The use of "book volume qi" as the main basis for measuring the level of calligraphy art and elegance was first found in the Song Dynasty book theory, but it did not have a name.
Su Dongpo's poem "Liu's Second Nephew Asks for Handwriting Two" has the sentence "Withdrawing from the pen like a mountain is not enough to be precious, reading ten thousand volumes begins to understand the gods", which means that it is better to read more than to read more, only by learning to be rich can the calligraphy reach the realm of deification, as for why, he did not explain.
The Xuanhe Book Genealogy commented on Li Zhen's calligraphy: "I am more or less full of Confucianism, and there is no bit of dust and tacky in the next pen and the calligraphy is secretly in line with the calligraphy. He also commented on Shen Yue's calligraphy: "The cultivation in the chest is extraordinary, and those who see it are superb, so those who are good at discussing books think that there are thousands of books in their chests, and the next pen is not tacky." ”
From here, we can see a causal relationship: reading can make people open-minded, interested, and superior, and calligraphy will naturally show personality, rich charm, grandeur, and abandonment of the world, resulting in beauty.
Huang Tingjian's "Book of The Eastern Slope" said: "Yu is the Book of Dongpo, the spirit of learning articles, depressed and depressed, issued between pen and ink, so that others can not reach it in the end." The "qi of learning articles" that he felt was what he often called "the qi of books" later. And some people regard "bookishness" as a style, not a style.
▲ Part of Huang Tingjian's "Theravada Cursive Scrolls"
In the eyes of the ancients, calligraphy was the art of a gentleman, the elegant affairs of the literati doctor, so they called "book volume qi" "morale". Liu Xizai's "Outline of books" said: "Everyone who talks about bookishness is based on morale. If the femininity, the soldier's temperament, the village qi, the city atmosphere, the craftsman's qi, the rotten qi, the slang qi, the haiku qi, the jianghu qi, the door politeness, the wine and meat gas, and the vegetable and bamboo shoot gas, all of them are abandoned. He asked the readers to maintain their true colors in the art of calligraphy and avoid all kinds of undesirable customs that belong to the world.
"Morale" is in terms of people, and its name first appeared in the Yuan Dynasty painting theory. Also known as "Shifu Qi", "Shiren Meteorology". Ancient books were originally compiled into scrolls with simple strategies or bound in scrolls, and some people used "scroll qi" to refer to "scroll qi". The name "Book Scroll Qi" began around the Qing Dynasty, see "Chiang's Amusement Secrets" and so on.
▲Cai Xiang's "Hongxian Thesis"
The reason why the Song people advocated "book qi" is nothing more than the following three reasons:
First, it is created by the literati doctor.
For example, Zhu Changwen's "Continuation of the Book" commented that Cai Xiangshu believed that "the Confucian work book, so it is only a matter of self-wandering, it is like a skilled servant", he regards the writing of readers as a means of strengthening their own self-cultivation, unlike those who rely on a skill to eat.
Su Dongpo's "Inscription Pen Array" believes: "The traces of pen and ink are supported by the tangible, and the tangible is harmful." Gou will not be nothing, and self-pleasure for a while, talk about his heart, forget about the late age, then he is still wise in the game. Although, without pretending to be external, there are those who keep on the inside, and the sages are also high. In his view, calligraphy has disadvantages in form, if it can not be tired of form and let the emotions be happy, that is, you can enjoy yourself, better than playing chess, and calligraphy is not dependent on foreign objects and can be self-satisfied, which is also the goal pursued by ancient sages.
Their ideas are the same realm as Ouyang Xiu's "Test Pen" self-description of self-enjoyment and self-improvement, regardless of workmanship, aiming to cultivate temperament, transcend the world, and strive for the greatest freedom in writing. This mentality is directly related to the Zen Yue wind of the Song Dynasty.
▲ Du Mu's "Zhang Haohao Poems" volume part
Second, it comes from a basic understanding of calligraphy.
