Appreciation of single-character calligraphy works
Single-character calligraphy works 1
Single-character calligraphy works II
Single-character calligraphy works 3
Single-character calligraphy works 4
Single-character calligraphy works 5
What does calligraphy depend on?
First, the general mentality of calligraphy creation
In the eyes of the ancients, calligraphy creation generally includes two kinds of mentality: one is emptiness and tranquility, and the other is passion. Virtual and quiet creation is a creative mentality of listening to others, caring for others, respecting others and opposing people and books. Cai Yong in the Eastern Han Dynasty first put forward in "On Pen": "When writing a husband's book, it is advisable to sit still and meditate. If you stay supreme, you will be fine. " . Wang Xizhi of the Eastern Jin Dynasty also said in "Mrs. Wei Ti's Sketch": "If a husband wants to read, he should learn ink first and concentrate on meditation? I intend to write before the pen. " Yu Shinan in the Tang Dynasty also said in On the Essence of Pen: "When you want to read a book, when you close your eyes and listen to it, you will never worry about it, and your heart will be healthy and harmonious. That would be wonderful." Song Cao in the Ming Dynasty also said in his calligraphy covenant: "Concentrate on God's response and follow it freely." . This idea of getting rid of distracting thoughts and transcending the secular world is consistent with the "empty and quiet view" in Liu Xie's Wen Xin Diao Long, that is, "Tao Jun's literary thought is precious in empty and quiet, dispersing the five internal organs and bathing his ambition"
On the other hand, passionate creation is a creative mentality that burns passion, is passionate, can't stop, and gets it off your chest quickly. Han Yu wrote in "Preface to Master Gao Xian": "In the past, Zhang Xushan wrote cursive script, which could not cure other skills. Emotion, embarrassment, poverty, sadness, happiness, longing, drunkenness, boredom, injustice, if there is anything moving in your heart, it will be expressed in cursive. " Huai Su also said in "Autobiographical Post": "There are dozens of powder-walled cloisters, which makes people feel relaxed and happy. Suddenly called three or five times, there are thousands of words on the wall. " Su Shi also said in "Farewell to Several Teachers": "Mourning is greater than dying in the heart, and grievances are not as good as a stroke." This is a Dionysian romantic creative mentality. In addition, the ancients also mentioned a "game creation mentality", which is neither empty nor passionate, but a random graffiti creation with the purpose of "killing the sun", that is, killing time.
Second, motivation and calligraphy creation
The ancients knew the role of motivation in calligraphy creation very early. Cai Yong in the Eastern Han Dynasty said in "On Pen": "If forced by the environment, Zhongshan Rabbit can never be good." . Wang Xianzhi in the Eastern Jin Dynasty didn't write entertainment books, even though princes wanted words. The reason is that Wang Xianzhi thinks that entertainment books are forced by external pressure, not internal motivation, which makes it difficult to exert their creative level. Su Shi in the Song Dynasty also said, "It is better to have no intention of Yoga Yu." . The most wonderful summary of the relationship between motivation and calligraphy creation is two paragraphs by Zhou Xinglian and Liu Xizai in Qing Dynasty. Zhou Xinglian wrote in "My humble opinion on Linchi": "Waste paper is a failure, and it is often handy to throw it casually. When I meet a piece of fine paper and a good pen, I just sit still and write honestly, but I can't help thinking about it. Therefore, there is no danger, each goes his own way, and there is no expectation of work. One is to deliberately ask for work, which is biased, unexpected and clumsy. " Liu Xizai also said in "An Introduction to Art-An Introduction to Books": "The letter and pen should not be firm and arrogant. It means that if the pen is blurred, it will stop; if it is restrained, it will die. I want to be casual, the pen follows my trend, and the two blend, and the wonderful words come out. "
The previous paragraph thinks that if the motivation is too strong, the creative effect will be poor. The latter paragraph holds that too strong or too weak motivation is not conducive to the normal play of creative level, and only moderate motivation intensity can create the best works. This idea is consistent with the research results of modern psychology. The research results of modern psychology on the correlation between motivation and problem-solving efficiency show that motivation is too weak, people's potential can not be fully mobilized and brought into play, and the problem-solving effect is relatively poor; If the motivation is too strong, the contrast between the excitement and inhibition of the cerebral cortex is too great, the thinking is in a narrow state, and all parts of the human body cannot be effectively coordinated, so the efficiency of solving problems is poor. Only when the motivation is moderate can the efficiency of solving problems be the best.
