[Keywords:] China's calligraphy; Calligraphy teaching; Calligraphy appreciation; Artistic conception; Art culture
【 China Classification Number 】 I206.7 【 Document Identification Number 】 A 【 Document Number 】
Calligraphy is a kind of spatial and static plastic arts with brushwork and composition as the means of expression, lyric lines and their combinations as the form of expression, the meaning of words and the calligrapher's ideological interest as the content of expression, and pleasing the eyes and cultivating the soul as the social function. It embodies the beauty of nature and human life. China's calligraphy is extensive and profound, with a history of over 3,000 years. It is a symbol of the excellent culture of the Chinese nation, with distinct practicality and artistry.
However, with the rapid development of science and technology, China's calligraphy is gradually ignored or forgotten. Especially under the influence of western modernization, young people really know little about China's traditional calligraphy art, let alone have a high level of appreciation. How to make China's calligraphy used by people, especially contemporary college students, cultivate their interest in appreciation and learning, and make calligraphy education play a role in quality education is a major issue that calligraphy educators should study. Under this cultural background, combined with my practice in college calligraphy teaching, it is of great practical significance to discuss how to improve students' calligraphy appreciation ability in college calligraphy teaching from four aspects: calligrapher's background, famous works, writing form and writing content.
First, pay attention to the appreciation of famous calligraphers in past dynasties.
To appreciate calligraphy works, we should pay attention to the appreciation of calligraphy works by calligraphy masters in previous dynasties. Calligraphers in China have left a wealth of fine calligraphy art, which not only provides valuable information for studying the history and law of the formation of calligraphy art and the economic and cultural development of past dynasties, but also provides valuable artistic wealth for the appreciation of calligraphy art, and many famous calligraphers have emerged in past dynasties. Han calligraphers Zhang Zhi, Zhong You and Cai Yong; Wang Xizhi, Wang Xianzhi and Wang Xizhi, calligraphers of the two kings in the Eastern Jin Dynasty, were also called book saints. Tang Dynasty calligraphers, Yu Shinan, Chu Suiliang, Sun, Yan Zhenqing, Zhang Xu, Huai Su and Liu Gongquan; Song Dynasty calligraphers Su Shi, Huang Tingjian, Mi Fei and Cai Xiang; Calligraphers Zhao Mengfu and Xian Yushu in Yuan Dynasty; Ming Dynasty calligraphers Wen Zhiming, Dong Qichang and Xu Wei; Calligraphers in Qing Dynasty: Wang Duo, Fu Shan, Deng, Kang Youwei and Wu Changshuo; Modern and contemporary calligraphers such as, Yu Youren, Shen,,, and so on are numerous.
These famous calligraphers left us a lot of calligraphy works. Kay, Xing, Cao, Li and Zhuan Xu are all famous. Regular script, Wei Bei's Monument to Zhang Menglong and Twelve Kinds of Longmen are the representative works, which are highly praised by later generations for their bold, muddy weather, vigorous brushwork, bold stippling and fantastic implication. Yan Zhenqing's Li Yanqin Monument is dignified and majestic, and it is a model of regular script, so learning regular script should be learning beauty. Running script, Preface to Lanting by Wang Xizhi, is the first running script in the world. Cursive script, Huai Su's "Autobiographical Post", is elegant and unrestrained, beautiful and smooth, and is known as a whirlwind of surprise showers. Lishu and Shimen songs are bold and unrestrained, and the ceremony tablet is ultra-thin and solid, all of which are Han Li's fine works. The seal script "Taishan Stone Carving" is a masterpiece of seal cutting, with neat shape and smooth strokes.
These masterpieces are well-known at home and abroad and are sought after by the book world, which is the highest achievement of the ancient and modern book world. Appreciating these masterpieces of calligraphy art can not only appreciate the superb calligraphy skills of the masters of past dynasties, but also understand their profound and unique artistic opinions, as well as their broad minds and noble personalities.
Second, carefully understand the calligrapher's resume and writing background.