The Xuanhe Shu genealogy commented that Du Mu's calligraphy was "in line with his articles", and Xue Daoheng's calligraphy believed that "articles, characters, and paintings are the same, and the special source is the same school and different ears", all of which are based on the overall way of thinking, and are discussed at the same level of understanding of "words as their people" and "literature as their people", and finally come down to "Tao", which can well reflect the traditional Chinese cultural and artistic spirit.
Deng Chun's "Painting Succession and Discussion of Yuan" believes that "the painter, the extreme of the text", is the same as this, caused by a temporary atmosphere.
▲Mi Fu "Bo Chong Ti"
Third, aesthetic tastes and values have changed.
Mi Fu's "Famous Sayings of Haiyue" denounces "Ou, Yu, Chu, Liu, and Yan are all a book", Liu Ti is "the ancestor of ugly and evil Za", and the Yan character true book is "into the customs", which is very different from the Tang style. Wang wrote the Gongshu, and Huang Tingjian said that he was "sick rhymed" ("Bao Zhouzi Post"),and Wang Guanfu's calligraphy was not worked, and he was affirmed because he was "not tacky" ("After the Title of Wang Guanfu").
In Huang's view, calligraphy takes the first priority of being unworldly, and there is no need to worry about clumsiness, which is exactly the same as the intention of the Xuanhe Book Spectrum to "follow the people at the next stroke". There is a passage in Su Dongpo's discourse on painting that is also an excellent reference: "The painting of the spectators, such as reading the world's horses, takes what they want." If you are a painter, you often only take spurs, furs, grooves, and blades, without a little handsomeness, and you are tired after looking at a few feet. ("Painting the Mountain" by Han Jie)
It is certain that "taking what it wants" is also the focus of calligraphy aesthetics, representing the mainstream ideological tendency of the Song people to advocate "book style" and become a generation of calligraphy styles.
▲ Part of Su Shi's "Huangzhou Cold Food Poems"
There is probably another hidden feeling in this: Su Dongpo's "Shu Zhu Xiang First Painted After" has the phrase "Xi Yan Liben began to enter the body with literature, and the shame of the painters" (the details of the "New Book of Tang Dynasty Yan Liben Biography") are different from the calligrapher's works since Song Ming, and the practice of advocating "book volume qi" can be viewed at the same time, which has the meaning of the literati and doctors exalting themselves and flaunting their value.
Huang Tingjian's "Treatise on books" also made an extended exposition on the "book qi": "To study books, it is necessary to have morality in mind, and to widely study with the wisdom of sages, books are precious." If his spiritual house is not successful, the political envoy's pen and ink will not be reduced, but only the ears of the layman. Yu Yu said: Scholars and doctors can do a hundred things in the world, but they cannot be vulgar, and the customs cannot be healed. ”
Morality refers to the norms of character morality and etiquette, and "extensive study of sages" is intended to read more books, so that the thoughts of sages can be imperceptibly in themselves, so that they can be elegant and vulgar, and calligraphy can be precious. Otherwise, even if Kung Fu can rival King Zhong, it is just a layman's book. This view is derived from the idea of "two advances in technology and two advances" put forward by Su Dongpo's "Book of The Journey of the Qin Dynasty", with the ethical color of "character is a book".
▲Huang Tingjian 《花氣薰人帖》
Huang's views were inherited by the Qing people, such as the "Secret Records of Chiang Kai-shek's Entertainment" listed the two necessary conditions for "book volume qi": high character and reading.
Yang Shoujing's "Xueshu Shuyan" also has a detailed explanation: "One is to be of high quality, and the high quality is to write elegantly and not to fall into the world; one is to learn to be rich, the chest is universal, the atmosphere of the scrolls, naturally overflowing between the lines, the ancient people, do not prepare for this, there is no chest without ink and can surpass the others." ”
Due to the intrusion of character, the aesthetic of the original "bookish atmosphere" that was almost reasonable has become somewhat blurred.
People live in society, and all kinds of bad habits may have a negative impact on the writer and artistic style, interfering with or offsetting the normal role that education can play. The fundamental purpose of advocating "book volume qi" is to be vulgar, and Zhou Yi's "Words and Sayings of The Wind" put forward that "it is better to seek words in words than to seek words outside words." The way to seek words outside the word, one is to read more, and the other is to avoid the vulgar. The common man, the thief of words is also the same" principle, calligraphy pursues "kung fu outside the word" is derived from this.
