Sun's Book Score is a masterpiece of calligraphy theory before the Tang Dynasty, which is of epoch-making significance and still has important guiding significance for today's book world. Next, I will bring you a paper about Pu Shu's significance to calligraphy creation, hoping to help you.
China's calligraphy is an artistic system with strong characteristics of the times. Calligraphy not only effectively maintains the space of visual art, but also has the beauty of melody and rhythm of music art, and cursive script is the strongest embodiment of this feature. Cursive script shows a dynamic rather than static artistic space. Sun gave us a detailed explanation in his book Music. China's calligraphy art is not only a famous art with a long history, but also will bring value enlightenment to the new art school in the future.
When we appreciate calligraphy works, we should properly understand the cultural background of the times when the author created them, and analyze whether the brushwork of calligraphy works is legal and innovative. Usually, we can appreciate calligraphy works from the following aspects: the length and thickness of characters' strokes, whether the dryness and wetness of pen and ink are changeable and appropriate; Whether the "center of gravity" of the word gives people a sense of stability; Whether the structure of words is natural; See if the brushwork and composition of the whole calligraphy work are integrated; See if there is room for artistic imagination to prevent the theory from being impractical.
First, the duality of calligraphy beauty
When we study the characteristics of abstract formal beauty of China's calligraphy, we can first seek enlightenment from the standpoint of extensive national cultural atmosphere. Calligraphy art is based on China Chinese characters. Compared with other characters, Chinese characters have stronger space shaping ability and abstract beauty genes, and lines have obvious modeling factors, so as to describe the shape and significance of all things in nature. It is this abstract generalization of the existence law of all things in the world that forms Chinese characters, which not only shows the beauty of spatial modeling in painting, but also shows the duality of abstract beauty.
Calligraphy is full of charm in the process of creation, and the abstract features ensure that calligraphers can give full play to their talents, while the modeling features determine that calligraphers' creation cannot be separated from the constraints of established structures. Among the ancient calligraphers, Wang Xizhi's and Yan Zhenqing's regular script and running script, and Zhang Xu's and Huai Su's wild grass are the crystallization of calligraphers' maximum freedom under certain artistic rules. The tradition of China's classical aesthetics is: seeing less and more, seeing small and big, and seeing simple and complex. This is the case with cursive script in the calligraphy system. It seems simple, but it has a huge capacity. The reason is that it has the excellent ability to refine all kinds of life beauty and reflect the author's spirit and emotion.
Second, the book spectrum enriches the theory of learning books.
I spent a semester reading and appreciating Sun's Book Score, and I was deeply touched. Although I haven't fully understood the mystery, I still benefited a lot from my ignorance when I was a beginner. The vivid images in various natural objects are revived in his pen and ink and in his stippling lines, and several stippling paintings contain thousands of vivid images. This is what Zhang Huaiguan said, "Everything is contained and cut into one phase" [1].
Shupu first compares the "four sages" according to their calligraphy attainments. The "Four Saints" are two kings of Zhong Zhang, each with his own strong points. Then the various forms of each font are represented in the form of metaphor, which is neat and neat. For example, "Look at the difference between husband hanging needles and hanging dew, and run the wonders of thunder and falling rocks." This is the difference between hanging a needle vertically and hanging it vertically, just like falling rocks. Some people think this paragraph is beautiful, easy to understand, concise and a good paragraph, but I think the next one is more exciting. The first highlight is the general requirements for all kinds of seal scripts, that is, seal scripts advocate euphemism and tact; Official script needs to be exquisite and rigorous; Cursive script is expensive in fluency and unrestrained; Cao Zhang must be simple and convenient. After doing this, we will use various strokes between the lines to make the words show various effects. For example, "Drum Tired" tells us that adding some flying white to the text will make the text look more powerful.