The artistic conception of calligraphy works is profound. In order to appreciate calligraphy works better, we need to know the calligrapher's resume and writing background. This is a key to appreciate the mystery of calligraphy. People often say? Like this? Of course, this statement cannot be understood absolutely, but it also has some truth. Because a person's calligraphy is directly restricted by his aesthetic taste, and the formation of aesthetic taste is often closely related to his ideological and emotional temperament. Therefore, in the unique image of calligraphy art, generally speaking, there are often some forms of expression of the author's thoughts and personality. It can be said that the artistic beauty of calligraphy depends on each calligrapher's artistic accomplishment, thoughts and feelings, aesthetic taste, aesthetic ideal and feeling of objective reality beauty. Yan Zhenqing's "Sacrifice to My Nephew", "Shooting with Guo Servant" and "Liu Zhongshi" are examples. The manuscript of "My Nephew Ji Ming Sacrifice" is the manuscript of Yan Zhenqing's memorial service for his nephew Ji Ming. When writing, the author was deeply excited by the struggle experience of that year. He felt the indignation of the common enemy and the grief of Yan's family. When the passionate feelings came to an end, he simply ignored the fineness of calligraphy and did it in one go. But because of this, I can freely exert my long-accumulated exquisite calligraphy skills. The smoothness and decisiveness of the whole article and the subtlety of the changes at the turning point naturally prove this point. The appearance of a large number of thirsty pens was originally an expression of emotional excitement in the face of words, rather than artistic considerations, but it made the calligraphy image more heroic; But also a new creation of cursive script since the Eastern Jin Dynasty. "Liu Zhongshi" was written when the author learned of two military victories and felt very gratified. The whole post is 4 1 word, and the handwriting is much larger than his general running script. The brushwork is bold and unrestrained, vigorous and powerful, and it really has the trend of dragon and tiger leaping. The last word in the last paragraph is exclusive to one line, and the last one runs through the whole line with a thirsty pen. The author's relief after learning of two military victories is vivid.
Third, pay attention to the form analysis of the works of famous calligraphers.
When appreciating calligraphy works, we must pay attention to the form analysis of words. Cut into the calligrapher's words from the internal composition of the book, study carefully, experience carefully and appreciate the inner beauty of the book. The internal composition of China's calligraphy includes brushwork, ink painting, structure and composition. This is the most basic link to grasp the art of calligraphy. [4] The lines of brushwork vitality. Calligraphy is represented by stippling lines, and different lines give people different aesthetic feelings. Calligraphers' pen skills include lifting pressure, frustration, weight, thickness, strength, Ji Xu and so on. Combined with the changes of pen dryness, moistening, thickness and lightness, the performance of stippling lines can be expressed. The vibrant rhythm and rhythm of dots, paintings and lines in China's calligraphy show the beauty of touching forms of calligraphy.
The vivid five colors of ink painting. In the past, people discussed the art of calligraphy, talking more about brushwork and composition, and less about pen and ink. In fact, ink painting is also an important factor in the formal beauty of calligraphy. Bao, a scholar, calligrapher and calligrapher in Qing Dynasty, pointed out that Mohism is a key to calligraphy when answering Nine Questions in Yi Ba Shu Zheng. Later, Kang Youwei also said in Bazhong that if a book wants to be natural, it must be equipped with bones and muscles, blood is thicker than bones, muscles are hidden in meat and jade, and its posture is strange. [6] The traditional book theory emphasizes that ink is colorful, that is, thirsty, moist, thick, light and white. The main meaning is that although ink is only black in one color, it is varied and colorful in calligraphy art, and the shade and dryness of ink painting can express the artistic beauty of calligraphy works. Dry and wet, knowing white and keeping black are the important contents of Mohist thought. The ink color in the works is thick or light, dry or moist, which can create a magnificent or charming artistic conception of calligraphy.
