It is the logical premise of Sun's style theory to be convinced that calligraphy creation is a subjective act and that the author has unquestionable sovereignty over the work. This relationship model is also a fixed view of classical Confucian literary thought, such as Shi Mao? Guan Yu prefaced: "The poet's ambition is also based on his heart and his words are poems. Emotions move in the middle and are formed in words. " Liu Xie's Wen Xin Diao Long? Stylistics also says that "a person's emotions are expressed in form, a hairstyle is expressed in words, a cover is hidden or even obvious, and a character is expressed from the inside out". Although it is different from Pu Shu in literary theory and artistic theory, it is similar in essence. Now, Sun quoted "Smile" in Lu Ji's "Wen Fu".
But simply speaking, style is from people to books, from meaning to form, which belongs to mechanical reflection theory. Sun also realized that people and books are interlinked, and it is difficult to explain them clearly. He can only "speak like words". It is difficult for calligraphers to try to cross barriers and convey "truth" in their creation, even if they only leave "real" fragments, which is not easy. Moreover, there is no specific personality behind some calligraphy texts that can be defined and estimated independently (such as Han and Wei inscriptions and Dunhuang calligraphy). However, on the premise of explaining the validity, we can confidently explain the works in front of us, but we can't safely say that we have a comprehensive understanding of the author's personality, because the existence of the author outside the text is more epistemological than the existence of the text. Modern stylistics uses the concept of "creative personality" to solve this problem. "Creative personality" is not a simple subjective personality. This "personality" includes not only the author's personal personality factors, but also his unique choices and operations in calligraphy and culture. The author's existence in the book and his existence outside the book constitute two dimensions to explain "style". There are contradictions, differences and inextricably linked between them. The reconstructed author image is called creative personality.
Sun believes that the formation of style depends on innate temperament endowment, acquired learning and the influence of the times. This combination is close to putting forward the modern stylistic concept of "creative personality". When talking about the influence of innate temperament on style, he said: "Straight people are unhappy; Rigid and stubborn; It is better to admire those who gather than to restrain them; Those who break the rules are out of line; Gentle people are hurt by soft gangs; The brave are too arrogant; Suspicious people indulge in stagnation; Those who are late and heavy will eventually be dull; Those who are light and trivial are quenched in vulgarity. " This is obviously influenced by the tradition of judging talents and people by Yue Dan since the Han Dynasty. Because people judge a person by what people say, or judge a person by what they say, it has a long history in China. The Book of Changes said: "The faithless are ashamed of their words, the doubters are ashamed of their words, the lucky ones talk less, the impatient ones talk more, the false accusers wander, and the unguarded ones feel wronged." Not only that, but he emphasized that learning the day after tomorrow can make up for the congenital deficiency: "Either you despise what you have done, or you pity what you have done." Self-righteous people will be poor and will never be tempted; There must be a reason why people who laugh at themselves are still in love. "And firmly grasp the intermediary link of artistic practice, pointing out that" those who are unlearned cannot learn. "It is emphasized that those who observe are still refined, those who plan are expensive, the conditions cannot be similar, the observation cannot be refined, the distribution is still sparse, and the legacy is not observed". At the same time, Sun did not stop at the static analysis of innate endowment and acquired cultivation factors, because artistic creation is a psychological process of constantly constructing the interaction between subject and object. Although personality has a relative stability, it is by no means static and solidified, and always shows a process of development. "Beginner distribution, but seeking justice, knowing justice and chasing danger, can avoid danger and return to justice. At first, it was not enough, then it was over, and then there was a meeting. At the meeting, people and books were old. "And" Old "is the perfect combination of people and books. In addition, Sun does not judge various works, genres and styles with a fixed and rigid aesthetic view. Is to lead personal style to the fashion of the times. Judging from the diachronic development of calligraphy, he put forward: "Quality replaces prosperity, and beauty is easy to be popular. "Although the book is written, it should be remembered; However, the change of spring, the change of literary quality, the evolution of pool and the smoothness of body. Today is different when you can be naughty in ancient times. The so-called gentle and honest, then the gentleman is also. " This is the inevitable law of the development of calligraphy art. Sun believes that ancient quality and modern beauty are both "Chang Ran in shape", and should also affirm that "ancient" and "modern" are only the reflection of time and fashion in artistic form, and do not contain inevitable value factors. The key lies in learning from the past, respecting quality but not leaving the times, tending to the present, respecting beauty without confusion. This is not only his personal judgment, but also deeply branded by the rulers of the early Tang Dynasty as "respecting the king with Confucianism", which is a manifestation of the orthodox authoritative discourse exercising its ideological power in stylistics. This shows that the significance of individual existence lies in obeying the current state of tradition. He is a voter of the times, and his style is subject to this situation, in which he seeks his own expression. In his creation, he not only faces the traditional calligraphy text order, but also is subject to the political and cultural text environment of the times. It is in this pattern that he "conforms to the times" and "grasps the spirit" and forms his own style. It seems to be a footnote that Liu Xie said, "If the husband moves repeatedly, he will succeed in his studies, and if he is in the middle, he will be alive."
