In the evaluation of calligraphy, the concepts of book volume qi, golden stone qi, and temple qi are often encountered, but they are also very easy to be confused. Today, let's "squeeze" it in an easy-to-understand way:
【Scroll Gas】
Book volume qi is a social background of the Song Dynasty Wenxing Wu, the literati Doctor Han Mo writing heart, calligraphy and painting to send affection produced by an artistic concept, has been used until now, the overall style of beautiful, flowing beauty, soft beauty, specific can include the personality spirit and technical characteristics of the two meanings.
First of all, it is a kind of literati spiritual release. The ancients believed that the book qi is also called morale, the scholar of agriculture, industry and commerce, that is, the literati doctor, morale refers to the temperament that the literati doctor should generally have and pursue together, the spirit is clear, the flush is elegant, the natural leisurely travel, and the extraordinary. This temperament should be supported by independent personality ethics and profound academic cultivation, and the book qi in calligraphy is first of all the embodiment of this temperament, the reproduction of the literati spirit and the cultivation of learning, and all of them equate morale with the book qi. This kind of morale that the ancients talked about is a specific historical product, because the main body of calligraphy at that time, mainly literati and doctors, is very different today.
Today's calligraphy art has completely separated from practicality, officials have done a high job, learning has become large, and words are not necessarily well written. Therefore, the bookish atmosphere pursued by calligraphers today does not have to be too persistent about the "morale" advocated by the ancients, but the literati style, literati feelings and profound learning advocated by the ancient literati are still worthy of our good study and reference. Literati style, that is, the independence of personality, not attached, not subservient, not at any time, adhere to self, such as Tao Yuanming does not bend his waist for five buckets of rice, and so on; literati feelings are the feelings of home and country, pay attention to the country, care for society, care for people's livelihood, dare to stand up at critical times, such as Yan Zhenqing, Lin Zexu, etc.; then is full of poetry and books, and there is poetry and book in his belly. These will be consciously or unconsciously reflected in calligraphy and become an important component of the book qi.
Secondly, in terms of technical style, it is characterized by femininity. The book qi is mainly relative to the theology, but not all those who write the post can have the book qi, and must have reached a higher level of technique. In terms of brushwork characteristics, the key points are drawn cleanly, sharp and introverted, starting and turning, natural and smooth, ink color implications, including the texture of the package. In the process of writing, there are more pens, few folding pens, no excesses, no jagged teeth, no edges and corners; on the knot, neutralize and warm, stabilize and change, Gu Pan is affectionate, swaying and colorful, not abrupt, not informal, not relaxed, gentle and elegant; in the chapter, the arrangement is reasonable, the rhythm is bright, the front and back echo, up and down, up and down, ups and downs, vivid rhyme.
The bookish atmosphere shows a high degree of technical proficiency, showing a relaxed and natural, fluent, free and dexterous elegance of beauty, like a clear spring, unrestrained, unhindered flowing in the mountains. The ancients discussed the qi of books and volumes, and first recommended the Eastern Jin Dynasty scholars. Cai Xiang said: "Calligraphy is difficult to reach, and the Books of the Jin Dynasty, although they are not famous, are also self-exhilarating. "Take out any one, you can stand, the most representative of course is the Thesis Sect - the father and son of the second king, their Fa Ti, that kind of highly skilled pen and ink skills, that kind of relaxed and leisurely nature and self-confidence, that kind of unexcited literati atmosphere, vivid, beyond the reach of future generations." Since the Tang and Song dynasties, such as Yan Lugong's third draft, Yang Ning's leek flower post, Song Sijia, Zhao Mengfu, Dong Qichang, Wen Zhengming, etc., are all outstanding representatives of the bookish atmosphere, repeatedly playing with taste, and their meaning is endless.
【Golden Stone Gas】
Jin Shiqi is a calligraphic aesthetic concept born from the rise of epigraphy in the Qing Dynasty. Due to the new discoveries excavated by archaeology, people have found new Chinese character aesthetic styles from zhongding inscriptions and stele stone carvings, such as Hun Mu, Gu Humble, Fang Jun, Pu Mao, Xiong Qiang, and Qi Yi, which are not seen in the field of Theology. In the Qing Dynasty, a group of scholars represented by Ruan Yuan, Bao Shichen and Kang Youwei studied and advocated, and then a new school of calligraphy - steleology, a new concept of calligraphy aesthetics - Jin Shiqi. Completely different from the beauty, flowing beauty and femininity pointed to by the book qi, the aesthetic ideas carried and promoted by jinshi qi are magnificent, masculine, simple and outward, reflecting the natural and simple characteristics of the ancients and the strong and bold character characteristics of the ethnic minorities in the north, and is also a manifestation of the cultural spirit of the Chinese nation.
