He is good at cursive script and official script, especially his official script, which is the first time to use flying white brushwork. Zhang Huaiguan's Book Ends Volume lists Wei Heng's ancient prose, Cao Zhang and cursive script as wonderful works, and Li Shu as works, which shows that his calligraphy achievements are very high. "Four-style Calligraphy Interpretation" is an important calligraphy treatise of Wei Heng, which embodies his calligraphy thoughts and has made breakthrough achievements in many aspects, and has high historical value. Now choose the person who wants it and describe the fifth one:
1. Established a systematic and comprehensive view of calligraphy. Most of the book theories before "Four Styles of Books" expressed their views on book integration, or chose a method, and naturally there were some discussions with broader horizons. But "four-body book potential"
From the scope and content, this paper systematically and comprehensively discusses the development origin and formal beauty characteristics of various calligraphy styles for the first time. The fusion from book to four-body is not only an increase in quantity, but also a qualitative leap, which also shows that the vision of four-body book has shifted from local to whole, from individual to general, and from side perspective to all-round perspective. Judging from the order of discussion, it discusses ancient prose, seal script, official script and cursive script in turn, that is, it discusses the time and reason of its appearance in turn according to the order of its appearance, which shows its clear concept of calligraphy development. By the end of the Han Dynasty, the four book styles were basically mature, and they had developed quite well after the Three Kingdoms and the Western Jin Dynasty. Therefore, "four-body calligraphy" can be said to be a comprehensive summary of the four styles of calligraphy.
To this end, Four-body Calligraphy also fully quoted two calligraphy theories by Cui Yuan and Cai Yong, forming a relatively comprehensive system. Here, although running script became popular, it appeared late and there were few commentators in the society (there is no monograph on running script by Wei Jin people so far).
Its comprehensiveness is also reflected in the orderly combing of the development of various styles. As for cursive script, it first said: "There were cursive scripts in the Han Dynasty, and I don't know the author's name. When it came to Zhang Di and Qi, it was called a good work. Later, Cui Yuanhe Cui Wei was also called a worker. "
[1(] p1065) Starting from the origin of cursive script, it is quite plain to describe the appearance of famous artists. Then it discusses the development of cursive script in Han Dynasty, enumerates Zhang Zhi and his brothers Jiang Xu, Liang Xuan, Tian Yanhe, Dan Wei, Luo Hui and Zhao Xi, reveals their respective calligraphy achievements and style characteristics, and points out the time sequence between them, which is simply a brief history of cursive script development. Generally speaking, The History of Four-body Calligraphy has a good understanding of the development of various calligraphy styles, which makes it the first monograph to comprehensively sort out the history of China's calligraphy. Moreover, the four books also follow the method of image description of predecessors, and through vivid description, they reveal the different characteristics of various books and the differences in formal beauty, showing their comprehensive and systematic grasp of various books.
2. Traditional calligraphy, which established historical criticism, is a historical and cultural phenomenon after all, and its appearance and development also need to be examined from a historical perspective. In the past, when calligraphy theory, a four-style calligrapher, talked about a certain style of calligraphy, he occasionally referred to the time when this style appeared, but he could not consciously explore the historical reasons for its appearance. The value of four-style calligraphy lies in its clear understanding of the historical inevitability of the emergence and evolution of calligraphy. Taking Xiao Zhuan as an example, this paper discusses the role of Qin Shihuang's unified writing in the four-body calligraphy: "Qin used seal script, burned the first canon, and there was no ancient prose." [1(]p 106 1) This can explain the social and political reasons for the prevalence of Xiao Zhuan. Say it again:
"Peaceful eastward movement, governors engage in politics, different home countries, and lovely words. In the early years of Qin Shihuang, Li Si, the prime minister, gained and lost, which was not suitable for Qin Wen to play. The company wrote Cang Xie, the CRRC government ordered Zhao Gao to write Calendar, and the Taishi ordered Hu Wuzheng to write erudition, all of which took history as the great seal, or the so-called small seal. " [1(]p 1062) This essay discusses the history of Xiao Zhuan from the perspective of calligraphy itself. "The princes set up the government, the family is different from the country, and the words are beautiful" tells the inevitability of the emergence of Xiao Zhuan. The social function of writing determines that it must be consistent. However, the fragmentation in the Spring and Autumn Period and the Warring States Period led to the fuzziness of the characters, showing a negative attitude towards the four-body script. It is pointed out that unification is an objective necessity. Gains and Losses, Those Who Don't Conform to the Qin Language, and All Learn from the Great Seal, or Save and Change, expound the ways and methods of font unification, especially gains and losses and save and change, and point out the main laws of font evolution. Then, the main calligraphers and representative calligraphy works at that time were listed, which showed the unique vision of calligraphy history. And made a historical investigation on the characteristics of calligraphy.