Third, emotion and calligraphy creation
The ancients discussed the relationship between emotion and calligraphy creation from three aspects. First of all, the ancients thought that the content of writing had an influence on the emotional state when writing. The so-called writing "sadness" is sadness, and writing "worry" is trouble. Sun wrote in the "General Score": "(Wang Xizhi) wrote" Le Yi "with melancholy feelings, and the book" Painting Praise "was originally intended to be magnificent; Huang Tingjing is full of nothingness; " Tai Shizhen is also a vertical and horizontal debate. At the same time, Lanting Jixing, thinking of running away, swore in private and felt miserable. As the saying goes, the musicians laugh and sigh. Through the analysis of Wang Xizhi's calligraphy works, Sun Shi revealed the implied effect of writing content on the writer's mood.
Secondly, the ancients believed that in different emotional States, their calligraphy style also changed. In this regard, Chen Zhou in Yuan Dynasty made an incisive summary in "The Hanlin Yaomu": "There are different emotions. It is appropriate to like harmony, dangerous to be angry, condensed to be sad and depressed, and plain and beautiful to like. Emotions are light, words are easy, dangerous and beautiful, and there are endless changes. "
Thirdly, the ancients believed that calligraphy creation could eliminate negative emotions and achieve psychological balance. Han Yu once said that "if there is injustice, it will sound". Art is a tool for making sound, and calligraphy is no exception. Han Yu's description of Zhang Xu's creative mentality in Gao Xian Xu proves this point. In addition, Zhang Huaiguan in the Tang Dynasty also said in Comments: "You can entrust yourself with your ambition to excel in the world, and you can also entrust yourself with your desire to relax." . Su Shi also said: "There is no greater sorrow than heart death." In the Song Dynasty, Zhu also said: "Lazy and humble, strong and magnificent, one room is big". People who write books express their positive emotions or vent their negative emotions. This understanding conforms to the psychological law of calligraphy art activities. Because of this, modern psychologists and doctors often advise some patients to engage in calligraphy activities to improve their mental health.
Fourth, imagination and calligraphy creation.
The ancients believed that calligraphy creation was to shape the image, thus expressing the calligrapher's personality and expressing his feelings. The "image" of calligraphy is heterogeneous. Everything in nature and human society can be used as the image prototype of calligraphy, such as mountains and rivers, birds and animals, insects and fish, flowers and trees, storms and lightning. The ancients believed that the function of imagination was to transform, process, transform and reorganize the representation materials formed by various images of nature and human society in the brain, and then create the image of calligraphy. In the Tang Dynasty, Li gave a vivid explanation to this in Li's Book of Collecting Medicine: "The mountains and rivers of heaven and earth are round, the longitude and latitude of the sun, the moon and the stars are shining back, the vegetation is graceful and clothed, the cultural relics in clothes are grovelling, the eyebrows, the nose and mouth are sad and happy, the insects, fish and animals are bent and flying, and the bones, horns and teeth are chewed." In particular, the words "change at will, make at will" show the role of surface image processing and inner image transformation in calligraphy creation. In this regard, Zhang Huaiguan in the Tang Dynasty also said that "all-inclusive, self-contained".
It should also be pointed out that the ancients divided the "image" formed by taking different images into abstract "image" and concrete "image". Abstract image is the pursuit of spirit likeness, while concrete image is the pursuit of similarity. The former, such as Wang Xizhi's brushwork of drawing water with goose's paw, Zhang Xu's brushwork of sword-dancing device, and Huang Tingjian's brushwork of paddling with woodcutter, etc. The latter are grotesque rocks, African claws, almonds, plum stones, crabs and water chestnuts. , are vertical, such as hanging needles, hanging dew, bending ruler, iron column, etc. The former is the function of creating imagination, while the latter is the function of recreating imagination.
Verb (abbreviation of verb) inspiration and calligraphy creation
There were many discussions about the role of inspiration in calligraphy creation in ancient times, but there was no word "inspiration" in ancient calligraphy theory, but it was expressed by "harmony between man and nature" or "harmony between man and nature". Hao Jing of the Yuan Dynasty wrote in Zhu Sheng's Handwriting: "We should master the principles of the world, exercise the things of the world, stir up the changes of the world, forget it with courtesy, put an end to it without desire, inaction, and forget our hearts and hands." As you wish. I don't know if this book is for me. I am also a book, but it turned out to be natural, from technology to Taoism. Everything with books is unpredictable and natural. Without pen and ink, God only cares about existence. "This passage is about the conditions, states and results of inspiration. The conditions are as follows: "Pay attention to human principles, exercise human affairs, stir up changes in the world, return the courtesy and forget it, be anxious to relax, have nothing to ask for, do nothing, forget your heart and hands, and do whatever you want." "The state of inspiration is the state of' I don't know if the book is for me, I am the book', and the result of inspiration is to create works of art that are completely in line with' nature'.
