One point is the rule for one word, and one word is the final word." Exploration---Liu Zhixia

Abstract Calligraphy is an art that integrates time and space. From this It is required that calligraphy strokes and even individual characters and writing must have inherent stipulations that cannot be repeated. "One point" and "one character" must conform to their own basic rules. The momentum is a kind of between the previous stroke and the next stroke of the character. The relationship of inheritance is manifested in the connection between the appearance on the one hand, and the internal connection on the other. The beauty of calligraphy lies in its movement and change, and it is full of interest because of the close connection between its inner characteristics and charm.

Keywords: time, space, rhythm, momentum and charm

"One point is the rule for one word, and one word is the standard for the final chapter." This is a famous saying by Sun Guoting, a master of calligraphy in the Tang Dynasty, from "Book Book" , the original words are as follows: "If you paint several paintings together, they will have different shapes, all the points will be aligned, and the body will be consistent with each other. One point is the rule for one word, and one word is the standard for the final chapter. "? During the writing of the book, when we encountered a variety of stipple paintings, how to make the stipple paintings diverse without being the same, and interspersed with dot paintings without being cumbersome? This is indeed a calligraphy contradiction that is not easy to resolve. Here, Sun Guoting not only said It reveals the rich and varied beauty of the art of calligraphy and points out the key to solving such problems. In my opinion, this sentence is indeed a classic and has great reference value for calligraphy creation.

Tang. The contemporary Legalist Ouyang Xun said in "Thirty-six Methods": "If you want them to look at each other and not lose their position, the top wants to cover the bottom, the bottom wants to support the top, and the same goes for the left and right. " Ouyang Xun looked at the formal beauty of calligraphy in terms of single characters, while Sun Guoting was more specific. He focused on the role of the first stroke and the first character. One point often becomes the criterion for a character, and the first character of an article It often becomes the standard for the entire calligraphy work.

What is thought-provoking is, why can "one point" become the criterion for a word, and why does one word become the standard for the entire calligraphy work? I think that if the understanding of this sentence only stays at the surface meaning of the word, it will give people the feeling of seeing flowers in the fog, and they will not be able to clearly understand its main purpose, and thus they will not be able to understand the essence of the art of calligraphy. , we might as well understand the true meaning of Sun Guoting's words by discussing the three aspects of calligraphy art: the meaning of time and space, the return of potential and the conflict of yin and yang, and deeply understand the rich connotation of the formal beauty of calligraphy.

Calligraphy is an art that integrates time and space. Its temporality is manifested in the order and non-repeatable regulation of the use of pens. From the most basic point painting The progression between words is in a chronological order, one stroke after another, and cannot be redrawn or rewritten. Therefore, every line, the connection of each group of lines, and even the entire composition of the article , all have a certain movement trajectory. As the writing time continues, the sense of space is changing, and the written stipples continue to cut the paper surface, forming a variety of black and white space divisions. - The writing process of a piece should be done in one stroke and in one go, just like the process of a dancer dancing. After he makes the first movement to the beat of the music, as time goes by, he will become very coherent and natural. Doing the second, third action... or even completing all the actions continuously, it is impossible for him to go back after making the action.

It is precisely because the art of calligraphy has the characteristics of time and space. This gave rise to the inherent non-repeatable nature of calligraphy strokes and even characters and writing, which requires that "one point" and "one character" must conform to their own basic rules. Characteristics and size characteristics determine the basic style and tone of a character; in the same way, the determination of the knot style, tone, and size of the first character has certain prescriptive properties for subsequent characters. This prescriptiveness is because After writing the first character, the size, style, style, and characteristics of the character are determined. At the same time, the size, structure, and basic characteristics of the strokes of the entire character are determined. For example, if you create a successful calligraphy work. If you want to echo back and forth and be integrated, then the first stroke written in regular script is Yan style, which determines that the style of the first character written must be regular script, and the calligraphy style must also be Yan style, and its successors will be On the contrary, if you don’t pay attention to these inherent regulations from the beginning, it will be difficult to achieve commendable results if you just scribble and piece it together randomly. If a beautiful woman loses one eye or loses the integrity of her painting, it is like a strong man losing one arm. ”

