Application and expression of calligraphy

The aesthetic expression of calligraphy has an intuitive way, that is, it is compared with the beauty of natural objects. For example, in Jin Weiheng's Four-body Book, "Delicate and outstanding, if it is a dragon, it is a metaphor; You are falling, if the rain falls into the sky. " There is a symbolic way, that is, it is implied by people's articles, such as Xiao Yan's "On the Advantages and Disadvantages of Ancient and Modern Scholars" in the Southern Dynasties: "Liu Yunshu has extraordinary general ideas, but his moral body is not prepared. Yu Jianwu's book is afraid of convergence and thinks highly of itself. The view is not refined, and it belongs to Xiao and Cai Yuan. " There is also a saying that people's sense of taste, smell, hearing and touch are all used to create illusions, especially the sense of taste is highlighted. After the Six Dynasties, there appeared the phenomena of "writing books by taste" and "discussing books by taste". For example, Yuan Ang in the Southern Dynasties said in the Book Review of Ancient and Modern Times: "The book of Yin Jun, such as the book of Korea, makes people feel strong against waves, and its rhyme is ultimately boring." Let's call it "poetic expression". Calligraphy is rooted in the soil of traditional culture and contains the unique survival wisdom of the nation. Kung fu talents are intertwined, and masculine and feminine styles appear. The orientation echoes the philosophical deduction of avoiding dialectical relations, regarding white as black, hiding as obvious, and taking emptiness as wealth, so that the appreciator can only express himself in aesthetic comprehension. Without poetic expression, many aesthetics will only fall into vagueness, mystery or agnosticism. And "taste" or "taste" originally refers to the feeling people get when they taste food, and later evolved into a basic attribute of enjoying things and events in spiritual activities, which not only includes various feelings such as sour, sweet, spicy, salty, fresh, fragrant and smelly, but also includes experiences such as chewing, distinguishing, tasting, understanding and grinding. Its profound connotation and rich extension are the best words to express the aesthetic "poetry" of calligraphy, which can contain almost any kind of thought, concept, viewpoint and style characteristics of calligraphy.

Excellent calligraphy works show the relationship between calligraphy form and quality, which has both form and quality. Form shows quality and quality shows spirit. In this regard, Zhang Tang Huaiguan said in the "Introduction": "Only Xiao Wang is rich and simple, but slightly lacking in elegance. If there is water in the stream and snow in the mountain, it will be very clear and not as good as the taste. " He also said in "On Characters": "Although there are many functions and voices, there is little temperament and no image. Both are dross, and their taste is known. If there is no way, there will be a lack of spirit. " According to the context, "taste" means that some works have an acceptable appearance, but they lose their spirit because of the lack of internal quality. Form is appearance, quality is spirit, and appearance is meaningless without inner essence. Endoplasm comes from appearance, but it is not determined by appearance. No matter how hard you try, if you don't have enough literacy, the endosperm will rot without luster. In the Qing Dynasty, Fu Shan said in "Writing Words to Show Children and grandchildren": "The stone tablets of the sacred forest and the beam are like objects in the mold, and they have no taste at all. I don't know who it is for, it's disgusting. " Among them, "taste" emphasizes the relationship between form and quality of calligraphy, not a simple addition of the two, but an organic combination of the two. Form is the feeling and natural expression of calligrapher's inner thoughts. Deliberate copying and imitation can only get its form, but not its quality. It is true that the essence is hard to come by, and it is impossible for a calligrapher to express his emotions in one stroke. After all, calligraphy is not painting but abstract stippling.

The expression of "momentum" in calligraphy needs "momentum", which refers to an inertia formed by the action of strength, wrist strength and arm strength. Calligraphers can only respond and run to the guide to complete the stippling writing. Song Jiangkui said in "Continued Book Spectrum": "Slow down to mention the ancient times, and hurry up with strange ideas; There is a front to show off its spirit, and there is no front to contain its smell. When you lean straight, the shackles are all in the trend. " In the preface to stirrup, Tang quoted the words in the Forbidden Classics of Hanlin: "I used to be taught by the Korean official department, and its legal name was stirrup." Now I will teach my son, so don't pass it on. Push, drag, twist and drag, too. This is over, it tastes good! " The "flavor" mentioned here is exactly the "momentum" of calligraphy according to the meaning in the text. They emphasize that "momentum" is not a neutral concept, but tends to be masculine, demanding fullness, dripping, concentration and strength; "potential" not only refers to the ink that has been formed, but also refers to the inevitable but unformed ink potential; "Momentum" is closely related to the power of the pen. The requirements for calligraphers, such as "strong crossbows and strong knots" and "falling rocks and cliffs", are not only the momentum of calligraphy, but also the strength of calligraphy. Express the true meaning of calligraphers.

