It is the logical premise of Sun Guoting's style theory to be convinced that calligraphy creation is a subjective behavior and the author has unquestionable sovereignty over the works. This relationship model is also the fixed view of classical Confucian literary thought, such as Mao Shi? Guan Yu's preface says: "A poet's ambition is also based on his heart, and his speech is a poem. Emotions move in the middle and form in words. " Liu Xie, Wen Xin Diao Long? Stylistic also talks about "a man's emotions speak in form, a haircut speaks in text, a cover is hidden and even obvious, and a character is expressed from the inside". Although it is different from Shupu in terms of literary theory and artistic theory, it has similarities in essence. In Shupu, Sun Guoting quoted Lu Ji's Wen Fu for "Laughing at the music, sighing at the words".
However, simply speaking, style is from person to book and from meaning to form, which belongs to mechanical reflection theory. Sun Guoting also realized that it is difficult to explain clearly that people and books are interlinked, and he can only "speak as if they were in shape". It is hard for calligraphers to try to overcome barriers and convey "truth" in their creation, even if only "real" fragments are left behind, 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. In modern stylistics, the concept of "creative personality" is used to solve this problem. "Creative personality" is not a simple subjective personality. This "personality" contains both the author's personal personality factors and his unique choices and operations in calligraphy and culture. The author's existence in the book and his existence outside the book are isomorphic into two dimensions to explain "style" There are contradictions, differences and inextricable links between them, and the reconstructed author image is called creative personality.
Sun Guoting 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 concept of "creative personality", a modern stylistic concept. When talking about the influence of innate temperament on style, he said: "Those who are straight are not fast; Rigid and stubborn; Those who admire and gather are worse than those who are restrained; Those who break the rules are out of line; Gentle people are hurt by soft help; The brave are too arrogant; Suspicious people indulge in stagnation; Those who are late and heavy are finally dull; Those who are light and trivial are quenched in vulgarity. " This is obviously influenced by the tradition of judging talents and figures in Yuedan since the Han Dynasty. Because people judge people by what they say, or by what they say, it has a long history in China. The Book of Changes says: "Those who betray will be ashamed of their words, those who are suspicious at the center will be ashamed of their words, those who are auspicious will be few in words, those who are impatient will be full of words, those who falsely accuse the good will wander, and those who lose their defense will be wronged." Not only that, he stressed that the acquired learning can make up for the congenital deficiency: "Either you despise what you have done or you pity what you have done." Self-conceited people will be poor, and they will never be tempted; Those who are self-deprecating are still in love, and there must be a reason. " And firmly grasp the intermediary link of artistic practice, pointing out that "there is no one who can learn without learning." It is emphasized that "those who observe it are still refined, those who plan it are expensive, the situation can't be similar, the inspection can't be refined, the distribution is still sparse, and the remains are not inspected". At the same time, Sun Guoting did not stop at the static analysis of innate endowment and acquired cultivation factors, because artistic creation is a psychological process in which the interaction between subject and object is constantly constructed. Although personality has a kind of relative stability, it is by no means static and solidified, but always shows a process of development. "Beginners' distribution, but seeking justice, both know justice and pursue danger, can not only avoid danger, but also return to justice. At the beginning, it is said that it is not enough, and then it is over, and then it is a meeting. At the time of the meeting, people and books are old. " And "old" is the perfect combination of people and books. Moreover, Sun Guoting does not judge all kinds of works, genres and styles with a fixed and rigid aesthetic view. It is to lead personal style to the fashion of the times. From the diachronic perspective of the development of calligraphy, he put forward: "quality replaces prosperity, and beauty is easy because of vulgarity." Although the book is written, it is suitable to remember words; However, the change of chun, the change of literary quality, the evolution of chi, and the physical Chang Ran. When you can be naughty in ancient times, there are different disadvantages today. The so-called gentle and gentle, then a gentleman. " This is the inevitable law of the development of calligraphy art. Sun Guoting thinks that both ancient quality and modern beauty are "physical Chang Ran", and it should also be affirmed that "ancient" and "modern", "quality" and "beauty" are only a reflection of time and fashion in artistic form, and do not contain inevitable value factors. The key lies in learning from ancient times, worshiping quality without deviating from the times, tending to the present, respecting beauty without being confused with abuses. This is not only his personal judgment, but also deeply branded by the rulers of the early Tang Dynasty as "respecting the king by Confucianism", and it is a manifestation of the orthodox authoritative discourse exercising its ideological power in stylistics. This shows that the significance of personal existence lies in obeying the traditional current state. He is a voter of the times, and his style is subject to this situation, seeking his own expression in this situation. In his creation, he is not only faced with the traditional order of calligraphy texts, but also subject to the political and cultural text environment of the times. It is in this pattern that he "meets the times" and "grasps the spirit" to form his style. Liu Xie's remark that "if a husband's eight bodies move repeatedly, he will succeed in his studies, and his talent will be in the middle, which will lead to blood gas" seems to be a footnote.
Sun Guoting is obviously influenced by Liu Xie about the definition of the style and form of his works. "Wen Xin Diao Long? "Set" describes the language style of different article genres, such as chapter, table, performance and discussion: "Chapter and table are almost elegant. Ode to ode poems, then the feathers are almost beautiful. When the character is moved, the pattern is broken in the Ming Dynasty. If the preface to the historical theory is annotated, the normal school will be in the core. If the inscription is engraved on the monument, the system will be deepened. Lian Zhu's seven words are engaged in Qiao Yan. This follows the trend of the body, and those who make contributions with the change are also. " In calligraphy, although Sun Guoting shouted "strong name for style", he still didn't ignore the existence of objective style when talking about style. When writing works in 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 styles of calligraphy, namely, "seal script is gentle and fluent, officials want to be precise and dense, grass is expensive and smooth, and chapter affairs are easy to check". This is a brief summary and requirement of the verbal style of calligraphy, but it is far from being a style, because a simple style or requirement of calligraphy cannot determine the style. The core of style is the expression of the writer's subjective creative personality in the discourse style, and calligraphy is only the carrier of creation. Therefore, Sun Guoting said: "The intimate hand will return, and if it is the same source, it will be different; The technique of conversion is still the same as that of * * * trees. " It also illustrates this point.
Liu Xie classified the style of literary works into eight styles from the perspective of typology: "One day is elegant, the other is far from Austria, the third is refined, the fourth is attached, the fifth is complicated, the sixth is magnificent, the seventh is novel, and the eighth is frivolous." They are further divided into four opposite groups, namely, elegance and novelty, elegance and expressiveness, complexity and conciseness, magnificence and lightness. It is considered that these four groups of eight styles include all the differences in the style of the article. Although "style" is not exactly divided into "eight styles" in Shupu, it also touches on the category of style. Sun Guoting, after analyzing the characteristics of different calligraphy styles, said, "The wind is strong, the temperature is gentle, the drum is dry, and the elegance is harmonious. Therefore, it can achieve its affection and form its sorrows and joys. " Among them, "Fengshen", "Yan Run", "Kujin" and "Elegance" can be regarded as four different styles. Among them, "Fengshen" and "Yanrun" are accompanied by each other: "Let's make everyone return home, and keep their backbone; The bone is preserved, but it is moistened. " "Dry energy" and "leisure and elegance" are at odds with each other: "Those who are quick and energetic have the opportunity to escape; Those who stay late will enjoy the meeting ""or calm and graceful, with bones and muscles; Or if you are frustrated, you will be sharp. " The above groups of styles seem to be difficult to form a strict style morphological system. But at least give us a variety 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 calligraphers' creative personality that promotes the free use of calligraphy discourse forms, and when it develops to the extreme, it forms calligraphy style. In this way, a certain style of calligraphy is required, and a certain style of calligraphy needs to be developed into a calligraphy style through the emotional pottery and dyeing of calligraphers. And "there are many sources, different temperaments, and the combination of rigidity and softness at first, and the separation of work and rest" means that people's personality differences and emotional changes are involved in creation, and the book style is also diverse.
it is worth mentioning that Sun Guoting is not satisfied with the single calligraphy style, because it is only "partial work" rather than perfection. 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 "late stay", emphasize both: "It will be the opposite of speed, and the line will be beautiful; Indulge in being late, and it will be wonderful. Can not speed, the so-called stay for a long time, because late is late, posthumously rewarded. If you are not idle and quick-witted, it is difficult to communicate with others. " When talking about "backbone" and "vigorous", it is even more said that "if its strength is too much and its cover is too small, if it is dry, it will be dangerous, and the boulder will be the road. Although it is charming, it will have a poor physique. If Qiu Li lives in a superior position, his backbone will be poor. Like a husband's fragrant forest, the fallen buds are burning in the air, but there is no support, and the blue marsh is floating, and it is only green and ridiculous. " This has nothing to do with what Liu Xie said in his article: "If you are lacking in character, you will gather in the Hanlin; If you lack the strength of character, you will be embarrassed; Only the algae is bright and high, and the Ming Feng of the solid style of writing also coincides with mine. He further concluded: "If you don't commit a violation, you will be different in harmony ... You will be ignorant of the rules, avoid the straightness of the rope, and it will be awkward at first sight. If you hide it, you will be poor and abnormal, and you will be on paper." This composition is very similar to the generation mode of the Book of Changes, and each group contains two opposite types, namely, two instruments give birth to four images, and four images give birth to eight diagrams, which complement each other on the contrary and help each other, and evolve into infinitely complicated and rich styles. From this point of view, China's calligraphy is a self-sufficient art with strong vitality.
At this point, Book Score has incorporated the intermediary links between the author and the text, such as acquired learning and text environment, into its creative personality, and combined with the personal temperament of the most elusive writer who had to be recalled, it has formed two directions to explain the causes of style, but he is hesitant in choosing, and emphasizing the latter has become a simple solution. When talking about the calligraphy of the two kings, it is even more important to evaluate the competition: "The book of the right army is called learning by many generations, and good can be used as a master, and it can be taken as a guide. It is also a deep harmony to learn from the past and understand the present. ..... Now that the child is respected, it is necessary to work hard and set an adult. It is also a person who looks detached. " It can be seen that affection is still the decisive factor.
Mr. Qian Zhongshu's Record of Talking about Art: "The words and actions of body and mind can be parallel sides, such as the pearl relic, which changes color with it, and it doesn't matter whether this is true or false; It can also be two layers inside and outside, such as walnut mud bamboo shoots. If you shell it, you can get meat. The ancients said it after holding it, and the rest would like to bid before. " This tells us that the conflict between consciousness and subconsciousness has caused different expressions due to the tension of various complex emotions and motives in creation. 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 Sun Guoting's relationship model between writers and works fragile, and therefore it is also in a dilemma, and issued a "what the husband wants is not easy to be exhausted by famous sayings; It makes sense, but it is still difficult to form in paper and ink. After that, although I talked about some technical things, "to get rid of the ignorance", but in the end, some people care about it: "The depth of the predicate is also; Make "vertical and horizontal pull stopper and so on is also; In fact, we can understand that he conveyed a message to future generations, that is, he paid attention to the text. Because the eternal calligraphy is to use a pen, and the textual investigation of the embodiment of millions should start with the use of a pen, and the text paradigms such as the thick and light ink color, the dry and wet ink color, the light and heavy rhythm, the slow and urgent rhythm, the broken image, etc., which are marked by contemporary calligraphy art, are all specifically expounded in the Book of Records, such as "Don't stay too fast, send out constant diseases, be dry and smooth, and will be thick and dry". Its timeless practical significance is here.
as Buffon famously said, "Style is man himself", Mr. Qian Zhongshu explained, "Learning is an external thing. If you put your words into words, you will be reflected in the man." That is, "the author draws on himself to write." If people are in the text, they don't have to live in the world, and they think that their true meaning should be "people are in the text". Western hermeneutics puts forward that the text has its own independent life, which collapses the naive assumption that the text has a given definite meaning. In this way, the focus of thinking will shift to the work and its relationship with the text order of the whole history. Returning to the text seems to cut off the relationship 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 structure" with differences, gaps and connections, and a new synthesis. Style is no longer a necessity, but a possibility, which is probably what Sun Guoting really wants to tell us.
references
1. Jin Xuezhi: China's Calligraphy Aesthetics, Jiangsu Literature and Art Publishing House, 1994.
2. Wang sharp weapon: "Wen Xin Diao Long proofreading certificate", Shanghai Ancient Books Publishing House, 198.
3. [Switzerland] Heinrich? Wolflin, Artistic Stylistics ―― Basic Concepts of Art History, translated by Pan Yaochang, Renmin University of China Press, 24.
4. Tong Qingbing: Artistic Creation and Aesthetic Psychology, Baihua Literature and Art Publishing House, 1992.
5. Qian Zhongshu: Notes on Art, Zhonghua Book Company, 1994.
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 symposium on calligraphy, Henan fine arts publishing house, 24.
Wang Zhizhong: Tianjin University of Technology
Editor: Zhang Huiyu.