There are many articles on the Internet about calligraphy, and today we will talk about the importance of calligraphy to calligraphy.
As we all know, the "calligraphy" we mention today was only expressed in one word in ancient times, that is, "book", such as the "Six Arts" (Lile Shooting Imperial Book Number) in the Western Zhou Dynasty. Later, people gave it the name "calligraphy", and it is still continued in Japan. It was not until the Tang Dynasty that calligraphy, which was known for its strict writing of the Fa, appeared, and thus there was a "Fa".
First, the understanding from life
Han Xu Shen's "Preface to the Interpretation of Words in Shuowen" proposes that "the book writer, such as also." What is "such as"? There are many opinions, and in order to avoid similarities, I will explain it in terms of life this time.
Xu Shen divided Chinese characters into six categories (pictograms, instructions, shape sounds, huiyi, false borrowing, and transliteration). Among them, hieroglyphs are the most familiar to us, it is like painting, recording the most obvious characteristics of something, and these contents are derived from the record of life, which is "elephant". The situation of fingering and meaning words is also relatively similar. The "such" that Xu Shen speaks of is "elephant." It doesn't matter if we don't understand it, let's look down.
Nowadays, the world's writing has become symbolic, and only the Chinese civilization has gradually adopted and evolved these images. Where do these ideas come from? We must be grateful to three saints, one is Fuxi, who dates back more than 7,000 years, one is King Wen of Zhou, and the other is Confucius. Tai Chi Bagua, Sixty-four Gua, "Ten Wings", they all have the concept of "elephant" (the following image archway like the guan gua), the ancients want to see the sky, face, palm... Everything is "like", that is. It stemmed from people's perceptions of life, an idea that influenced the development of later thousands of years. Whether it is life, culture, military, etc., even today's stock speculation is inseparable from it. Even in elementary school students' essays, teachers very much want children to use the rhetorical technique of "metaphor" more. In the field of calligraphy, it is called "metaphor".
To name a few chestnuts, you may understand:
Chestnut One:
Chu Suiliang wrote about the "cone painting sand" and "printing mud" in the "Treatise on the Book".
Chu Suiliang was a student of Yu Shinan, and for a while he was very upset that he had made little progress, and happened to see his teacher and asked, "How can I write the Divine Pen?" Teacher Yu replied: "Using a pen is like printing clay." Then he flew away, leaving behind a puzzled little Chu. Until one day, when he came to the beach and was enjoying the beautiful scenery of the "front wave lapping on the beach", the idea of writing came to mind. He then picked up the branches and paddled on the beach. Suddenly, he suddenly realized what the teacher called "printing clay" and said with surprise: "Using a pen is like painting sand with a cone!" "Since then, the art of books has advanced greatly!
And "cone painting sand" and "printing mud" are "elephants". Each of us may have different levels of understanding of these two words. But what is certain is that the understanding between Teacher Yu and Xiao Chu Children's Shoes is similar, but each of them has a different understanding of life, so the metaphors they get are different. This is what Xu Shen calls "such as".
Chestnut II:
There are many legendary stories about Zhang Xu, a master calligrapher in the Tang Dynasty, such as saying when talking about using a pen: "The lonely tent vibrates itself, the sand sits and flies, and the rest of the thought is strange for the book." Zhang Xu also understood cursive writing when he saw Gongsun Daniang dancing the sword; Zhang Xu accidentally saw the princess in a palanquin out of the palace having a dispute with a mourning team and comprehending cursive writing... (The wisdom he burst out really made me salivate...) ）
"Lonely canopy self-vibration" means that the brush is like a lonely grass, although lonely, although it drifts with the wind, but to cheer up;
"Flying in the sand" means that the pen should be like the sand and gravel blown by the wind can naturally fly up, unrestrained and indulgent, and the pride is stirred;
Zhang Xu quoted two sentences from the Southern Dynasty Song BaoZhao's "Wucheng Fu" to understand the use of calligraphy with a pen, and I think he is also difficult to say, otherwise in the "Twelve Meanings of Zhang Changshi's Brushwork" written by Yan Zhenqing later, Zhang Xu did not teach Yan Lugong anything as he teaches now, but woke him up. But we can learn, .
