1. If you want better sentences, write them as calligraphy works and hang them at home

1. Live as long as the sky and the earth, and shine with the sun and the moon ------ Warring States Period . Chu. Qu Yuan gt;

2. The road is long and long, and I will search up and down ------ Warring States Period. Qu Yuan. gt;

3. All over the world I am alone in the turbid state of mind, and I am alone in my sobriety when everyone is drunk ------ Warring States Period. Qu Yuan gt;

4. I am still kind in my heart, and even though I died nine times, I still have no regrets ------ - Qu Yuan gt;

5. An old man is always ambitious, but a martyr is still ambitious in his old age ------Three Kingdoms, Wei, Cao Cao gt;

6. An athlete must ride a fast horse , A fast horse must be a good athlete ------ Folk Songs of the Northern Dynasties.gt;

7. Xingtian dances with relatives, strong ambition is always there ------Jin. Tao Yuanminggt;

8. Straight as a red silk rope, as clear as a jade pot of ice ------ Southern Dynasties. Song Dynasty. Bao Zhaogt;

9. The strong wind knows the strong grass, and the rough wave knows the sincere minister-- ----Tang. Li Shimin gt;

10. May you learn to be pine and be careful not to be a peach and plum ------Tang. Li Bai gt;

11. The times are poor. Now, one by one, the pictures are revealed ------- Wen Tianxiang of the Song Dynasty gt;

12. He was a hero in life, and a ghost hero in death ------- Li Qingzhao of the Song Dynasty gt; (gt;

13. Where is Chang'an? It's only under the hoofs of horses------Tang Cen Shen gt;

14. In the evening of Mo Daosangyu, the sky is still full of mist- -----Tang. Liu Yuxigt;

15. The road is like the blue sky, I alone cannot find it------Tang. Li Baigt;

16. A young man should be careful Fuyun------Tang. Li Hegt;

17. A heart of ice in a jade pot------Tang. Wang Changlinggt;

18. Changfeng There will be times when the waves break, and the cloud sails will be hung directly to help the sea------Tang. Li Bai gt;

19. I am born with talents that will be useful, and I will come back after all the money I have spent------Tang. Li Bai > Thousands of feet of evil bamboo must be cut down by ten thousand poles ------ Tang Dynasty. Du Fu gt;

22. Although it is hard to scrounge thousands of pounds, only after blowing all the sand can you get the gold ------ Liu Yuxi of the Tang Dynasty gt;

23. At that time, people did not like the water in the small pond, there might as well be a crouching dragon in the shallow place ------ Dou Xiang of the Tang Dynasty gt;

24. I would rather have a branch When you die holding incense, it never blows down in the north wind------Song Dynasty. Zheng Sixiao gt;

25. Determined to be strong but not sharp, success will last but not quickly------Song Dynasty. Zhang Xiaoxianggt;

26. Who has never died in life since ancient times, leaving a loyal heart to illuminate history------Song Dynasty. Wen Tianxianggt;

27. Don’t be afraid of being shattered into pieces, but stay alive Blue and white are in the world------Ming. Yu Qiangt;

28. Don't let others praise the color, just leave the pure air to fill the universe------Yuan. Wang Miangt;

29. After countless hardships, you are still strong, regardless of the east, west, north and south winds ------ Qing. Zheng Xie gt;

30. Falling red is not a ruthless thing, it turns into spring mud and is more Protecting Flowers ------ Qing. Gong Zizhen gt;

31. It is difficult to sell dirty wine and worry about the country. When saving, you should rely on talents ------ Qing. Qiu Jin gt; 2 . Message for appreciating hard-pen and brush calligraphy works

The necessity of appreciating hard-pen and brush calligraphy works, and a brief discussion on the beauty of calligraphy art. Calligraphy is a unique visual plastic art.

When people appreciate an excellent calligraphy work, they will undoubtedly enjoy the beauty and be intoxicated by art. However, appreciating the beauty of calligraphy art is not an easy task. Compared with other arts such as literature, music, and painting, calligraphy is more abstract and elusive.

It is common for a work to have completely different aesthetic results depending on the beholder and the wise. Even the evaluation of the works of a generation of calligraphy masters is not necessarily the same. So, is there a unified standard for the aesthetics of calligraphy art? The answer is yes. The problem lies in the perspective of the aesthetician and the basis he holds, especially the level of his own cultivation.

The differences between many categories in art, such as simplicity and stupidity, solemnity and stagnation, boldness and roughness, broadness and looseness, elegance and frivolity, are all very subtle and difficult to grasp when appreciating and evaluating. There will be a shift and the opposite conclusion will be drawn. There is a saying: "You can look at the door, but you can't look at the excitement." Different understandings of the art of calligraphy will lead to different aesthetic conclusions. "Know the instrument, play thousands of tunes and then know the music." This is inseparable from the aesthetic person's own cultivation. Throughout the ages, there have been a vast number of aesthetic works on the art of calligraphy. Here we have selected the main points and summarized them as follows: 1. The beauty of lines and gestures. The form of expression of calligraphy art is completed by lines, and the basic elements that embody the beauty of lines require that the lines be rich in beauty. change.

