I have collected some witty sayings about appreciating calligraphy. Here are a few. For more information, please see /wujianjunty/blog/item/697652a79a03f295d14358e6.html

It is generally believed that the evaluation of a calligraphy should be based on: Consider the following three aspects, that is, the aesthetic elements of calligraphy art: pen use, word knotting, and composition. Of course, the aesthetic elements from a higher level are Qi, spirit, rhyme, emotion, and the overall style and artistic conception. That is to say, the so-called "gong" and "xing" and "gong" refer to power and skills, that is, the grasp of certain rules, strokes, structure, composition, etc. "Xing" refers to temperament and style, which refers to the interest, sentiment, knowledge, cultivation and feelings contained in it. Starting from the beauty of the lines themselves, and also considering the beauty of the combination of lines, starting from points, lines, surfaces, etc., but the benevolent love the mountains and the wise enjoy the water. I have excerpted some famous quotes from ancient and modern calligraphers on their appreciation of calligraphy for the sake of the world of calligraphy. Friends.

Wang Xizhi said: "The loss of one point is like a beauty losing an eye. The loss of a painting is like a strong man losing an arm. Don't be careless." "Lian", in praise of Wang Xianzhi's words: "as graceful as a startled dragon, as graceful as a swimming dragon", "the divine light separates and combines, flickers between yin and yang". Wang Xizhi, known as the "Sage of Calligraphy", has beautiful and elegant calligraphy. However, some people say from the standpoint of magnificence that his works are "round, plump and beautiful, but they lack spirit, are not sharp or formidable, and have no vivid images." "It's strange", "There is talent for girls, but no masculinity".

Xiao Yan, Emperor Wu of Liang Dynasty in the Southern Dynasties, commented on Zhonglian's calligraphy in "A Commentary on the Advantages and Disadvantages of Ancient and Modern Calligraphers" and commented on Wang Xizhi's calligraphy as "the calligraphy is majestic and majestic. Like a dragon leaping over the heavenly gate, a tiger lying on the wind valve."

In his calligraphy theory, Zhang Huaiguan of the Tang Dynasty called calligraphy "a silent sound and an invisible image." "Ten treasures and five outbursts, ten ups and downs, can be called a book." He also said: "Every horizontal stroke made is like a formation of clouds; every strike made is like the hair of a hundred jun crossbows; every point made is like the falling of a peak. "Stone; every fold is like bending a steel jun; every pull is like a long-lived withered vine; every indulgence is like the joyful steps of a foot." The rhythm is self-evident.

Sun Guoting once pointed out in "Shu Pu": "Boying is not true, the dots and strokes are messy, and the Yuan is often unclear. When he turns vertically and horizontally, it appears at first and sometimes obscured, and it seems to be hidden." " The grass uses stipple painting as its emotional nature and transforms it into form and quality."

Mi Fu, one of the four great calligraphers in the Song Dynasty, said: "Liu Gongquan's master Ou (Yang Xun) was not as good as Yuan Yuan, but was ugly and evil. The ancestors of Zha began to have popular books since the Liu Dynasty." He also said: "Liu and Ou are the ugly and evil ancestors of Zha..." "Yan Lugong's calligraphy can be taught, and the true characters will become popular." Mi Fu returned in the Song Dynasty. He said humorously: "Shen Liao typed, Cai Xianle typed, Su Shi painted calligraphy, and Huang Tingjian traced calligraphy. He himself was the brush calligrapher."

Zhu Changwen of the Song Dynasty said: "Wei Gong (i.e. Yan Zhenqing) combined the seal scripts Principles, strict and strict, free but not sloppy, restrained but not clumsy, the best." Ping Ou is "outstanding in the world, famous in the early Tang Dynasty, passed down by Chidu, people think of it as the law, even if they are soldiers and emperors, they also admire it

His voice "believes that Ouyang Xun's regular script is "slender and dense, strong and unyielding, with the style of a gentleman enforcing the law and facing the court; to his exquisite pointillism, The preciseness of his mind is beyond comparison." Commenting on Liu Gongquan's "Extensive knowledge of classics, both writing and writing are the best." The Dharma comes from the beauty, but adds strength and richness, and it is called a family." He also said: "The inscriptions on the ministers' family tablets at that time were not written by him, and people regarded their descendants as unfilial.

When foreigners paid tribute, they all signed the goods and said: 'This is a willow book.'"

Su Shi once said: "Those who discussed books in ancient times also discussed their lives. Even if they are not his people, their work is not expensive." He also said: "Books must have spirit, energy, bones, blood, and flesh. The five elements are decisive." First, it is not written into a book. "Put God first.

In the "Thirteen Postscripts of Lanting" written by Zhao Mengfu of the Yuan Dynasty, it is said: "The word knot has been passed down from generation to generation, and it is difficult to use the pen through the ages."