In addition, the ancients also recognized the catalytic effect of wine on the outbreak of inspiration, such as "New Tang Book? "Art Biography" wrote: "(Xu) every time he is drunk, he writes or dips in ink. "Du Fu also wrote in the Song of Drinking Eight Immortals:" Zhang Xu's three cups of grass, with his hat off, waved his paper like a cloud. "Qian Qi also wrote in the poem" Send my nephew Huai Su to the Master ":"Being crazy and belittling the world is really drunk ". Lu You also wrote a sentence in "Cursive Song", "Cursive writing is quite drunk and implicit". It is correct for the ancients to think that wine can promote inspiration, because wine has three functions: first, it has an anesthetic effect on the cerebral cortex, which makes the brain weaken its control over the body and the body can be in a state of free activity; Second, the anxiety and nervousness of the brain itself have been alleviated, and it has entered a state of free association, eliminating the phenomenon of "narrow thinking"; Thirdly, drunkenness keeps calligraphers away from injustice, worry, resentment and fraud in the world, so as to find themselves, return to nature, listen to their monologues and observe the breath of natural life, which is one of the important conditions for calligraphers to create.
Sixth, personality and calligraphy style.
The relationship between personality and calligraphy is a common concern in ancient calligraphy theory. Thinking about this problem is manifested in two aspects:
(A) personality differences lead to different calligraphy styles. In ancient times, there was a saying that "books are like people". As early as the Han Dynasty, Yang Xiong put forward that "book is a picture of mind", Hao Jing in Yuan Dynasty put forward that "calligraphy is a mental method", Xiang Mu in Ming Dynasty put forward that "book is a mental phase" and Liu Xizai in Qing Dynasty put forward that "book is a mental study". On this basis, ancient calligraphers defined different personalities and their calligraphy styles. Sun in the Tang Dynasty listed nine kinds of personalities and their corresponding calligraphy styles in Shu Pu: "Although learning from one family has become a multi-body, he always thinks about posture with sexual desire. Those who are straightforward are stubborn and unyielding, those who are stubborn and unyielding, those who admire convergence are harmful to restraint, those who are easy to get rid of are unruly, those who are gentle and gentle are soft, those who are impetuous and brave are too arrogant, those who are suspicious are addicted to stagnation, those who are late and heavy are dull, and those who are trivial are vulgar and filthy. "
Xiang Mu in the Ming Dynasty further developed this point in the elegant words of calligraphy: "A lady's temperament is both rigid and soft; The use of hands, a good fit and mutual shaping. Those who keep it, detain its miscellaneous; Those who flee vertically are tight and few; Warm, charming, less festive atmosphere; If the bidding is risky, the carving requirements are too high; Magnificent and solid humiliation; Wanchang, gradually thick; Zhuang quality, cover too; Those beautiful things, after glitz; The driver doesn't seem so profound; Slim, or more relaxed; Those who are refreshing are brave and fearless; Familiar people lack freshness. This is because the establishment of husband's nature has become close to his resources. "
Different from these two people, Liu Xizai in Qing Dynasty divided people's personalities into four types: Taisha type, handsome type, abnormal type and gifted scholar type, and wrote in "Introduction to Art": "The book of Taisha is warm and mellow, the book of Shen Yi is delicate and handsome, and the book of abnormal person is beautiful and moving." In Song Dynasty, Zhu also reflected this idea when he evaluated the calligraphy of Yan Zhenqing and Yu Shinan. He wrote in "Continued Broken Books": "Alas, Duke Lu can be described as a loyal minister, who did not live in a temple and slaughtered the world. There were many leaves in the Tang Dynasty, so it was impossible to flourish. What a pity! When it was born in Bihan, it was resolute and strong, well-organized and well-prepared. For example, a loyal minister, a man of righteousness, standing upright in front of the court, is impossible to catch. The cloud painting of the Yangtze River is based on books and has won the trust of Lu Gong. " "The south looks like Confucianism, but the outside is well dressed, and with profound academic knowledge, there will be no shortage of folk medicine, among which the resistance is strong and it can't be taken away. Therefore, it is a book, full of charm, smooth color, meaningful and elegant style. However, it is rigid and special, it respects the law, it is soft, it is not blasphemous, just like a person. " There are still many discussions in this regard, so I won't go into details here.