Chen Fangji said something like this in "Songs of Calligraphy": "A calligraphy work is an artistic whole, a complete piece of music, completed by writing, and the rhythm cannot be interrupted." , a complete performance, if you want to be complete, you can only start from the beginning. Although calligraphy exists in the form of space, it is indeed a sequential creation, with the aesthetic characteristics of viewing in sequence." It is based on this meaning of time and space, so calligraphy works start from The rules and requirements of calligraphy will be injected into the dot painting at the beginning. A word is based on the first stroke as the criterion of the word, and the interlacing and coordination of various lines that follow are actually just the form, rules and requirements of the first stroke. The prolongation and development of style

2. Return to form

Position is an inheritance relationship between the previous stroke and the next stroke of a character. On the one hand, it expresses It is the connection between the appearance, and on the other hand, it is the internal connection.

Calligraphy is not a simple arrangement and mechanical accumulation of strokes or characters, nor is it a predetermined result, but a creative activity that runs smoothly and conforms to the laws of movement and development of things. Through this sentence, Sun Guoting emphasized the connection between pointillism and characters. The determination of the "one point" and "one character" in calligraphy determines the movement of a line or a piece, and this change changes with the change of the initial stipple and the movement of the characters. , that is to say, the reason for the next character or stroke is determined by the situation of the previous character or stroke. Take Wang Xizhi's "Frequently Sad Misfortunes" as an example. The word "frequency" at the beginning of the post is low on the left and high on the right, like a shaky jagged bluestone, forming an oblique trend. The second word is "you", which is tight up and loose down, left high and right low, giving people a feeling of trying to reach the top. If you look at a single word, neither the word "frequency" nor the word "you" seems to be beautiful. However, if you look at them as a whole, you will find that the word "frequency" sets the tone for "you", and "you". The word "you" inherits and continues the style and charm of the word "frequency". The two characters are cleverly interspersed and the charm echoes. The two characters are interconnected and natural. There are many identical characters in Sun Guoting's "Shupu". Judging from the appearance of the characters, there is not much change. Most of them are formed by different processing methods according to the situation. If you observe carefully, you will find that the so-called different processing methods are actually just slight adjustments and changes in pen movements, pen direction and strength based on the first character or stroke shape and momentum according to the needs of the actual situation. , forming a circle, thickness and frustration, which are enriched by the internal coherence, inheritance and flexibility of the previous and later situations, and there is no sense of similarity between the previous and the previous ones. This is like a pile of random rocks rolling down a mountain. Although the quality of the rocks is similar, because the sizes and shapes of the rocks are different, when they roll down from the mountain, because of the different terrain and directions of the mountains, They are not the same, so they form trajectories with different moods. In an instant, how can it make people feel the same and monotonous?

Calligraphy is an art that uses Chinese characters as its carrier. It is mainly formed by the movement of dots and inks on top. The characters and characters, lines and lines are coherent up and down, and arise according to the situation. This kind of calligraphy is The trajectory of movement is like a vigorous life form. Only with internal connections and coherent veins can the inner spirit of the art of calligraphy be reflected. Otherwise, if the strokes or characters are independent of each other and the same, the entire work will be inconsistent. There is no change and no vitality. In this case, it will be far away from Sun Guoting's original intention, thus sending the art of calligraphy to the grave.

3. The harmony of yin and yang

Calligraphy, like nature, is wonderful in movement and change. At the same time, it is full of interest because of the close inheritance of inner characteristics and charm. Cai Yongyun: "Fu's calligraphy originates from nature. When nature is established, yin and yang are born; when yin and yang are born, the situation is revealed." From here we can see that the reason why calligraphy has vigorous vitality like things in nature is that it must Grasp the contradictory relationship between Yin and Yang. In calligraphy works, the contradiction between yin and yang is often manifested in the contradictory relationships between virtuality and reality, flatness and danger, straightness and straightness, squareness and roundness, quickness and astringency, lightness and heaviness, sparseness and density, dryness and moisture, etc. Only by having a deep insight into this, using skillful techniques in the process of calligraphy creation, and skillfully handling the contradictory yet unified relationship between them, can we be able to use our calligraphy freely to bring to life the vibrant and colorful natural world and the humanistic world. The end of the pen.