Such as Lishu: Cheng Miao: "Change Dayin from prison, those who get less will lose more. The square must become a circle, and the circle must become a square. " [1(] p1062) is still not specific enough, but it undoubtedly shows that the history of four-style books has noticed the internal relationship between the styles that appeared before and after, and has shown its historical vision. What is particularly commendable is that when discussing the style characteristics of specific calligraphers, the History of Four-style Calligraphy consciously uses the method of historical comparison, so that people can not only see the characteristics of each calligrapher, but also see the origin and pulse of each calligrapher's style. For example, cursive script, he said: "Emperor Zhang arrived and spent all his time together, claiming to be a good work. After Cui Yuan and Cui Ai, they were also called workers. Du Shi's killing words are very safe, and the book is slightly thinner; Cui Shi writes well, but his words are sparse. People who promote agriculture in Zhang Boying have become skilled, and all the clothes and silk at home must be learned before practice. ..... and Jiang, Liang, Tian Yanhe, and General, all disciples of Boying, who are famous all over the world, but not as good as them. " [1(] p1065) It is obvious that the styles of the main cursive writers at that time were expressed quite clearly from the perspective of comparing similarities and differences and origins. This historical comparison method has had a far-reaching impact on calligraphy research and even poetry evaluation in later generations. The more wonderful discussion on the comparative origin of poems in the Southern Dynasties, Wen Xin Diao Long and some later works can't help but start from here.
3. Put forward the concept of calligraphy creation and aesthetics combining subject and object: the source of body image calligraphy lies in nature, which is what ancient people thought, so-called "because of other birds".
"Like all kinds" and so on. However, these statements only show that words are related to all things in nature or originated from nature, and how the image of nature becomes the image of words has not been discussed in depth. "Four-body Book Potential" said, "Once upon a time, in the Yellow Emperor, I created creation. Those who have fallen in love with chanting and Cang Xie will write a book instead of tying ropes, covering them with bird tracks and inspiring their thoughts. " [1(]p 106 1) "The sky hangs its image and does as it says. His writing style is brilliant and his composition is shattered. Because of sound and understanding, things are in an orderly way. " [1(]p 1062) Obviously, "four-body book potential"
People have noticed that there is a process from "Bird's Trace" to writing. In this process, people are not idle as the main body. "Seeing" and "thinking" show that the subject must first "see" natural phenomena, and only after "thinking" can there be "book contract" like the image of nature, that is, words. Therefore, the earliest hieroglyphics did not simply imitate everything in nature, but included the subject's knowledge and understanding. Therefore, "quasi-thing" also has its "square", which is by no means a simple description of everything or even a simple imitation. It can be seen that whether it is very close to the real thing in the early days or gradually away from the original work, the characters formed are the product of the blending of the subject and all things in nature, including the prototype principle of all things and the thinking and understanding of the subject. This process of observing and thinking about the images of all things in nature to form words is called "body image", and so is the subject's aesthetic appreciation of calligraphy works.
Seeing the ancient characters in Zhu Ji's book, "I always steal to read them, so I strongly praise their beauty, which is not enough for the sages before going to the toilet to preserve the image of the ancients." "Look at the pen and ink, attentive, potential and body, and stop. ..... what you see makes you think, not what you say in words. " "In short, consider the spacing of fonts." [1(]p 1064) "Never brave and broad, with a moderate body image and radiant face. ..... talk about it in detail and talk about it. " [1(] p1065) The above paragraphs are all written in four-body calligraphy, which discusses the aesthetic situation of calligraphy. Compared with previous and contemporary calligraphy theory, the depth and taste of discussion have been greatly improved. Here, "Four-body Book Potential" puts forward the aesthetic concept of "body image" very clearly. On the whole, "body image" should include: when the subject faces the object (calligraphy image), it will first produce aesthetic pleasure ("stealing music"), which is the basis and premise of further aesthetics; Then, the subject enters the stage of "thinking", thinking because of the image, giving full play to the subject's imagination and presenting the image of calligraphy in the subject's mind ("keeping the image"); Then use rational thinking to explore the subjective connotation of the author's "intention" and statutes embodied in the works. It can be seen that the aesthetics advocated by the Four-body Book Trend is a blend of subject and object, with both visual thinking and rational thinking, both pleasant psychological experience and profound rational enlightenment.