Calligraphers can only create works with diverse patterns and strong spirit if they have true feelings. Song He said in Mo Hanzhi: "When you first eat, there is less sweetness in your throat, and when you don't eat olives, the taste will last for a long time and you will never forget it." Ming Xiangmu said in "Elegant Words of Calligraphy": "It is a declaration of virtue, with pure temperament and neutral temperament. Hold this to meet people, taste this to learn by yourself, be good at reading and learning, and get it. " Chen Jieqi in Qing Dynasty said in his Footprints of the Bamboo Studio: "The love for calligraphy and painting is not as good as before. Taking the inscriptions on bronze as the original, its flavor is the deepest, followed by stone drums, Qin carvings and Han Liguoto. " What they mean by "taste" here refers to the emotional problems of calligraphers. Its essence is: on the one hand, the excitement and volatilization of calligraphers' emotions is their understanding and understanding of life and their thinking about life. On the one hand, calligraphers' emotions are not simply expressed as ecstasy or sadness, but as ups and downs and slow strokes. Emotion is the source of calligrapher's creative power and the calligrapher's specific state of mind, but it is not the final representation of calligraphy. On the other hand, calligraphers' emotions are hidden and complicated, and it is a manifestation of their inner activities for calligraphers to dispel and purify their emotions through their works. This kind of performance will also radiate different feelings and feelings because of different audiences.

To express the essence of calligraphy "melting", Tang Doumeng said in "Xu Fu Example": "All kinds of tastes are wonderful". Xiangmu said with elegant words in calligraphy: "Books are old and young, with different shades. Although the situation is different, the reason is the same. ..... The so-called less, full of gas, elegant and elegant, all kinds of tastes, thousands of romantic is also ". Kang Youwei said in "On Guang Yi and Zhou Shuang": "I love the eight points in China's books, because it is between India and the official, simple and prosperous, and I have never lost my quaint spirit. After the spirit passed, it became very old and the taste was very light. " Their "taste" here emphasizes that the art of calligraphy must achieve multi-element mastery. "Integration" contains traditional philosophy and artistic aesthetic wisdom; The highest pursuit of traditional humanistic spirit is the harmony between man and nature, which highlights the integration and inseparability of man and nature, emotion and scenery, subject and object, and heart source and nature. As far as the art of calligraphy is concerned, we should learn from others, absorb various nutrients, and constantly enrich and achieve ourselves. Wei and Jin calligraphy is a good example of integration. At that time, all kinds of calligraphy were mature, and the interaction between calligraphy greatly enhanced the artistic expression and appeal. Aesthetic consciousness tends to be independent and perfect, and temperament, generosity and style are consciously incorporated into the creation, which emphasizes the unity of reason and reason, and advocates the combination of rigidity and softness, rich bones and smooth flesh. In order to oppose the weak style of calligraphy, calligraphers also consciously introduce aesthetic styles such as "bone" and "strength" to highlight the complementarity and integration of "masculine" and "feminine". Of course, this "harmony but difference" has both integration and independence, similarities and differences, and differences and similarities. This is the essential connotation of "harmony".

Expressing the essence and taste of calligraphy "enlightenment" can also express the realm of calligraphy "enlightenment" Zhang Huaiguan said in the Book of Comment on Medicine Stone: "Therefore, if you are clumsy, Ming Dow will be ignorant, if you are stupid, you will be confused, if you learn, you will be surprised, and everything will be in front of you." He also said: "The emperor followed the virtuous and noble path, and invited a false name to decorate himself. Voice and reality each account for half, which is enough to be called a virtuous gentleman. Those who know its taste are happy. " Kang Youwei said in his "Guang Yi and Zhou Shuang Talk": "There are many essays with endless changes. After Fiona Fang's manipulation, they have melted into their own genre, and their charm will be absolutely unique, and scholars can be complacent." Among them, "taste", "taste" and "rhyme" emphasize that calligraphy must be "style", "enlightenment" and "Tao" which are the core categories of calligraphy aesthetics. Although its value orientation is complex and profound, it conforms to the law of the operation of heaven and earth and the characteristics of the change of things. It goes with the flow, conforms to the situation, does not serve things, and realizes human spiritual freedom. Therefore, calligraphers should appreciate the endless road of the universe with a clear mind; Appreciate the principle that things are constantly moving and opposites are transformed into each other, turn god into subtle nature, cultivate and temper your own mind, get rid of all external constraints, and live freely, not for utility. Only in this way can one turn one's mind into a page full of brushwork, Yun Qi and fragrance.