China's calligraphy system and China's orthodoxy, some people think that Wang Xizhi's is orthodox, others think that Yan Zhenqing's is orthodox. Generally speaking, orthodoxy should belong to Wang Xizhi and Yan Zhenqing. Of course, Liu Style and European Style are orthodox, Wang Xizhi's school is basically orthodox, and others are heresies. For example, Su Shi's should not be orthodox. It depends on your broad and chivalrous understanding. For example, martial arts, Shaolin Temple and Wutang School all say that Shaolin Temple is orthodox, but Wutang School is not. If Shaolin Temple and Wutangmen are listed as orthodox schools, what other schools are there? Emei Sect and Kongshan Sect, this is heresy. Isn't it? Let's understand it this way. In other words, which one is the main one, the others are secondary, and those below orthodoxy are called heresy.
Our article lists Wang Xizhi as the source of orthodoxy, that is to say, the series of two kings in Wei and Jin dynasties as the source of orthodoxy. Of course, listing Wei and Jin as orthodox does not mean that everything else is heresy. What I said may be a bit serious, that is, this one is orthodox, and the others are a bit unorthodox, but this one is a bit different from orthodoxy, so it is better to learn orthodoxy. That's what I'm saying.
Neutrality is the golden mean. The so-called golden mean is impartial, neither long nor short, or centered and relatively neutral. Don't go to extremes. Our calligraphy is still eclecticism. This is of great practical significance. The point is our exam, which has been made very clear. The subtitle is elegant calligraphy, which Baidu can reach.
Xiang Mu is the son of Xiang, who is one of the most famous collectors in China. You look at many famous law posts carefully, and his signature is on the seals. There seems to be his signature and seal on the preface to Lanting Collection. The main idea of this article is clear under the main heading and the sub-heading. Xiang Mu wrote seventeen * * *. The book-dividing system, ancient and modern languages, quality, characters, fonts, rules and tastes are neat and comprehensive. Xian Yi, young and old, myth, thought choice, craft, equipment and knowledge are such seventeen categories.
First, the calligraphy system, that is, a system at the grass-roots level of calligraphy, advocates Wang Xizhi as an orthodox resource and emphasizes his position as a calligrapher. That is, Wang Xizhi wrote orthodox resources, not that Wang Xizhi wrote orthodoxy alone, but that Wang Xizhi and his faction, that is, the difference between Wei, Jin and Tang calligraphy, that is, Jin calligraphy was orthodox. Didn't Zhao Mengfu emphasize that Tang entered Jin? Here, he stressed that he must enter Jin, because Jin is orthodox.
Uh-huh, teacher, Jin Dynasty is the best, and worshipping Jin is an opinion.
The second is ancient and modern, that is, the similarities and differences between ancient and modern calligraphy. In any case, there are both ancient and modern, and now it is emphasized that both ancient and modern should be cultivated and not neglected, isn't it? Calligraphy should keep pace with the times. If you can't get rid of the present era, there will be no innovation and it will become an ancient law completely, which is not good either.
The third is to distinguish the body. What affects the artistic effect of calligraphy creation is the psychological factor of bad environment. It must have a great influence. For example, there must be a difference between writing fast and being sad.
Fourth, form and quality. Appearance is very popular now. It is the cultivation, temperament and calligraphy elements of people. The elements of calligraphy have been mentioned before, that is, brushwork, calligraphy, calligraphy, composition and mind. That structure is the relationship between calligraphy and mind.
Fifth, it is character. Character means that the ancients said that calligraphers were divided into original works, famous artists, original works and downstream works. It is more appropriate to let nature take its course here, that is to say, orthodox and unorthodox. Orthodoxy is divided into high, low and grade, and heroes rank first. There are no wonderful products, magic products and energy products before this role, right? The first score is like this. Uh-huh, teacher, I remember that miracle.