(2) As far as the same person is concerned, with the development of his personality, his calligraphy style has also changed accordingly. On the basis of congenital nerve types, human personality is gradually formed and developed through acquired life practice and education, and at the same time, it has relative stability and plasticity. The ancients not only realized the change of personality, but also realized that the calligraphy style changed with the change of personality. Li Yu, the queen of the Southern Tang Dynasty, said in Shu Shu: "Shu Qiang was seven years old and Yao joined the army at the age of eighteen. At the beginning, he had thousands of riders, relying on the desert, but he was arrogant; Another example is Qifeng in Xia Yun, which is afraid of the sun and the fierce scenery. It is too hot and hot to come to you. Old books are also old, such as Zhuge Liang, Dong Rong, and Zhu Rui. They followed the enemy's board and led the troops with white jade, but they did not see their strength, but they were suitable without a pen. " On this issue, Lin Sanzhi, a modern man, also said something similar in his Random Talks on Calligraphy: "Teenagers love beautiful words, young people love nervous words, middle-aged people love connotative words, and old people love plain and innocent words". This further proves the correctness of the ancient thought.
Seven, moral character and calligraphy realm
The relationship between morality and calligraphy is the theory of "books are like people", and it is the exertion of morality, that is, the theory of character and calligraphy. This is also a common concern of ancient book theory, which was highly praised by many people, such as Emperor Taizong, Liu Gongquan, Xiang Mu, Zhu, Liu Xizai and so on. In the New Interpretation of Linchi, the Tang Dynasty in the Qing Dynasty wrote: "Learning calligraphy is only a skill, but establishing quality is the first step. High quality, painted bit by bit, has its own spirit of integrity; Those who feel inferior, although impassioned and frustrated, look impressive, but they are just violent in both directions, which is quite telling. " This idea is also reflected in the ancient people's evaluation of calligraphers' pen and ink. The Yuan Dynasty wrote in Linchuan Collection: "Si (referring to Li Si) is unkind and ungrateful, so his book is as thin and ruthless as bending iron and cutting jade, and its method is exquisite as that of future generations." ? Yao (referring to Zhong You) thinks highly of people, so books are strong and profitable, like drawing a sword and tiring a tripod, which can break deep dangers? Xihe is upright, insightful and noble. He read Yin Hao and Daozi's books, without attaching Huan Wen. He is in the mountains and rivers, and he has nothing to contend with. Master Jiang Zuo is superior, so his calligraphy rhyme is superior to Dao Wan, which is surprisingly fascinating, without losing his integrity, and his high style is extinct, ranking first in ancient and modern times. Later, Yan took loyalty and righteousness as a big festival, which was extremely positive in ancient and modern times, and assisted in printing characters into the mold; Su Dongpo wrote a large number of poems, and from ancient times to the present, he used Li as a regular script, so his calligraphy was extremely rich. Guy is based on character, and calligraphy is also a mental method. "
Xiang Mu in the Ming Dynasty also had a similar evaluation in calligraphy elegant words: "Handsome, upright and upright. The pen is the filler of the book, and the pen is the right thing. ? As for Chu Suiliang's vigor, Yan Zhenqing's elegance and Liu Gongquan's solemnity, although calligraphy has a low tolerance for elegance, it needs people who are loyal, righteous and straightforward. Ruofu Zhao Mengfu's book, gentle and elegant, seems to have received a biography from the right army, charming and delicate, and extremely lacking in festive atmosphere. Therefore, Tianshui descendants are willing to be enemies. Therefore, to change the book, change the pen first; If you want to correct your author, you should correct your heart first. "
Although some people now question the ancient book quality theory, when we see that some people with poor book quality are cheating and speculating in the name of so-called "innovation", we have to admire the high accuracy of the ancient book theory. In addition, the ancients also discussed the relationship between scholarship and calligraphy.
In short, in the eyes of ancient calligraphers, calligraphy activities are a process of synergy of various psychological factors. Whether it is virtual static creation or passionate mode creation, it is inseparable from the important role of motivation, imagination and inspiration. Moreover, the style and realm of calligraphy are subject to the personality and morality of calligraphy. It should be pointed out that ancient calligraphers paid attention to the psychological analysis of writing and creation, but little attention was paid to the psychological phenomena and laws of calligraphers' appreciation. Calligraphy appreciation only mentions "* * * Ming" and "purifying the soul", so I won't analyze it.