The outstanding achievements of the Tang Dynasty are real books and cursive scripts. Sun said in "Music": "Grass is not really lazy; I really don't understand grass, and it's definitely not Korea; Really take stippling as the shape and quality, and turn it into temperament; Grass takes stippling as its temperament and changes shape into shape. Grass is good, it can't be turned into words; It's really a loss to draw, but it's worth remembering. Although the communication is different, it is generally related. " The difference between truth and grass should be clearer than what he said. I used to think that the real book was power and law, and cursive writing was writing and meaning. In fact, works and laws are not completely different concepts from words and meanings. Really has its own object (font), cursive script also has its own object, strictly fitting the object (such as writing is realistic), that is, the work, such as boldly separating from the object (such as painting is deformed), that is, writing, using the object, that is, forming and pouring affection, that is, God [2]. However, work is not without god, grass is not impossible, writing is not invisible, and it is really unintentional. All the differences are based on the method of obtaining meaning. "stippling is the form and quality", the method lies in the pen, and "turning into temperament" is the structure. The method of "transformation" lies in structure, and "stippling is temperament" means using a pen. The object of regular script creation is stippling, so the meaning and rhyme of calligraphy are reflected in the structure; The object of cursive script is structure, so the meaning and rhyme of calligraphy are reflected in stippling. This understanding broke the tradition and was widely recognized by later generations. Knowing this, we can get rid of the fog of fonts and get a glimpse of the fashion behind the book.
Cursive script is the highest form of calligraphy, which is different from other fonts. Therefore, when people create calligraphy, they always regard it as the best choice to express their inner feelings and personal character. Cursive script pays attention to writing skills and has its own unique principles. Sun put forward a clear opinion in "Book Score": "Today, write the principles of upholding, making use of and changing, so as to eliminate stupidity. Hold, that is, depth and length; Make, that is, vertical and horizontal traction and so on; Turn, that is, hook, plate, etc.; Use means the back and the like. " Holding refers to writing, which is divided into depth and length; Make, point to the pen, there are several kinds of left and right lifting; Rotation refers to the winding and rotation of the pen; Use, refers to the use of stippling to end words, which can be given or not. I think in our daily practice, "vertical and horizontal traction" can be understood as the linkage between the receipt of the previous pen and the start of the next pen, and the strokes move vertically and horizontally, forming a state of up and down hook and left and right traction. "Hook plate" can be understood as the rotation and echo of the pen tip in the writing process. When cursive script came into being, its writing process did have many characteristics different from seal script, official script and regular script. When describing the twists and turns of cursive script, Xiao Yan once said: "If you are ill, it is too late to wander around the green water", "If grapes spread, women radish entangles, muddy Han entangles, mountains and bears contend" and "Dancing with phoenix, Longteng twists and turns". Sun explained in Book Score that this turning brushwork is a unique form of cursive script. Form and quality are the foundation of things and an important basis for realizing the reality of things, so it is said: "Although grass turns well, it cannot be said." Pointillism is the temperament of cursive script, and temperament is the state of mind. The spirit of things is attached to the form and quality of things. That is to say, when cursive writing, every point of the painting is attached to the turning point of the whole word, so that the turning point is flexible, the stippling is beautiful and decent, and the spirit of the font is inspired according to its performance, which is an important factor for the success of cursive writing.
Third, Pu Shu's practical guidance on learning books.
Sun put forward the theory of "five virtues and five combinations" in "Book Score", saying that "God enjoys leisure and one combination; Knowing the benefits, the two are also close; When the gas is wet, the three are also; Paper and ink are in the same phase, and the four are also combined; Occasionally want a book, five in one. It is also good for the body of the heart to stay; It means against the trend, and the second is also good; The wind is dry and the sun is inflamed, and the three are also good; Paper and ink are not weighed, and four is good; Just be lazy. When you are good, the pros and cons are different. Where there are tools, there are tools, and where there are tools, there are tools. If you are good at five things, you can't stop thinking. Five combinations will be smooth. [3] "It not only analyzes various factors and subjective and objective conditions that cause good or bad effects in the process of calligraphy creation, but also emphasizes the importance of" success ". Ambition here refers to mind, emotion and mood. Obviously, the crux of the problem lies not in the calligrapher's state of mind, but in the authenticity and depth. If you are in a good mood, you can write a classic, such as Preface to Lanting Collection, and if you are in a very bad mood, you can also write a classic, such as the manuscript of Sacrifice for My Nephew. Sincerity, true feelings and deep meaning are indeed crucial creative states.