All of the above parables are sources of careful observation of life, aren't they? Gongsun Da Niang danced the sword and the princess did not need to explain when she left the palace, he was nothing more than to feel the calligraphy on these "elephants".
The I Ching speaks of "elephants, numbers, and reasons," and what matters is how we see the "truth" in the elephants through these "elephants." There are countless such chestnuts, such as Su Dongpo's evaluation of the student Huang Gu's words such as "hanging snake in the treetops", the little yellow children's shoes in turn evaluating Su Shi's "stone pressure toad", and then such as "house leak marks", "folding stocks", "frightening snakes into the grass, birds out of the forest".... They are all making metaphors, and these metaphors are all life, based on the personality of each of them, the living environment, etc. have created their results, although they are not the same, but they have found their own "Tao", which is from life. So if calligraphy only talks about the "Fa," then where do these parables come from?
In the Qing Dynasty, Liu Xizai's "Outline of Books" also pointed out: "Books, such as also, such as their learning, such as their talents, such as their aspirations, in short, just like their people." Further enlarging the "such as" is not only the object, but also the person. In the final analysis, if the three talents of heaven and earth are one, xu Shen is not referring to the heavens and the earth, and Liu Xizai is referring to the like man? Isn't that a one-word summary—"The Word"?
Now that we understand that calligraphy is life, this explains why the ancients could experience a situation in their calligraphy, and this situation is often difficult to achieve, which has a lot to do with their understanding of life. thus.
(The picture below is the material I made in the "Taking the Momentum Chapter" of "Jiucheng Palace" and the writing exercises of my friends in recent days, for details, please see the relevant video explanation.) Isn't that the Word? ）
This picture is called "Temptation on the Verge of Death."
Experience this dynamic
Copyright of this Peppa Pig...
Worthy of you
"Give me home to study!" "No, I want to play again"
Second, how to apply
Lao Tzu's "Tao Te Ching" says, "Ruling a big country is like cooking a small fresh." "The way to govern the country can be understood from cooking a small fish, which shows that Lao Tzu was a generalist. When we study calligraphy, we must also experience this generalist way, from practicing calligraphy to governing the country, which is not excessive. Calligraphy is 360 lines. I don't understand so many industries, but I can try my best to guide people to connect calligraphy with their own industries and lives. That calligraphy will no longer be an ordinary practice, and the characters will naturally change. This is the fruit that bears in the tree that belongs to oneself.
I will use calligraphy and children's education as an example for your reference: in the calligraphy, there are seals and grasses, and there are static and moving, just like students. We can't force a particularly troublesome child to be gentle, which is not in line with the "Tao", just like you want to write cursive in the style of a calligraphy? Another example is that there are center and flankers in calligraphy, some students have special rules, and some students just like to do things and take the side, right? There are thousands of changes in calligraphy, just like chinese dragons, there are thousands of postures, is it not easy to educate children like this? The class has a class style, the words have the appearance, the people have joys, sorrows, sorrows, sorrows, and sorrows, and the pen also has Teton squatting and grabbing the turn, and so on. This is the application, "passing" is the end, and learning is only the means.
Speaking of which, I will expand, if the above understanding is no problem, the following should be "one point to understand":
Is this also the case with dance? Shouldn't Go be the same? Can computers live without life? Are criminals like ugly books again? If you really understand this truth, you will deeply understand that criminals will not disappear, villains will not die, and ugly books are even more unlikely to be destroyed, because they are "Tao", the ancients have, today's people have, tomorrow will have. A fish tank, there are a lot of small fish in it, one of them always bites the other small fish, you decide to fish it out and raise it alone, but strangely the next "criminal" appears again, which is the truth. Through calligraphy, understanding the "Tao", many things will be seen, will you still be impetuous? Nature is originally like this, you will not look at anything unpleasant, naturally get the so-called "self-cultivation" of calligraphy, the understanding has improved, your own "divine pen" will be far away?
Cong Fan wrote in Beijing
2020.8