4. The aesthetic way of calligraphy has been developed. The aesthetic way of calligraphy was also involved in calligraphy theory in the past. Four-style calligraphy has developed obviously in three aspects:
The first is the distance conversion from far to near. The four-style book Situation and Word State says "Look at it from a distance ... and observe it" [1(] p1061], and the four-style book Situation and Shili also says "Look at it from a distance ... and observe it from a distance" [65438] Obviously. Through its vivid description, we can fully realize that it has noticed different aesthetic effects of the same work at different distances; Appreciating the same work at different distances actually highlights the artistic characteristics of calligraphy works, that is, it is of epoch-making significance to fix the main function of calligraphy on artistic appreciation.
The second is to formally propose "fighting". Li Shuti, written by Cheng Gongxiang in the Western Jin Dynasty, puts forward the viewpoint that calligraphy works are "boring" [2(]p 10]. When talking about Liang Hu's handwriting in Four Books, he said: "Wei Wudi hangs in his tent and plays with nails, thinking that he is better than an official."
(p 1064) Although it is about Cao Cao's appreciation of Liang Hu's works, it reveals his attitude towards calligraphy works: pondering. In connection with the aesthetics mentioned above, we have reason to believe that "Si Ti Shu" embodies a further conscious understanding of aesthetic interest and playful characteristics, and the consciousness of integrating aesthetics into entertainment is very clear.
The third is to point out the psychological characteristics of the appreciation subject in the aesthetic process. The psychological state of the subject in the aesthetic process is an important issue that many calligraphy theories have noticed, but it is clearly pointed out in the Four Styles of Calligraphy that it is understandable, but it cannot be conveyed in words. "Four-body Book Potential" says: "Seeing things leads to thinking, not introduction." [1(] p1062) The subject observes and meditates on the aesthetic object, and his inner "pleasure" is understood and discovered, but it cannot be expressed in words. This seemingly clear and hazy state is precisely the psychological feature of aesthetics.
5. Put forward the realm of formal beauty of calligraphy: harmony first depends on two paragraphs in Four-body Calligraphy: "Look at its tactics, moisten its pen and ink, concentrate on it, balance its potential and body, and stop it." Or follow the rules, follow the rules; Or Fiona Fang is arrogant and his power is controlled by events. It is bent like a bow and straight like a string. Correct, if you are in Sichuan; If rain falls in the sky, it will fall. Or lead a pen to struggle, if the swan goose flies high; Or if you hang Ana, you will be decadent if you hang tassels. "[1(]p 1062] This is the beauty of ancient Chinese prose." Everything is appropriate and there is a constant system.
Or the dome is majestic, or the needle row is cracked, or the rope is straight, or it is tortuous, or the cult is long, or the rules are twisted. Trim short phase, different materials are the same. Work hard and never stop. Fiber waves are thick and scattered. ..... "[1(]p 1065] This is the beauty of official script. On the surface, these two paragraphs are not much different from other people's handwriting, but if you carefully taste them, you will find that the four-body calligraphy posture puts forward the realm of formal beauty of calligraphy with words with both rational thinking and vivid description: harmony and two considerations. One aspect is the harmony between potential and body, that is, "the average of potential and body". From its description, "the balance of potential and body" embodies the harmony between static and dynamic in calligraphy form, including static and dynamic. The former is like "correcting is special, if the dragon is in Sichuan; It is a static scene, but it contains the trend of "up" and "down", which is very powerful and sporty. The latter, such as Dome of the Dome and Endless Separation, is a large space for writing, which is naturally static, but this broad outline actually shows infinite tension and has a tendency of continuous stretching; There is a separation between Chinese characters and stippling, but calligraphy works can express their meaning of "endless life" by echoing, which seems to be disconnected and connected. Although this kind of dynamic and static harmony is not clearly expressed by the corresponding concepts in the four-body calligraphy style, it is found and vividly depicted. On the other hand, the harmony between rules and "power control". There is no law without rules, and there is no book without creation. The discussion before the History of Four-body Books was not unknown, but unclear. "Four-body Book Potential" clearly recognized this point and made it clear: "Or obey the rules; Or Fiona Fang is arrogant, and the right is based on things. " "When things are right, there is a constant system. ..... or rules and regulations. Shorten the relative, different materials have the same potential "[1(]p 1065].
Regardless of the round pen Fang Bi, sometimes it is necessary to strictly abide by the rules, and sometimes it is necessary to improvise, and the final effect is to achieve harmony. Therefore, the overall style of the whole calligraphy form should be the harmony between rules and changes, that is, the harmony between rules and "control" and the harmony between techniques and "adaptability".
You can find it at abc2 1 1 Wen Hui.