1. Harmonious beauty. European and American artists pay great attention to this element of beauty. When making a chair, you also need to consider the length, density, thickness, and straightness. If it is done well, it will be beautiful, and if it is not done well, it will be beautiful.

The book is square and dignified, making it spacious, simple and quiet, and powerful. The well-proportioned running script makes it look like a horse flying in the sky, like thunder running through the clouds.

The cursive script is gentle and graceful, making the whole article lush and majestic, all reflecting the harmonious beauty of the lines. 2. Dynamic beauty.

There have been two beautiful sayings about lines since ancient times, namely: "penetrating through the back of the paper" and "penetrating into the wood three-thirds of the time." This is an exaggeration to express the strength of lines, but the calligraphy method pays attention to the strength of the pen, which can better reflect the strength and beauty of the lines, thin and straight, strong and powerful, swaying, and seemingly flying. Then the sense of force and momentum create the lines The dynamic beauty.

Grasp the "rhythm" of the work. Even if people have ups and downs, it is like running water in the mountains, sometimes flowing thousands of miles away, sometimes swirling among dangerous shoals, creating a beautiful artistic effect.

2. The beauty of calligraphy rhythm and the beauty of music, drama, and dance are similar in that they lie in the use of stipples, between words, between lines, and even in the entire work. , full of melody, rhythm and poetic interest. Let the appreciators enjoy the beauty from it.

Calligraphy, like music, uses abstract language to create abstract images. This abstract image seems to easily trigger various associations in the viewer. Under the pen of an excellent artist, it can create an image that makes people feel far-reaching and broad. , subtle, deep, and elegant, a state in which people's spirit is sublimated. Just like beautiful music can stir people's soul, inspire people's temperament, and stimulate people's meditation.

3. The beauty of form combination The form of calligraphy is composed of strokes, structure and composition. In terms of strokes, the strokes, strokes, strokes, quickness, thickness, thick talk, square and round strokes, etc. are considered to be natural and the changes are smooth; in terms of structure, the density, staggeredness, transfer, struggle, straightening, etc. are considered to be thoughtful, well-proportioned and vivid. ; In terms of composition, the size, height, width, black and white, virtuality and reality should be coordinated and unified, and the flow of Qi should be consistent.

China’s unique square Chinese characters provide a broad space for the creation of calligraphy art. The written characters must not only comply with the standards, but also be full of variety. Only by combining the lines of the body and pouring one's sincere and strong feelings into the realm of the work can the viewer be moved and moved, creating a resonance of thoughts and emotions.

4. The momentum of the composition is beautiful. In the layout of the composition, there should be reflections and connections between the words and the lines. A calligraphy work should echo from front to back, be dense and dense, and be completed in one go, with a sense of artistic integrity.

1. They echo each other and inherit each other.

As for an excellent calligraphy work, the overall layout is reasonable and the style is elegant. From the perspective of the viewer, the composition can catch the eye first, give the viewer the first impression, and create the second impression. The visual effect is the most critical aspect to the success or failure of this series of characters.

In the layout of the composition, attention should be paid to whether the arrangement of every dot and every word is correct, reasonable, natural and top-notch, the title should be printed, and the words should echo and correspond to each other. The rows and rows are connected to each other, reaching the appropriate density and density, bowing and giving way, looking forward to the posture, and being integrated. Whether the overall layout is natural and vivid, making people see clear black and white at a glance, density, momentum, and consistent style, giving people a sense of unity and wholeness, and achieving corresponding aesthetic effects.

2. The virtual and the real complement each other, and the ethereal reflects each other. Jiang Baishi of the Song Dynasty said in "Xu Shu Pu": "It is better to write with movement, stillness, sparseness and evenness. If it is sparse or not, it will become cold, and if it is dense or not, it will be sparse."

Deng Shiru of the Qing Dynasty said: "You can move horses in sparse places of calligraphy and painting, but do not allow ventilation in dense places. If you often draw, it will be in vain, and the interesting things will come out." Due to the characteristics of Chinese characters, calligraphers can use their own artistic conception and pen and ink skills to create a variety of works to express their own unique style.

Different calligraphy works reflect the author’s different forms of thinking. Some works are heavy on white, spacious and quiet, giving people a sense of ethereal and leisurely. Some works are graceful and generous, and some are majestic. A sense of vertical and horizontal struggle; some works are ancient and beautiful, strange and dangerous, and have a sense of self-admiration. In the art of calligraphy, emphasis is placed on displaying talents in areas without ink, and using white tricks as blackmail. For example, in Yan Zhenqing's "Liu Zhong Envoy Tie" and Huai Su's "Self-narrative Tie", there are many examples of alternate reality and fiction.