Kang Youwei, as a representative of the stele school , strongly advocated the Northern Stele, praising the beauty of the Wei Stele, saying, "There are no bad steles in the Northern Wei Dynasty", and vigorously criticized the calligraphy of Dong Qichang, a calligrapher of the Tie School who was famous for his beauty, and belittled the calligraphy of Dong Qichang, who was famous for his beauty. "Bride". Mr. Deng Shiru said: "The white plan is the black plan, and the place where there is no pen and ink is also a wonderful place." "Bao Shichen of the Qing Dynasty also said: "You can move horses in sparse areas of calligraphy and painting, but do not allow ventilation in dense areas." "Always think of white as black, and wonder will come out." Liu Xizai said: "The rules of calligraphy have different sizes, as small as a word or a number. As large as one line to several lines. One or several paintings must avoid each other, form each other, and respond to each other. All calligraphy strokes should be firm and clear, the posture should be strange and dangerous, and the composition should be varied and consistent. ”

In addition, I collected an article about calligraphy appreciation from the Internet. It is well written and may be useful to you:

The psychological process of calligraphy appreciation

Art Appreciation is an aesthetic cognitive activity, and calligraphy art appreciation is an aesthetic cognitive activity based on calligraphy works of art. The subject of its recognition is people as the sum of social relationships, and all their activities are subject to their social status and worldview. , cultural literacy, and his cognitive ability, emotion, and will. The object of calligraphy appreciation is the work. It is a work of art formed by the author's subjective emotions combined with the processing of Chinese characters.

Calligraphy art appreciation is a dynamic understanding process, and its operating mechanism is complex. In order to facilitate discussion, it can be divided into the following stages:

1. Preparation stage

To appreciate the art of calligraphy, you must first have an aesthetic state of mind. Mood refers to a weak and persistent emotional state, often associated with the subject's needs. Therefore, if the subject wants to enter the process of aesthetic appreciation, he must free himself from tedious affairs and look at the work with an aesthetic eye. At this time, the work is no longer a pure physical factor (the combination of paper and ink), but a carrier of the author's emotions. Appreciating works is an emotional exchange, and this kind of exchange has no utility.

2. Perception stage

The perception stage is the stage where the appreciator feels and perceives the work, and grasps the work from the form, that is, the "shape" of the work. Mainly to understand the author's expression skills and feel the modeling space of the work.

Calligraphy is called a plastic art. Its modeling space is different from the space in life. It requires the intervention of imagination. "Three points of characters, seven points of mounting" means that mounting can make the modeling space of the work independent. , making it easier for viewers to enter their imagination.

Appreciating the modeling space of a work requires us to look at the work three-dimensionally. To be specific, in a work, the pen and ink are solid, while the white cloth is virtual. In fact, it is not flat, but three-dimensional and layered. Calligraphy pays attention to using the pen in the center in order to achieve a round and thick three-dimensional feeling in the strokes. Pay attention to the use of ink in order to achieve changes in levels. Emptiness is not emptiness, but an artistic method of "silence is better than sound". For example, in Qi Baishi's paintings, several exquisite and clear shrimps are active on the picture. The background is blank, but it makes people think about it. It seems that the blue waves are rippling and crystal clear. Calligraphy pays attention to whiteness, which is the use of virtuality. The whiteness of an excellent calligraphy work is often thought-provoking, as if it is the illusionary background in a photograph. Although the specific content cannot be seen, it can make you feel rich and colorful. , under its background, the "prospect" is more prominent. Only by understanding "virtual" can we better understand "real". "Know the white and keep the black" is the truth.

If you understand virtuality and reality, you can feel the modeling space of the work. The subject's attention range is different, and the modeling space felt will also change accordingly. For good works, if you randomly cut a range, the shape will be beautiful. For example, take a line, a word, or even a stippling from the work. Huang Tingjian said in "On Calligraphy": "There are pens in the words, just like eyes in the Zen sentences."

3. Understanding stage

Calligraphy works of art are the author's refinement of life. The result of obtaining the image and materializing it using calligraphy artistic expression techniques. The subject can trace the author's images and grasp the content of the work based on the materialized traces of the author. Zhu Zhishan of the Ming Dynasty said:

Emotions of joy, anger, sorrow, and joy each have their own scores. If you are happy, your Qi will be gentle and your Qi will be relaxed; if you are angry, your Qi will be rough and your Qi will be dangerous;

Sorrow will mean your Qi is depressed and your Qi will be loose. If it is restrained; if it is joyful, the Qi will be calm and the words will be beautiful. There are degrees of emotion, and the words are soft, beautiful, and

deep and shallow, with endless changes...