Sun said to him, "I am a beginner, but I want justice;" Knowing that justice is right, we must pursue danger; It can avoid danger and restore justice. It was not enough at first, and then it passed. After the meeting, people and books are old. " In this syllogism of learning calligraphy, it is pointed out that learning calligraphy can only reach the highest state of calligraphy through three processes: fairness, danger and justice, that is, "people and books are old" So what does "old" mean when people are old? The "old" here does not mean the old age of people. Being old is more than just clumsiness. It is a misunderstanding that calligraphy should reach a certain level of idleness, and it will naturally reach the realm of "people and books are old" without carving or doing it. Because, if only "old" is understood as clumsy, it is inconsistent with Sun's aesthetic style and the era when calligraphers advocated Wang Xizhi in the early Tang Dynasty. Sun and other calligraphers in the early Tang Dynasty praised Wang Xizhi's calligraphy, not because of his clumsiness, nor because of Sun's own calligraphy.
The core of "people and books are old" lies in grasping the sense of rhythm, which is not only a musical rhythm, but also a life rhythm. This rhythm is full of enthusiasm and expressive force, which is manifested as a kind of maturity, calmness and sophistication, and a clear spiritual order and rhythm externalization. "At first, it wasn't enough, then it passed, and then it passed." The so-called "communication" is the expression of the rhythm of life, so Sun continued, "Clock: fifty know life, seventy from the heart." Therefore, the rhythm of "people and books are old" comes from people's hearts. This is the characteristic that calligraphy is similar to music, and it is also the greatest charm of line art. Liang T once said: "You must know that the beginning is just and the structure is dead; In the end, this will be fair and flexible. " The old realm of art is not without statutes, nor is it limited to statutes, but a fair and perfect grasp of spiritual structure. It is a kind of mind, but also a kind of calmness after life tempering. In this way, "everyone is old" has something to do with age. Some arts are attached to youth, such as singing and dancing, and are based on a certain physiological basis. Calligraphy generally matures in middle age or old age, because it takes some time to master the performance of some tools such as writing brush, and it takes repeated tempering to convey and express your inner rhythm and emotional rhythm with writing brush. More importantly, the calm psychology and realm need to be honed by life. It is not a gorgeous flower, but a rainbow after the storm [4].
The art of calligraphy needs us to spend our whole life exploring its profound connotation. Second, don't be eager for quick success. Calligraphy art needs our persistent pursuit, not impetuous imitation; Calligraphy art needs to advocate individuality, conduct and individuality, but it can't be sentimental and charming with a mask. In the future, I will further study and study the book spectrum, enrich my theoretical knowledge and improve my calligraphy copying and creative ability.
refer to
Cui Shuqiang. Between black and white: China's calligraphy aesthetic culture [M]. Hefei: Anhui Education Press, 2008 (11):17.
[2] Lu Fusheng. Calligraphy ecology [M]. Shanghai: Shanghai Calligraphy and Painting Publishing House, 2003 (12): 49.
[3] Sun. Book notes [M]. Zhengzhou: Henan Fine Arts Publishing House, 2007 (0 1): 83.
[4] "Calligraphy" editorial department. Meditation on beauty. Criticism [M] Shanghai: Shanghai Calligraphy and Painting Publishing House, 2008 (0 1): 37.
[5] Chen. China's calligraphy spirit [M]. Changsha: Hunan Fine Arts Publishing House, 1992.
[6] Chen Zhenlian. Calligraphy aesthetics [M]. Xi 'an: Shaanxi People's Fine Arts Publishing House, 1993.
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