"One point is the rule for one word, and one word is the standard for the final piece." The "rules" and "standard" are actually a kind of criterion similar to rules. The rules of calligraphy creation, from Basically it comes from and follows the laws of yin and yang changes in nature. Based on his understanding of the laws of yin and yang, Sun Guoting implemented the laws of nature into the specific field of calligraphy, and penetrated into every stroke and word of calligraphy. Each stroke has speed and slowness, reality and emptiness; the structure of each word has density and size; the organization of a word also has degrees of reality and reality, all of which are based on the laws of yin and yang.

“Calligraphers pay attention to the processing of dialectical factors such as black and white, virtual and solid, thickness, size, dryness, shade, squareness, straightness, pitch, hardness and softness, clumsiness, tightness, and density to achieve corresponding unity. , thus forming an ever-changing artistic image, which vividly embodies Laozi’s idea that ‘Tao generates one, one generates two, two generates three, and three generates all things.’” This passage tells us that calligraphy works need to have rich changes. , is full of contradictions between yin and yang, but it also requires overall harmony, unity, mutual growth and give-and-take, and ultimately achieves the effect of yin and yang in harmony. Take a closer look at Wang Xizhi's "Two Thank You Notes". You can see that the strokes are thick and thin, hard and soft; They are dense and changeable, but no matter how they change, they all have an internal cohesive tone, which is the harmony of yin and yang, just like music has a main melody, achieving harmonious unity.

We might as well take another look at how the law of Yin and Yang clashes throughout this work.

After the first stipple is written, it is transferred to the next stroke. From stipple - word - line - article, the dots are organically combined in the words, and the words are organically gathered in the article. On the one hand, one must consider the strokes and The requirements for strokes must also fully consider the close relationship between individual characters and surrounding characters, lines, and the entire composition of the text, such as density, virtuality, size, radius, hardness, softness, and looseness. Pay attention to the cooperation and coordination between them. Does all this achieve a subtle unity among the opposites?

From this point of view, calligraphy is an art that is practiced through continuous contemplation. The discovery and enlightenment of a certain point is just a window to infinite philosophy.

About the author Liu Zhixia, female, is from Xianyang, Shaanxi, and her ancestral home is Tianjin. Master's degree candidate in calligraphy from the Academy of Fine Arts of Shaanxi Normal University, and a member of the Chinese Calligraphers Association. His calligraphy works have been exhibited in the "Fourth National Women's Calligraphy and Seal Engraving Exhibition" sponsored by the Chinese Calligraphers Association, "National Calligraphy Exhibition in Commemoration of the 2578th Anniversary of the Birth of Lao Tzu", and "The First Western China Calligraphy and Seal Engraving Works Exhibition". His works have been included in many exhibitions. Exhibition of calligraphy and seal cutting professional exhibitions in Shaanxi Province and other provinces and cities. Theoretical articles and calligraphy works have been published in many professional calligraphy newspapers and periodicals.

References?

[1] Ouyang Xun's "Thirty-six Methods", "Selected Papers on Calligraphy of the Past Dynasties" first edition in 1979

[2] Ouyang Xun's "Thirty-six Methods", "Selected Papers on Calligraphy through the Past Dynasties", 1979 first edition

[3] Wang Xizhi's "Twelve Chapters on the Theory of Writing Style", "Selected Papers on Calligraphy through the Past Dynasties", 1979 first edition

[4] Chen Fangji's "Calligraphy Essays", first edition in May 2003

[5] Cai Yong's "Nine Trends", "Selected Papers on Calligraphy in the Past Dynasties" 1979 The first edition of the year

[6] Jin Kaicheng "Comics Calligraphy Art and Traditional Culture" "Calligraphy Research" Issue 3, 1995