen and ink; Third, attitude, to fly; Fourth, genre, do not stick to the tablet, do not read posts according to the standard of tablet; Fifth, the relationship between scholarship and calligraphy; Sixth, the weather is peaceful and peaceful. "

These can be used as a reference for us to analyze and appreciate calligraphy works. If further summarized, it is nothing more than the words "shape" and "god". The so-called "shape" refers to the shape composed of special strokes and lines, including the strokes, structure and layout of a word; The so-called "god" refers to the inner spirit in the above appearance, including pen power, momentum, emotion and so on. Therefore, to appreciate calligraphy works, we should not only look at the shape of each painting, every word and the whole word, but also look at its brushwork, momentum and manner. If the appearance is beautiful and the heart is full of energy, this is what people usually call a good work with both form and spirit.

Analysis and appreciation of calligraphy works can be started from the following aspects.

Whether the stroke length, thickness and shade of a word are changeable and appropriate. Chinese characters are composed of several line strokes. If each stroke, especially the same stroke in a word, is not exactly the same in length, thickness and shade, it should and must be changed. For example, in the four "left-off" paintings of the word "many", Emperor Taizong thought that writing should be separated, with one contraction, two less contraction, three contraction and four show. The "contraction" mentioned here means that the pen gesture contracts without stretching, which means "short"; "Front" means that the gesture is extended without contraction, which means "long". This is the case with the apostrophe painting of the word "Duo", and so are other strokes. Otherwise, the glyph will appear dull and monotonous, and there is no art at all.

Whether the "center of gravity" of a word can give people a sense of stability can and should be varied, but it cannot be ignored that the center of gravity of a word must be "stable". Ou Yangxun's writing, at first glance, feels shaky, but on closer inspection, it is still like a Millennium ancient pagoda. Although the "center of gravity" is to be dumped, it is still as good as new. Some poorly written words look steady and impartial when lying flat on paper, but if they stand up, they tend to stagger and the center is unstable. Therefore, one of the easiest ways to judge the center of gravity of a word is to stand the paper up and see if it is "collapsed".

Whether the three-character potential is natural. In the Song Dynasty, Wang Anshi had a famous saying in his book: "You don't have to force yourself to understand God." The so-called "no need to force" is the "natural appropriateness" that calligraphers and calligraphy theorists have always emphasized. When Wang Xizhi taught his son Wang Xianzhi's calligraphy experience, he said: The characters should be "naturally wide and narrow", "the points should be left blank, the distance should be even, and the up and down should be natural and steady". The reason why Wang Xizhi's calligraphy is "unique in the beauty of a family" lies in "naturalness". This is calligraphy m2.

Fourth, see if the composition and brushwork of the whole calligraphy work are in one go and integrated. A good calligraphy work, like a good landscape painting, must be coherent between words, with short but meaningful strokes. The juice is white and black with moderate density, which gives people endless reverie and strong artistic appeal. Inscriptions and seal cutting in calligraphy works are also an integral part of the whole, so we should pay attention to whether they are used properly and play a icing on the cake; If you gild the lily, it will also damage the artistry of the whole work.

Fifth, look at the use of pen in calligraphy works ... >>

Question 7: How to evaluate the quality of calligraphy? Strictly speaking, there is no distinction between good and bad calligraphy, because what can be called a calligraphy work must contain the author's personality, and can personality be said to be good or bad? Let's just say that everyone likes different styles.

As for the relationship between calligraphy and vision and mind, it is of course very close. Some great politicians have distinct personalities, which, in his words, may not be comfortable enough (not in line with the public's taste), but they do reflect the temperament that ordinary people do not have; The relationship between a calligraphy work and the author's vision and mind, like the relationship between the overall effect and the theme of a poem, basically determines the tone and how far the work can go.

Question 8: How to evaluate a calligraphy work? First, look at the momentum of the layout from a distance, then look at the fine brushwork to the rhythm of writing, the color of line drawing, the flavor of calligraphy, the interesting structure of pen and ink, and so on, and then look at the structure of individual words.

Question 9: How to evaluate and appreciate the calligraphy works (1) Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Ode to Literature": "The wonderful way of books is that the spirit is the highest, followed by the form and quality, and what the ancients can describe is only both". What he emphasized was to write the spirit in form, and to have both form and spirit. I think before reading a work, we should first make clear the aesthetic standards of calligraphy appreciation, which is the basis of correct calligraphy evaluation and appreciation. Secondly, we should master the methods of calligraphy appreciation, which is the key to calligraphy evaluation and appreciation. First, the aesthetic standard of calligraphy Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning 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. The power of stippling lines 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 the stippling lines in Nine Potential. He pointed out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen heart often do stippling" and "making stippling as powerful as possible". 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 be centered on the beam, so that the stippling lines can be pure and harmonious, 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, we should not only pay attention to the acceptance and echo of the beginning and the end, but also pay attention to whether the middle part is flashy and frivolous.