On a piece of paper, the inked areas are black, and the ink-free areas are white; the ink areas are solid, and the ink-free areas are virtual; the ink areas are words, and the ink areas are also words; there are words. The words are important, but the words are especially important. White is the basis of black, and black is the borrowing of white. Black and white complement each other; virtuality is referenced by reality, reality is reflected by virtuality, and virtuality and reality are bound to each other.

Lao Tzu’s idea of ??the unity of opposites is most vividly reflected in the practice of using white as black in the art of calligraphy. 5. Content and emotional beauty Any art is characterized by expressing emotions and expressing the soul, and the same is true for calligraphy. Calligraphers use abstract pointillism, artistic processing, and incorporate their own emotions to create emotional appeal. 3. Appreciation of idioms in calligraphy works

Regular script evolved from official script.

People use it to replace official script and serve as a model for writing Chinese characters, which means "the handwriting is correct and the pen is legal" ("Linchi" by Zhou Xinglian of the Qing Dynasty). The name "regular script" seems to have come from this.

Regular script began in the late Han Dynasty, and its real development and peak periods were the Six Dynasties and the Tang Dynasty. Therefore, regular script mainly includes two systems of inscriptions from the Six Dynasties and the Tang Dynasty.

Its unique characteristics are: complete stroke transformation, completely completing the transition from pictographic to ideographic Chinese characters, and complete block transformation, which is why the world calls Chinese characters "square characters". The Six Dynasties stele system was the period of development of regular script. Representative works include "Stone Inscriptions on Yunfeng Mountain", "Twenty Products of Longmen", "Zhang Menglong Stele", "Cuan Baozi Stele", "Cuan Longyan Stele", "Shixing King Zhongwu" "Stele" and "Longzang Temple Stele", etc., each express innocence.

The Kaifa of the Sui Dynasty not only "gathers the beauty of the Six Dynasties", but also "has a clear wind and spirit, a majestic body and a strong Tang style". The stele system of the Tang Dynasty was at the peak of regular script. It had more artificial decorations and court influences than the stele inscription system of the Six Dynasties.

Tian Yingzhang, also known as Cunqing or Cunqing, was born in Tianjin in 1950. He is a graduate student in calligraphy and a cadre of the National Personnel Department. He graduated from Capital Normal University and Tokyo Gakugei University in Japan.

Calligrapher. The first two works above were created by him, "Purple Air Coming from the East" and "To the High Spring Pine".

These two works belong to the category of Ou Kai and are rare works. "Tranquility Zhiyuan" was written by Liu Jiangbo and is also a masterpiece in four-character regular script.

4. Appreciation of Chinese brush calligraphy works

"Lanting Preface" by Wang Xizhi, a sage of calligraphy for thousands of years, is shown in the figure: 5. Appreciation of brush calligraphy works from the ancient poem "The Boat Passes Anren"

"The Boat Passes" "Anren" is a seven-character quatrain composed by Yang Wanli, a poet of the Southern Song Dynasty. This poem is as plain as words and full of interest. It shows the childish behavior of two carefree little fishermen. Their behavior reveals the whimsy and intelligence that only children can have. It reflects the cuteness and quick thinking of the two children.

The literal meaning of the poem is: On a fishing boat, there were two children. They put away their bamboo poles, stopped their oars, and sat in the boat. No wonder they opened their umbrellas when it didn't rain. It turned out that they were not trying to protect themselves from the rain, but wanted to use the umbrellas as sails to move the ship forward.

Full text appreciation:

"There are two children in a fishing boat, collecting their poles and sitting in the boat." This is the scene the poet saw. The two children caught the poet's attention because although they were sitting in the boat, they were not rowing the boat. The bamboo poles used to support the boat were stowed away and the oars were parked there. This was a strange thing. It can be seen that the poet was in a relaxed and happy mood at this time, so he noticed what the two children were doing.

"It is strange that people open their umbrellas even when it rains, not to cover their heads but to make the wind blow." Here, the poet saw the two children holding umbrellas, and the questions that arose in the poet's mind were omitted. He directly wrote about the joy of having his doubts suddenly solved. The doubt was solved because the poet saw the children's abnormal behavior and began to observe and think more seriously. As a result, he suddenly realized that the two children opened their umbrellas even when it was not raining. It turned out that they were not to cover the rain, but to dance with the handles of the umbrellas. Make the wind blow the boat and move it forward. Or maybe he asked the two children directly and the children told him the reason. In any case, knowing the reason, the poet must have laughed dumbly, not only because of the children's intelligence, but also because of their innocence and childishness.