Sun was obviously influenced by Liu Xie in defining the style and form of his works. "Wen Xin Diao Long?" "Ji" describes the language styles of different article genres such as chapter, table, expression and discussion: "Chapter and table are almost elegant. Ode to poetry, then the feathers are almost beautiful. When the characters move, the pattern of the Ming Dynasty is broken. If the preface of historical theory is annotated, the normal school will be at the core. If the inscription is engraved on the tablet, the system will deepen. Julian's seven words are engaged in rhetoric. This is a trend that conforms to the body, and so are those who contribute with the change. " In calligraphy, although Sun shouted "strong name for style", he still did not ignore the existence of objective style when talking about style. When writing works of different styles, calligraphers will show different styles, and the author should conform to the style required by the style itself. He described the characteristics of five calligraphy styles, that is, "seal script is warm and smooth, officials should be precise, grass is expensive and smooth, and chapters are easy to check." This is a brief summary and requirement of calligraphy language style, but it is far from a style, because a simple calligraphy style or requirement cannot determine the style. The core of style is the expression of the writer's subjective creative personality in discourse style, and calligraphy is only the carrier of creation. Therefore, Sun said: "The intimate hand must be returned, and the same origin is different; The transformation technique is still the same as the * * * tree. "This also illustrates this point.
From the perspective of typology, Liu Xie divided the styles of literary works into eight categories: "elegance, elegance, refinement, attachment, complexity, magnificence, novelty and frivolity." They are further divided into four opposing groups, namely, elegance and novelty, elegance and expressiveness, complexity and conciseness, magnificence and lightness. It is considered that these four groups of eight styles contain all the differences in the style of the article. Although "style" is not accurately divided into "eight styles" in Pu Shu, it also involves the category of style. After analyzing the characteristics of different calligraphy styles, Sun said: "The wind is strong, the temperature is warm, the drum is dry, and the elegance is harmonious. Therefore, it can achieve its feelings and form its sadness and joy. " Among them, Fengshen, Yanrun, Coolness and Elegance can be regarded as four different styles. Among them, "Fengshen" is accompanied by "Yanrun": "Let everyone go home and keep their backs; The bones are preserved, but they are nourished. " "Enthusiasm" and "elegance" are incompatible: "Those who are quick have a chance to escape; Those who come back late will be happy ""or calm and graceful, with bones and muscles; Or frustrated, sharp. " It seems difficult for the above groups of styles to form a strict style form system. But at least it gives us all kinds of extreme and opposing style expressions. Mr. Tong Qingbing said: "Style is the expression of the maturity of the writer's creative personality, and it is also the expression of the development of a certain discourse form to the extreme." We say that it is the maturity of calligrapher's creative personality that promotes the free use of calligraphy discourse forms, develops to the extreme, and forms the calligraphy style. This requires a certain calligraphy style, and a certain calligraphy style needs to be cultivated and dyed by the calligrapher's emotions to develop into a calligraphy style. And "there are many sources, different temperaments, and the combination of hard and soft at first, work and rest" means that the creation involves people's personality differences and emotional changes, and the style of writing is also diverse.
It is worth mentioning that Sun is not satisfied with a single calligraphy style, because it is only a "partial work" rather than a perfect one. His style view is unity of opposites or compromise, because the beauty of neutralization is what he really advocates. When talking about "fast speed" and "staying late", emphasize both: "It will be opposite to speed and the lines will be beautiful; Indulge in being late, it will be wonderful. You can not hurry, the so-called long stay, because it is late, it is late, and it will be given posthumously. If you are not idle and quick-thinking, it will be difficult to communicate with others. " When talking about "backbone" and "vigorous", it is even more said that "its strength is not enough, its cover is not enough, its work is dangerous, and the boulder is the road. Although charming, it will be physically poor. If Qiu Li lives in a superior position, his backbone will be very poor. Like a husband's fragrant forest, the buds are burned in the air, but there is nothing to support, and the blue marsh floats, only green is ridiculous. " This has nothing to do with what Liu Xie said in the article: "If you lack character, you will gather in the Hanlin; If you lack the strength of character, you will be embarrassed; Only seaweed is bright and noble, and Feng Ming, who is solid in writing, coincides with me. He further concluded: "if you don't violate the rules, you will be different ... you will not understand the rules, avoid the rope straight, and it will be awkward at first glance." If you hide, you will be poor, abnormal, and an armchair strategist. "This composition is very similar to the generation mode of the Book of Changes. Each group contains two opposite types, namely, two instruments give birth to four images, and four images give birth to gossip. On the contrary, they complement each other and help each other and evolve into infinitely complex and rich styles. From this point of view, China's calligraphy is a self-sufficient art with strong vitality.