The aesthetic styles of Jinshiqi in calligraphy mainly include the following:
The first is the beauty of Fang Jun. Due to the casting and chiseling of the golden stone characters, the dot-and-draw glyphs fold more and turn less, the squares are more round, the edges and corners are clear, the characters are independent, the gestures are cold, the glyphs are abrupt, the weather is fierce, and the natural release of a majestic, rugged, robust and bold beauty is released. For example, looking at the North Stele stone carvings and the Six Dynasties Epitaph, the traces of the knife carving and axe chiseling, the kind of upright and bizarre font structure, will give people a strong visual impact and spiritual impact, people will be in the heart through the eyes, in the calligraphy appreciation and creation, to pursue this artistic feeling, with the pen edge to restore the blade, is not only the pursuit of line bone, texture, sense of strength, but also the pursuit of a kind of tough, strong and heroic personality spirit.
The second is the beauty of simplicity. Lao Tzu talks about "great coincidence and clumsiness", this kind of "clumsiness", talking about a natural, simple, authentic, primitive state of innocence and simplicity, opposing fabrication, disguise, and too careful, reflecting people's aesthetic concept of the authenticity, essence, and naturalness of things and the wisdom of Taoguang's clumsy life. And the words that people have earlier poured on bronze and engraved on cliffs and stone pillars just reflect this clumsy intention, and the unevenness of this kind of writing, sharp square edges and erosion of wind and rain over time give people a long and vast feeling, and the heart yearns for it. The ancient beauty of calligraphy, people's appreciation, judgment and creative pursuit of the calligraphy of the seal and the north stele, must be heavy strength, heavy nature, heavy simplicity, heavy ancient clumsiness, against slippery, carved decoration, against the line is too smooth, the character posture is too plain, as far as possible to restore the feeling of gold and stone.
The third is vitality and beauty. The text on the Zhong Ding Stone Pillar, the linear quality of the seal book, such as the dragon pan bending, such as the old dry vine, thick and vigorous, can not be solved, pulled continuously, showing the tenacity and stubbornness of life; Lishu, dot painting thick, wave expansion, shape opening, middle palace wide Bo, canggu simple mao, yu ingenuity, can realize the infinite power of wear resistance, pressure resistance, there is a sense of bearing and permanence of life; the text on the epitaph of the North Stele, in addition to the square fold of the line, the glyphs are more varied, or fierce, or dangerous and strange, or the wind god is dangerous, Or cute, showing natural wild fun and exuberant vitality. This and people's instinctive pursuit of the strength of the body and the eternity of life, resulting in a deep spiritual fit, through the brush to make the turn and fall, the ink color of the thick and light dry wet, on the rice paper to create round, square, thirsty, straight line changes and a variety of halo, sloppy, erosion, broken effect, in order to cash stone gas.
【Temple Qi】
The original meaning of temple qi was not an aesthetic concept at first, but the temperament of the scholar shaped by Chinese Confucianism, and the concept of the Five Classics and Four Books and the Confucian Cultivation of Qi Zhiping was to talk about temple qi. There are three types of judging criteria for literati in ancient times, believing that deep and thick is the first, the arrogance is the second, the wisdom is the third, the first qualification is the temple qi, can enter the cabinet to worship, the latter two can become outstanding in a certain aspect, but the lack of stability, normativity, order, it can be seen that the temple qi is more of an ethical, moral direction.
Temple qi introduced calligraphy aesthetics, which people mainly used to praise the main book, but there are also many cursive books with this kind of weather, and temple qi can be recognized from three aspects.
Calm and upright. The pen is mainly centered, the law is rigorous, the bone strength is strong, the main pen is solid and straight, the dot painting is calm and thick, the ink color is full, full of power; the structure is dense, the weather is strict, it is not biased, it is not informal, and it has an unshakable threat. Just like a person, full of warp but not showing any form, the body does not move, the eyes do not look away, sitting in a precarious position, not angry and threatening. Qing Dynasty calligraphy theorist Zhou Xinglian's "Linchi Guan Jian" Yun: "Chu Dengshan, Yan Changshan, and Liu Zhi discussed the ancient and modern articles, loyalty and righteousness through the sun and the moon, and the solemnity of their books overflowed with ink." "It is believed that such a word contains full of emotional strength and personality strength, soaked in a deep Confucian spirit, and is a model of temple atmosphere."