Structure, also called structure and arrangement by the ancients, is a combination of Chinese characters and lines. According to China Calligraphy Dictionary, it refers to the connection, collocation and combination between Braille and painting, and the arrangement of true painting and virtual white. [7] Cai Yong in the later Han Dynasty expounded the structure in On Pen. If you want to construct a font, you must be like a thing. If a bird is in shape, if an insect eats a grain, if a mountain is like a tree, it can be described as a book with harmony [8]. Although calligraphy is not a figurative plastic art, it is an image art aimed at beautifying Chinese characters. In order to use the pen to write words with grace and charm, we must pay attention to the combination of stippling. Generally speaking, there are several pairs of principles in the combination of stippling: primary and secondary, simple and positive, opposite and harmonious, virtual and real. The rise and appearance of stippling must be displayed through appropriate blanks; Blank interest should be born through various forms of stippling. In this regard, Deng in the Qing Dynasty had a creative exposition, saying that calligraphy and painting can be sketched, the secret place can not be ventilated, and white is often treated as black, and curiosity is revealed. [9] Deng's theory that white is black illustrates the essence of this structure. On this point, Hu Xiaoshi also discussed it in On Calligraphy. Words are written in ink, and no words are white. Ink is a word, white is also a word, and words and no words are equally important. [ 10]
How to shape Chinese characters with fixed structure with characteristics and feelings is the ability of calligraphers to combine or divide them in a limited space by stippling. The strong style of calligraphers is often reflected in this respect. For example, when Zhao Ziang wrote The Little Chef of Hippo in Yuan Dynasty, he first learned to draw the shape of a bird flying, which gave the little chef of Hippo a hint about the image of a bird flying. Ou Yangxun writes deep words, and the water on the left is like a stone hanging from a stream. The water is flowing and flowing. A dangerous rock on the right is dazzling, and the two sides set each other off.
Composition refers to the overall arrangement of calligraphy works. Liu Xizai, a literary critic in the late Qing Dynasty in China, said in his Introduction to Art: The composition of a book, as small as a word or a number, as large as a line or a few lines, a painting or a few posts, should avoid each other and correspond to each other [1 1]. To appreciate the beauty of calligraphy composition, we must first appreciate avoiding the important and calling for the beauty of corresponding images. At the same time, we should also ponder the beauty of the whole work. Look at the echo between dots and paintings, the expression between words, the reflection between words, the whole word is full of vitality, you feel the lively charm, and then pay attention to whether the artistic conception of the work is implicit.
Fourth, concentrate on studying the writing content and appreciate the artistic conception of the work.
Appreciate calligraphy works, but also carefully study the content of writing. The perfect unity of content and expression is the common feature of all artistic works. No matter what font and form are used in calligraphy works, no matter what stippling lines, structures and rules are used, it is to express the artistic conception of the written content. Although the theme of the same content can be expressed in many forms, as far as a calligraphy work is concerned, the author must do everything possible to achieve the perfect unity of content and artistic form in order to express his thoughts and feelings from his own unique perspective and according to the content written. Therefore, with the help of text content, through analysis and association, we can explore the author's artistic expression ideas, and then appreciate the artistic conception of the works. In fact, the title of some calligraphy works is the theme of the works, which plays an important role in appreciating calligraphy works. Some writing topics are subtle, intriguing and savoring. Coupled with the analysis of stippling lines, structure and laws, we can also appreciate the beauty of the artistic conception of the works.
[1] Shen. On calligraphy [M]. Shanghai: Shanghai Education Press, 1978.
[2] Sun. Book spectrum [M] Shanghai: Shanghai Painting and Calligraphy Publishing House. 2007 edition.
[3][4] Wang Yuechuan China Calligraphy Culture Grand View [M]. Beijing: Peking University Publishing House. 1995.503.29.
[5][9] abalone. Shu Zheng on the Art Boat [M]. Hong Kong: Zhonghua Book Company Hong Kong Branch. 1978 Edition.
[6] (Qing) Kang Youwei was born in Sun Yuxiang and Li Zongwei. Guang Yi and Zhou Shuang talk [M]. Beijing: Beijing Library Press, 2004.
[7] Liang Piyun. China Dictionary of Calligraphy [M]. Guangzhou: Guangdong People's Publishing House. 1987.
[8] (Song) edited by Chen Si. Brilliant book garden [M]. Beijing: Beitu Publishing House. 2003。
[10] edited by Ji Fukun. China library [M]. Nanjing: Jiangsu Fine Arts Publishing House. 1988.
[1 1] Liu Xizai. Art outline [M]. Shanghai: Shanghai Ancient Books Publishing House, 1978. Attached: