First, the aesthetic standards of calligraphy
Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning of calligraphy.
(A) calligraphy stippling lines
The stippling lines of calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image they form has no definite meaning, but should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense.
1, sense of strength
The power of stippling lines is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous.
2. sense of rhythm
Rhythm originally refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes.
3, three-dimensional sense
The stereoscopic impression is the result of using the pen in the center. The strokes written in the center are "reflected in the sun, and there is thick ink in the center of the painting, which is just in it. As for the fold, there is no deviation." In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere.
(B) the spatial structure of calligraphy
On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.
1, single word structure
The structure of a single word requires neatness, fluency, balance of length and density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger.
2, the whole line of qi
In calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires coherence from top to bottom. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked.
3. Overall layout
In calligraphy works, the combination of dots into characters, hyphens into rows and lines into chapters constitutes the cutting of space by dots, thus adding salt to the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs.
(C) the spirit of calligraphy
Spirit refers to the air and brilliance on a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. "Spirit comes first, shape comes second, and both can be seen in the ancients." It shows that spirit is higher than "form and quality" (the shape and appearance of stippling lines and their structural layout), and form and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing the spirit and expressing the spirit of nature will always be the highest realm that calligraphers strive to pursue.
On the one hand, the acquisition of calligraphy spirit depends on skillful creative skills, which is the premise and foundation; On the other hand, only when the creative mind is calm and comfortable, the creative center is fluent in both hands, and I forget myself, can I write my true feelings and integrate my knowledge and aesthetic taste.
Second, the method of calligraphy appreciation
Calligraphy appreciation is consistent with other art appreciation and needs to follow the general laws of human cognitive activities. Because of the particularity of calligraphy art, calligraphy appreciation shows uniqueness in methods. Generally speaking, we can start from the following aspects.
1, from whole to part, and then from part to whole.
To appreciate calligraphy, we must first look at the overall situation and have a general impression of its expression and artistic style. Then pay attention to whether the pen, knot, composition, Mo Yun and other parts are lively and lively. After the partial appreciation, we should stand at a distance to observe the overall situation, correct the "overall impression" obtained from the first viewing, and grasp it from a rational height again. Pay attention to whether artistic expression and artistic style are coordinated, where the works are wonderful and where there are shortcomings, and fully appreciate them from both macro and micro perspectives.
2. Restore the static image to the process of motion and expand the association.
Calligraphy works are relatively static as the result of creation. When appreciating, we should follow the author's creative process, adopt the method of "moving the line of sight", imagine the rhythm and strength of the pen and the different changes of the author's feelings in the creative process according to the order of the works, and restore the static image to the process of movement. That is to imitate the author's creative process and correctly grasp the author's creative intention and emotional changes.
3. From the image of calligraphy to the specific image, expand the association and correctly understand the artistic conception of the work.
In the process of calligraphy appreciation, we should fully develop the association, compare the calligraphy image with similar things in real life, and make the calligraphy image concrete. Then, starting from the aesthetic characteristics of things similar to calligraphy images, we further associate the aesthetic value of the works, so as to understand the artistic conception of the works. Appreciating Yan Zhenqing's regular script, we can associate his calligraphy image with specific images such as "Jing Qing presses the sword, Fan Kuai holds the shield, King Kong dazzles, and Lux punches", from which we can draw the following conclusions: strong physique-masculine-full of heroic temperament-neat and inviolable characteristics, and Yan Zhenqing's regular script is linked with dignified and majestic artistic style.
4. Understand the creative background of the work and correctly grasp the emotional appeal of the work.
Any calligraphy work is the accumulation of a certain cultural history and the product of a specific historical and cultural background. Therefore, it is of great benefit to know the creative background (including the creative environment), the unique cultural atmosphere contained in the work, the author's personality cultivation, aesthetic taste, creative mood and creative purpose. In order to correctly understand the author's creative intention and correctly grasp the emotional appeal of the work. In the Qing Dynasty, Wang Shu wrote in the inscription and postscript of "Virtual Boat Tang Yan Zhenqing to Uncle Haozhou": "The manuscript dedicated to Ji Ming was torn to pieces, and his book was frustrated and out of control. This "Gao" is calm, easy to make a guest appearance, and there is no strange promotion like "offering sacrifices to nephews". The so-called music-related party laugh has been sighed. Things are different, so is calligraphy. It should be reasonable. " It can be seen that both the author's personality cultivation, creative mood and creative environment have a considerable impact on the mood of the work. To. In addition, calligraphy works are influenced by the book style and aesthetic fashion of a specific era, which makes calligraphy works reflect a diverse cultural atmosphere. This undoubtedly increases the difficulty of calligraphy appreciation, but also makes calligraphy appreciation interesting.
In short, there is no fixed pattern in the process of calligraphy appreciation due to the influence of personality psychology. The above is just one method of calligraphy appreciation, and several methods can be used alternately in the process of appreciation. In addition, in the process of appreciation, we must comprehensively use all kinds of calligraphy skills, techniques and calligraphy theory knowledge to maximize our aesthetic evaluation ability and try our best to appreciate the artistic conception of the works according to the author's creative intention. We should strive to appreciate and comment, evaluate and reward the work, and put it in a specific historical environment to make a correct appreciation and fair and objective evaluation of the work. Of course, mastering the correct appreciation method is an important way to improve appreciation ability. Yang Xiong said: "You can see a thousand swords before you can see a thousand swords; Can read thousands of fu, and then can fu ",that's what I mean.
It is very difficult to judge the quality of calligraphy, and the subjective factors of the evaluator often play a decisive role. First of all, different hobbies, ups and downs have their own advantages. Some people like to be slender and beautiful, while others like to be thick and rough; Some people prefer regular script, while others prefer vivid and fluent cursive script. Secondly, there are different levels of literary accomplishment and aesthetic taste. Some people pursue realism, while others pursue freehand brushwork; Some people admire tradition, while others admire innovation.
Edit the conditions of calligraphy appreciation in this paragraph.
First, the appreciator should have various artistic attainments. As the saying goes, "benevolent people have different opinions, wise people have different opinions, and mediocre people have different opinions." Everything will produce different views and conclusions in the eyes of different people. The same calligraphy work will draw different conclusions because of the different qualities of the appreciator. Calligraphy itself can be said to be "both simple and complex", so simple that it conquered the appreciator with only black and white changes and scheduling; But it is a multidimensional structure. A deep understanding of a work depends on various knowledge structures. We should understand the works from a wide range of social knowledge and all angles and levels of life. Calligraphy, like other arts, is the product of human social life, involving politics, economy and culture. It is closely related to various ideologies, such as philosophy, religion, history and morality. In the meantime, it is complicated and unpredictable; Calligraphy is also closely related to other disciplines, such as philology, forensic medicine, psychology, physiology, folklore, history, aesthetics, music painting and so on. It is also integrated with other art categories and used for reference. Therefore, the more knowledge and experience you have in calligraphy appreciation, the deeper your understanding of the works will be, and the more pertinent and accurate your evaluation and conclusion will be.
Second, the appreciator should have extensive and profound calligraphy experience. In Wen Xin Diao Long, Liu Xie famously said, "Look at a thousand swords, and you will know their weapons; play a thousand songs, and you will know their sounds." It means that you have the experience of appreciating many kinds of swordsmanship, and you can naturally distinguish their advantages and disadvantages; You can play all kinds of tunes, so you know the melody. Calligraphy is the same as other arts. If we don't understand its basic laws and development, we can't give an accurate evaluation and appreciation.
The development of China's calligraphy has a history of more than 3000 years. Calligraphy art has appeared in China since 1 1 century BC. Oracle Bone Inscriptions wrote with a brush first, and then carved. Some of them use brush refill kit or ink after carving. In the long years, the evolution of Chinese characters has gone through various stages of development, such as Oracle bones, seal characters, lines, grass and letters, and many schools and calligraphers have appeared. Great calligraphers such as Wang Xizhi, Yan Zhenqing and Huai Su have emerged, and tens of thousands of immortal and precious heritages have been handed down, which can be said to be colorful. Although we can't practice them one by one, we should have a certain understanding of the basic situation of calligraphy development and the representative calligraphers in each period. We should also have a general understanding of the present situation and schools of calligraphy development. Have a certain understanding of the characteristics and laws of various calligraphy styles. Moreover, we should study one or two calligraphy styles, master the basic laws of calligraphy through study, research, analysis and comparison, and improve our ability to feel the beauty of calligraphy. The more you read, the deeper you learn, the faster your horizons will be, and the more you will have a say in appreciation and evaluation, otherwise calligraphy appreciation will be impossible. A person who doesn't know Ou, Yan, Liu and Zhao, Su, Huang, Mi and Cai, won't appreciate calligraphy. Marx said, "If you want to enjoy art, you must be an artistic person." . Calligraphy appreciation is not like this!
Thirdly, the appreciator should have a certain understanding of Four Treasures of the Study and its development history. "If you want to do a good job, you must sharpen your tools first." Any good product is impossible without handy tools or equipment. The production of calligraphy works is also closely related to the quality of Four Treasures of the Study. Therefore, it is necessary to understand and master the development and performance of China pen, ink, paper and inkstone. Oracle Bone Inscriptions was carved on animal bones or tortoise shells with a knife, and bronze inscriptions were made of clay and then cast. These are obviously different from those written in pen later. Even if they are all written with pens, the lines displayed are different because of the different performance of pens. Wang Xizhi's Preface to the Orchid Pavilion was written with moustache and cocoon paper, which is different from what we wrote in Chinese calligraphy today. What's more, since ancient times, there are more than 100 kinds of materials and methods for making pens. In addition, the varieties and properties of paper are also diverse. Other aspects, such as the reform of inkstone, the form and quality of mounting, also affect the effect and quality of calligraphy works. Therefore, when we appreciate and evaluate calligraphy works in different periods, we have to involve and study the tools and materials used by the authors.
Steps and methods of editing this calligraphy appreciation
(A) the overall grasp
Quote a sentence from Mr. Bai Jiao: "The standard of learning is the standard of appreciation". Learning calligraphy starts with basic stippling, then learning structure, and then regular layout. Appreciating calligraphy works, contrary to creation, must start from the whole, then to the part, and then to the core. Just like watching a person, when we meet, "we don't have to look at his eyes, ears, hands, feet and head, but at his manners, jokes and spirit." It mainly refers to "spirit" here. Wang Sengqian said: "The wonderful way of books lies in the supremacy of spirit, followed by form and quality, both of which can be compared with the ancients." . After observing the spirit, we should focus on the form and quality, which is the secret of appreciating calligraphy, but it is difficult for a painter to get its true meaning.
An excellent calligraphy work should first be able to infect the whole audience. If you lose the beauty of the whole, the local "beauty" will lose its meaning. And show the failure of this work. To grasp the whole, we must keep a certain distance from the work, and the overall layout and significance of the work will flash out at a certain spatial distance. In some works, the strokes and structure of each word are not bad, and even there are some skills, but the whole is still quite chaotic, just like the actors in the chorus, no matter whether they are high, middle or low, they all sing an octave at their throats. No matter how high and beautiful everyone's voice is, it loses its melody and the beauty of harmonious timbre.
The overall beauty of calligraphy works is the beauty of composition and layout of a work. Set points are drawn into words, set words into rows, and rows are connected to form a composition. Whether the rules and regulations are balanced and coordinated, and whether the care is rigorous, such as organized and disciplined soldiers; Or scattered like stars, dense, flashing in the night sky; Or the left and right thick stripes between lines, or the space that echoes up and down. Composition and layout are important factors for the success of a work. Although composition is an independent part of calligraphy techniques, it is closely related to the rhythm of writing, changes in Mo Yun, brushwork and momentum, structure and artistic conception. A work is a whole, which is combined into a balanced and unified whole through the changes of font size, length, expansion, opening and closing, pen weight and ink color. For example, Wang Xizhi's Preface to the Lanting Pavilion, the last article looks around and echoes from beginning to end, as if it were a relief. Blood ties are linked, and a hundred calls should be made. Therefore, the layout has achieved the artistic effect of undertaking from top to bottom, echoing from left to right and linking up from front to back. The beauty of composition and layout lies in conforming to the laws of natural beauty, and the beauty lies in its proper place. For example, Su Dongpo's cold food stickers are vague in structure, size, length and density, showing an unpretentious interest intentionally or unintentionally. On the contrary, too neat, uniform and unchangeable, chaotic and unattractive, as well as some rules that are too restrictive or too scattered, will not give people a beautiful enjoyment.
(b) Local analysis
Composition is to see the impression and effect of calligraphy works as a whole. Including the relationship between the text of calligraphy works and inscriptions, branches and cloth, inscriptions and seals. But on the whole, the effect is composed of local and single words and lines. If the words and lines of a single part are not beautiful, then the beauty of the whole cannot be discussed. It should be said that "a single line is beautiful, and if it is well combined, it will achieve higher beauty." Here we talk about "local analysis" from three aspects: word division, brushwork and ink method:
1, the word method. The Chinese character method is the structural arrangement of Chinese characters, that is, it is an ideal Chinese character method to "draw dots to form Chinese characters" through the processing of violating harmony, orthography, density, increase and decrease, front and back, tightness, smoothness and avoidance. Calligraphers have always listed the structure of words as the most important factor in calligraphy skills. Because no matter how beautiful the composition is, it is only a matter of form. If the text structure is not good, it is difficult to call it a good work. Sun in the Tang Dynasty said: "Several paintings are painted at the same time, and all the points with different shapes are listed as good figures and good children together. A little bit becomes a rule of a word, and a word is the final rule. If you violate it, you won't make it again, and it will be different. Its subtlety lies in pointing out that every word should follow a law: violation and harmony. We should seek the unity of the whole in complex changes.
China's Chinese characters have changed several times, and all kinds of calligraphy styles have their own structural rules. Previous calligraphers have discussed the structure. As calligraphy appreciators, we should learn and master these laws. Only by applying these laws can we make a correct evaluation of calligraphy works. For example, regular script, including Ou Yangxun's Thirty-six Chinese Characters Method in Tang Dynasty, Li Chunjin's Eighty-four Chinese Characters Method in Ming Dynasty, and Huang Ziyuan's Ninety-two Regular Script Frame Structure Method in Qing Dynasty, are all good reference materials for study. Wang Xizhi's Preface to Lanting is an excellent model for studying the structure of running script. Song of Grass Rhyme written by Song people is also widely circulated by later generations. Generally speaking, there are more elements of "violation" in cursive script and more elements of "harmony" in Kaili seal script. However, we cannot generalize. In modern times, some people emphasized "expressing feelings and aspirations" with grass method, which greatly reduced the composition of "harmony" and had the characteristics of the times. The so-called "it is not easy to use a pen through the ages, and a thousand words are handed down from generation to generation."
The so-called "ugly book" in the modern "popular book style" also pursues a word-formation skill of "seeking unity from various contradictions and creating certain contradictions from unity", with various artistic forms and rich word-formation changes, which makes the works present new visual effects. Although there has been endless debate so far, as an attempt, we might as well let the appreciator make a choice in the debate instead of killing him with a stick. When we appreciate it, we should examine and evaluate it from many angles, so as to enrich and improve our appreciation skills.
2. brushwork. Literally, it is a kind of brushwork. From the perspective of calligraphy appreciation, it should be to write standard stippling with the right pen. Stippling naturally changes with the style of the book. However, all the book reviews through the ages believe that "any pen (line or stippling) that can give people aesthetic feeling should be powerful". This power is called "brushwork" in traditional calligraphy. Judging whether stippling has "pen power"-that is, the aesthetic conditions of calligraphy lines-is mainly based on "roundness" and "astringency". A circle is a three-dimensional concept, not a plane. The rounded lines are full and powerful, with a sense of relief, which can show the power of full and rounded power. The round line is the result of using the pen in the center, that is, the strokes written by the ancients that "make the pen heart move in stippling and make the pen heart emerge from stippling". "Looking at the sun, there is thick ink in it." That is, the ancient people's metaphors of "broken hairpin", "painting sand with a cone" and "Yin Yinni". If the pen is tilted to one side (pointing to the end), the lines (stippling) written are flat and thin, floating and light, and there is no beauty at all.
Let's talk about "astringency". It's not slippery or slippery. The pen for writing is an artistic effect that lines break through the resistance of paper and strive for progress. The pen tip encountered obstacles and resistance on paper, but the pen moved slowly. The more fully obstacles and counter-obstacles are displayed, the more lines can show their sense of strength. As the predecessors said, "leak mark" is not only round, but also astringent. Because the water leaked from the house flows down the wall (earth wall), it is not like there is no resistance on flat and smooth glass, but there is resistance of sand and ash on the rough wall, which makes the downstream waterline produce water marks that are straight to the left or right and in the middle, which seems to be stagnant, just in line with the performance of calligraphy lines.
"Round" and "astringent" are also intrinsically related. The circle is the pen used in the center, and the astringency also requires the nib to stand upright, artificially creating a contrarian astringency. The ancients said that "horizontal scales are vertical", which means that writing horizontal scales should produce certain resistance like scraping fish scales in turn; It is an advantage to write a portrait of riding a horse and struggling forward, but controlled by reins. Liu Xizai said: "If you want to do something, if you refuse, you will try your best to argue with it, and it will not be smooth if you take it by surprise." Such lines are not slippery or dull, but have a calm, dignified, vigorous and old-fashioned effect.
In addition, the rhythm of calligraphy lines is also one of the important conditions for evaluating and appreciating works. The rhythm of calligraphy lines, like the length and speed of notes in music, cannot be directly described. It is reflected in calligraphy, not only in the length and thickness of lines, but also in the speed of strokes. No matter what kind of writing style, raising the pen is not a "uniform" action, but the speed of raising the pen is adjusted according to the writer's mood and the requirements of the composition, so that the appreciator can be infected by the writer's mood from the work.
Of course, all kinds of books have their own specific rules and standards. As "Book Score" said, "True stippling is a form that makes it emotional; Grass takes stippling as its emotion and takes shape. " Whether learning or appreciating calligraphy, we should learn and master these standards and laws. You should not only distinguish between priorities, but also be able to use them flexibly in order to enter the hall of calligraphy appreciation.
3. ink method. Ink painting is the skill of using ink. It is an important subject in the art form of calligraphy. "Scripts and pens are made of ink", "Meat is made of ink, and blood is made of water". Without the change and coordination of ink color, the effect of using a pen is difficult to achieve. Words lack flesh and blood and have no life. Therefore, Bao in Qing Dynasty said: "Calligraphy is based on pen and ink, and ink is a key to calligraphy." . Tang Sunguo Ting said, "If it is dry, it will dry up." He also pointed out the main points of using ink. Dry, moist, thick and dry are contradictory laws. Don't use too dry ink, too many dry pens will dry; Don't have too much water, too much humidity will make you fat and muddy. In Du Fu's poems, it is said that "dripping ink" is an ideal ink. Even after many years, it seems that it has just been written, and its vitality is indelible. "If you don't use ink well, it is easy to dry up when it is thick, and it is nearly thin when it is light. They have been flooded and lifeless in a few years. "
Ink can be roughly divided into five types: thick, light, dry, wet and burnt, but there is no big difference. It is the ideal ink to write the characteristics that make people feel extremely rich and keep "moist" in the seemingly unchanged ink color.
Several specific problems in calligraphy appreciation when editing this paragraph
As a calligraphy connoisseur, in addition to the above points, we should also pay attention to several specific issues, which are summarized as follows:
(A), stable attention
Calligraphy appreciation should give full play to the role of "attention". "Attention" is to put the will on a certain aspect, and it is the direction and focus of psychological activities on certain things. When people concentrate, they can clearly observe and reflect what they are pursuing and stay away from other things, which is a positive state of psychological activity. It is restricted by people's personality, interests and beliefs. When appreciating calligraphy, a series of psychological activities, such as feeling, thinking, understanding and imagination, must be concentrated on the work in order to maintain the stability of attention.
We can glance at any work and even comment on it, but this is not real appreciation. Art appreciation needs a period of feeling, thinking and understanding, so as to speed up the operation of psychological activities, especially works with great artistic capacity, which need to be watched and pondered repeatedly to gain something. It is recorded in the Song Dynasty's "Continued Book Break" that once Ou Yangxun traveled to read the inscription written by Suo Jing, the first time he read it roughly, and the second time it was out of date. First of all, he sat down and tasted it carefully, and the more he looked, the more delicious he felt. He simply settled down and stayed by the monument for three days and nights before he was willing to leave. This is enough to show that a good work can only appreciate its profound artistic connotation if it is carefully watched and tasted. This story is also an excellent example of "stabilizing attention".
(2) Appreciate the original works.
To explore the beauty of calligraphy and improve the level of appreciation, we must read more original works, because printed works are mostly reduced from large original works, and works of one meter or several meters are reduced to only a dozen centimeters or several centimeters, which is often distorted. Just like the comparison of photos of real scenes and landscapes, it is impossible to experience the feeling of walking into real mountains and rivers from a photo of landscapes. In the face of the original calligraphy, we can not only observe it from a distance, but also appreciate it carefully, and the changes of ink color in brushwork can be clearly displayed in front of us.
(3) Read more books
The improvement of calligraphy appreciation is inseparable from the improvement of knowledge and experience. If you want to improve the level and level of appreciation, you must have the support of learning in many aspects, such as philosophy, literature, history, aesthetics, music, dance, painting and so on. Because calligraphy is not only profound in content, but also interlinked with the aesthetic principles of other art categories. The so-called "external work", "external work in painting" and "kung fu is outside the book", among which reading more is very important.
(4) Calligraphy creation practice
To appreciate calligraphy, we should not only learn calligraphy, but also practice calligraphy creation by ourselves. Only calligraphers can keenly feel the implicit beauty in calligraphy works, just as only poets can feel the unspeakable and shocking subtlety in poetry. Without profound creative experience, it is difficult to get the most profound meaning in the book.
The above is just about the basic laws and methods of several main aspects in calligraphy appreciation, aiming at providing some reference for the elderly students who study calligraphy. These so-called method laws are very specific, but they are abstract principles in essence. It doesn't have specific tools and means like the quality inspection standard of industrial products, which is also determined by the characteristics of calligraphy art. Therefore, the understanding and mastery of this evaluation and appreciation standard is related to the depth of the viewer's contact and understanding of calligraphy, to his calligraphy attainments, and to his knowledge cultivation and personality temperament outside the words. As for the deeper appreciation of calligraphy, further discussion and research are needed.
Wang Xizhi's appreciation of true water and fragrance-free calligraphy should be from overall appreciation to partial appreciation. First, the overall appreciation: to appreciate the overall beauty depends on the layout of the rules. Dot painting into words, words into rows, lines into articles. Second, partial appreciation: look at brushwork, brushwork and ink painting. The understanding and mastery of this evaluation and appreciation standard is related to the depth of the viewer's contact and understanding of calligraphy. As for the deeper appreciation of calligraphy, further discussion and research are needed.