Ancient calligraphers were all readers, most of them had a good understanding of the spirit of traditional culture and art, and the aesthetic ideals cultivated by learning and cultivating made them have a rather persistent common pursuit of calligraphy and belonged to a powerful social group, and they would not easily shift their interests and get rid of this established position. They adhere to the principle of "technology into the Tao" and regard calligraphy as a process and form of humanization.
When there is a social malpractice in calligraphy, the purity and self-improvement spirit of the reader will be expressed through the words and practices of some outstanding figures, and become a cure. The practice of calligraphy represented by Su and Huang and the proposal of "bookish qi" are aimed at the abuses of the "courtyard body" and are the self-regulation of the established positions and values of the intellectual class.
The Ming and Qing dynasties' intention to advocate "book volume qi" also did not exceed this scope. In this regard, "book volume qi" is not a definite sense of beauty, nor is it a criterion of criticism in the strict sense, just as Fang Xuan's "On the Painting of Mountain Tranquility" "The so-called scroll qi of the ancients, not in terms of freehand and workmanship, cares about elegance and customs" has touched on the essence of the problem.
▲ Wu Ju's "Shou Father's Post"
The reason why the ancients saw the problem in this way was because there were major differences in many aspects of knowledge structure, artistic practice, aesthetic mentality and habits between ancient and modern scholars.
For example, the "Hanlin Zhiyan" regards "there is a book in the chest, and the next pen is naturally good" as the truth, and Wu Kuan's "Collection of the Zao Weng Family" does indeed mean that "the writer can write and write, but he cannot know the custom of his strokes, and he is just a book worker." If the scholars of the world have not been able to write poetry, I have not seen the law of "books", all come from experience and intuitive judgment, but today's people do not look at the problem so simply.
Another example is the narrative of Fu Shan's article "Gifting Taiyuan Duan Kong Jia": "The scholar Duan Zeng, the wise man also." Occasionally unveiled, serene and serene, more and more refined. That is, this metaphor is also a matter of learning, and it is not possible to look at it technically. "The ideological context is: the reader is accustomed to it, the learning makes the penmanship serene, and the progress is very fast, in this regard, calligraphy is directly proportional to learning, and cannot be simply regarded as a skill."
It should be admitted that Fu Shan's view conforms to the general law of learning calligraphy in ancient times, and if Duan Zeng is not "intelligent", will there still be such associations and conclusions? The Tang Dynasty wrote "GanLu Style", the Song Dynasty wrote "Courtyard Style", the Ming Dynasty wrote "Tai Ge Style", and the Qing Dynasty wrote "Pavilion Style" were all readers, and even some university people, why would they be criticized?
▲ Su Shi "Sacrifice Huang Several Scrolls" part
It is necessary and positive to evaluate and advocate "book-scrolling", and the things obtained by reading such as the profundity of thought, the elegance of temperament, the breadth of smell, the openness of the heart, as well as the lyricism of prose and the romance of poetry, the depression of history and the wisdom of management, the identification and pursuit of beauty, ideals and sentiments, self-confidence and persistence... Can be transformed into the artistic will of the writer, and then create a form of beauty.
But there are two things that cannot be replaced by reading: genius and spirituality, both of which are indispensable constituent elements of the life form of art.
On the other hand, there are many frames for reading, reason often jumps out to suppress nature and emotions, and orthodoxy limits readers to the circle of "happy but not obscene, mournful and not hurtful", so that lyricism is veiled as a model, and "book volume gas" can especially reflect this spirit.
From today's point of view, the "book volume qi" represents the basic tendency of calligraphy neoclassicism since the Song and Ming dynasties, and has important theoretical value and is worth learning. As for the negative elements of self-imposed barriers, it is not difficult to discern.
▲ Part of Huang Tingjian's "To the Bachelor's Post of No Blame"
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