Sixth, endowment. Capital is qualification, talent, learning is learning books, and learning is in the later stage. He put forward the view that resources are indispensable and learning comes first. On the learning of the ancients. This word must be a gift, and then learn it first, and then you need to learn it later. This view is also very correct.
Seventh, rules. Keep in mind the goals and statutes that calligraphy creation and learning should follow, and emphasize the need to enter Jin and practice two kings. This view is also popular at present.
Eighth, constant change is the relationship between normal and abnormal calligraphy structure. Emphasize change, but don't overstep it. In other words, when and how you change, there are still certain rules, just like the changes in our clothes. What strange clothes can you wear, but there must be certain rules, right? At least you have to conform to some aesthetic point of view, some tradition, and some requirements. That's what it means. Su Shi once suggested that innovation should be within the law, which makes sense. We should study it hard. Innovation without regulations is now an ugly book. It is impossible to have statutes without innovation. We should take a good look at the constant changes. Yes, sir.
Ninth, righteousness. Is the relationship between leveling and danger. Just like the difference between European style and Yan style, it is strange to seek peace first, then avoid danger, and finally return to peace.
Tenth, neutralization. This is easy to understand. Comprehensive beauty is the golden mean and it is very important. You can write horizontally, not too thick, not too thin, and vertically, not too long, not too short, that is the golden mean, that is, neutralization.
In fact, any kind of contrast is a kind of embodiment, a kind of comprehensive beauty, and the pursuit of this ultimate comprehensive beauty is thickness and Fiona Fang, all for the pursuit of a comprehensive, not excessive or extreme.
Eleventh, Xian Yi, young and old. This is his innovative theory. Calligraphy should not only have Laozi's point rules, but also have a little expression, and you can't leave. Now some people's handwriting is old-fashioned, and it's no good. The old and the young should be integrated, not as a kindergarten doll wrote, just looking at the young is very immature, and that won't do either. Teacher, you mean that man has an old book? No, calligraphy always means maturity, which means that people don't have to be old, but calligraphy should be old. It refers to the maturity and depth of understanding of books, not the age, the old vine and the old tree, not that.
Twelfth, deification. Refers to the naturalness of calligraphy. Vivid charm, emphasizing the relationship between spirit and rules. Appearance and rules should also be integrated. Can't look up to it? Nothing can be done without rules. Rules are not enough, are they? Myth is the relationship between spirit and rules. It should be natural, vivid and lively, and it should also be integrated. One of the most important theories in Comprehensive Room Calligraphy is that China's calligraphy is the tradition of China, while China's traditional art actually follows the golden mean.
Neutralization is the balance of yin and yang, emphasizing retro and neutralization.
Thirteenth, the orientation of mind refers to the influence of people's cultivation psychology on calligraphy. If a book is like a person, your character is high, your character is high, and your literacy is low, then the temperament of the words written will not be too high.
Fourteenth, choice is guidance. People who study calligraphy vary from person to person, choose good and follow, and choose to learn a certain font according to your more personality, temperament and cultivation. He recommended studying Jin Dynasty instead of Song Dynasty. I see, teacher.
Fifth, the process, the teacher thinks, refers to a certain order of learning calligraphy, such as the Tang Dynasty entering the Jin Dynasty. Want to see it? Elegant characters in calligraphy.
Sixteenth, use. This is to emphasize the importance of tools, Four Treasures of the Study, as well as Sun's book spectrum and excellent pen and ink. It also says that the words written by a good pen are definitely different from those written by a bad pen.
It is not easy for beginners to combine these three things well. It will take a long time to figure out what they want to use, which is convenient and which is more reliable.
The seventeenth. Knowledge. It is the skill outside the word, that is, your other aspects, such as learning calligraphy and understanding the art of music, that is, the importance of other knowledge. When a person's skill level is at the same level, people with high external skills will also have high calligraphy level. Xiangmu's book theory is very good and of great reference value. The teacher's explanation is very interesting. Thank you, teacher.