At this point, Book Score brings the acquired learning and text environment as the intermediary link between the author and the text into the creative personality, and the most elusive writer's personal temperament has to be recalled, forming two directions to explain the causes of style, but he is hesitant in choosing, emphasizing the latter as a simple solution. When it comes to the calligraphy of the two kings, it is even more an evaluation: "The book of the right army means that it has been learned for many generations, and goodness can be used as a teacher and a mirror. A lesson from the past is also a deep harmony. ..... Since children are respected, we should work hard to establish an adult. It is also a person who looks detached. " It can be seen that family is still the decisive factor.
Mr. Qian Zhongshu's "Talking about Art Record": "The words and deeds of body and mind can go hand in hand, such as beads and relics, which change color with change. It doesn't matter whether it is true or not; It can also be an inner and outer layer, such as walnut mud bamboo shoots. If you shell, you can get meat. The ancients said it after perseverance, and the rest wanted to be ahead. " This tells us that due to the tension of various complex emotions and motives in creation, the conflict between consciousness and subconscious has caused different forms of expression. Modern psychology, especially psychoanalysis, shattered the myth of the unity and integrity of the soul and disintegrated the existence of a so-called "self" that can be controlled and expressed. This also makes the relationship model between Sun's writers and works fragile, and therefore falls into a dilemma, and it is issued that "what a husband wants is not dangerous and is easily exhausted by famous sayings; That makes sense, but it is still difficult to form on paper and ink. After that, although I talked about some technical things, "to get rid of its ignorance", in the end, some people still care: "It is deep; Make "vertical and horizontal pull switch, etc." also; In fact, we can understand that he conveyed a message to later generations, that is, he attached importance to the text. Because eternal calligraphy is written with a pen, the investigation of millions of texts should start with a pen, and the text paradigms such as the shade of ink, the dryness and wetness of ink, the severity of rhythm, the urgency of rhythm, and the fragmentation of images. , marked by contemporary calligraphy art, are all elaborated in Historical Records, such as "Don't be too hasty, get sick frequently, do it smoothly, and be thick and dry". Its eternal practical significance is here.
Buffon's famous saying "Style is man himself", Mr. Qian Zhongshu explained: "Learning is a foreign thing. If you put your words into words, you will be reflected in him. " That is, "the author draws on himself to write." People in the text, you don't have to live in the world, think that their true meaning should be "people in the text." Western hermeneutics puts forward that the text has its own independent life, which disintegrates the naive assumption that the text has a definite meaning. In this way, the focus of thinking will shift to the works and their relationship with the text order of the whole history. Returning to the text seems to cut off the connection between the creative subject and the work, but we can regard personal temperament, cultural environment and the text as a complete system. They are a "compound multiple decision-making structure" with differences, gaps and connections, and they are a new synthesis. Style is no longer a necessity, but a possibility, which is probably what Sun really wants to tell us.
refer to
1. Jin Xuezhi: China Calligraphy Aesthetics, Jiangsu Literature and Art Publishing House, 1994.
2. Wang sharp weapon: "Wen Xin Diao Long Proofreading Certificate", Shanghai Ancient Books Publishing House 1980 edition.
3. [Switzerland] Heinrich? Wolfling. Artistic Stylistics ―― Basic Concepts of Art History. Pan translation, Renmin University of China Press, 2004.
4. Tong Qingbing: Artistic Creation and Aesthetic Psychology, Baihua Literature and Art Publishing House, 1992 edition.
5. Qian Zhongshu: Talking about Art Records, Zhonghua Book Company, 1994 edition.
6. Chen Zhenlian: Calligraphy, Jiangsu Education Press, 1992.
7. Yang Jichao: A preliminary study on the problem of "people and books are old", Proceedings of the Sixth National Calligraphy Symposium, Henan Fine Arts Publishing House, 2004.
Wang Zhizhong: Tianjin University of Technology
Editor in charge: Zhang