The author has different emotions of "joy," "anger," "sadness," and "joy." His works accordingly have different forms such as "comfortable", "dangerous", "concentrated" and "beautiful". To understand a work is to imagine the dynamic process created by the author through the static external form of the work. "Put yourself in the shoes" to experience the author's emotions to gain a deeper understanding of the work. What is obtained through understanding is not an abstract concept or scientific data, but a specific image related to the memory representation of the viewer. There is a passage in Sun Guoting's "Shu Pu":

Observe the difference in the husband's dangling needle, the strangeness of thunder and falling rocks, the terrifying posture of flying beasts, and the frightening of luan and snake.

The state of the cliff, the decline of the peak, the shape of being in danger...

When you see the form of the work - the hanging needle and the dew, what you get is the image - thunder, falling Stone, Feihong, terrifying beast, etc. Due to the rich connotation of calligraphy works, the subject can form a multi-faceted impression about the work, but it is not primary and secondary, and it is not clear enough. However, it can stimulate curiosity and thirst for knowledge, and gain an in-depth understanding of the work.

IV. Re-creation stage

Re-creation is when the subject uses imagination to synthesize the content of the work and form it in his or her own mind based on multiple perceptions and full understanding of the work. The process of new imagery.

When the subject perceives the work, what he gets is the representation of the form of the work. When he understands the work, what he gets is the representation of the content of the work. These representations are temporarily stored in the subject's mind, without rules and system. Recreation is to organize the representations in the mind into an organism according to certain rules.

At this time, the memory representations flash repeatedly and are constantly screened to retain those main representations that are close to the essence of the object. These representations continue to conflict, penetrate each other, and finally merge into a new whole - the image in the subject's mind.

New images are created by the subject in his or her own way based on appreciation. Therefore, it is impossible to be exactly the same as the author's image. It is creative and often goes beyond the author himself. It is even something that the author did not realize when he created it or does not exist in real life. Zhu Changwen commented on Zhang Xu's cursive calligraphy in "Sushu Shuan": "It's like a god climbing up to the sky, and Xia Yun coming out of Songhua. It's unpredictable and strange." The image Zhu Changwen got from Zhang Xu's cursive calligraphy is that of soaring into the sky. He created the image based on his own life experience and imagination, such as the "God Qiu" on Songshan Mountain and the "Xia Yun" on Huashan Mountain.

The new image is the result of the subject's re-creation.

Different subjects, because of their different psychological stereotypes, will get different images even from the same work. As the saying goes, "The benevolent see benevolence, the wise see wisdom." For example, in Zhang Xu's cursive calligraphy mentioned earlier, the images Zhu Changwen obtained are "Shen Qiu" and "Xia Yun". If modern people get the image of "lifting rockets, flying missiles", even auditory aspects, such as disco music, it is normal.

5. Sound stage

Singing refers to the psychological phenomenon in which the thoughts and feelings of the aesthetic subject and the object are consistent, connected and harmonious.

In calligraphy art appreciation activities, once the image in the subject's mind is formed, the subject will grasp the author's thoughts and feelings from the image, and the two are partly the same or similar. This part will continue to strengthen and expand in the mind, while the rest will continue to weaken, disappear or even disappear. When entering the peak state, the subject and object will be completely consistent and achieve the identity of object and self. At this time, the subject's mind is filled with the author's thoughts and emotions, and the same thoughts and emotions as the author's own will rapidly improve and develop. When the subject is in this state, it will be accompanied by strong aesthetic pleasure. This feeling will be transformed into aesthetic experience and play a guiding role in future appreciation and creation. There is such a short story in Volume 14 of "Xuanhe Shupu":

The Ou (referring to Ouyang Xun) and Lu Jing (referring to Suo Jing) monuments were passed by for the first time without asking, but Xu Shi found them.< /p>

I couldn’t bear to go under the sleeping monument.

When Ouyang Xun passed the stele written by Suo Jing, "I didn't ask about it for the first time" because he had not yet entered the aesthetic state of mind; "Xu Shi got it" was because under the influence of Suo Jing's fame, he forced After entering the state of mind, he understood the work; "I can't bear to go under the monument" is the resonance of Ouyang Xun and Suo Jing's calligraphy. He devoted himself wholeheartedly to it to achieve the state of identity between things and me. The accompanying pleasant emotion is the cause of "can't bear to go". At this time, he will gain aesthetic experience from Suo Jing's calligraphy and guide his future creations.

Marx said: [1] "Art objects create a public that understands art and can appreciate beauty - the same is true for any other product. Therefore, production not only produces objects for subjects, but also produces subjects for objects. "The same is true for the creation of calligraphy art. It not only creates works of art, but also creates its appreciators. From this point of view, strengthening the research on calligraphy appreciation will be conducive to the vigorous development of calligraphy.