In recent years, the variety of forms of artistic calligraphy has aroused the interest of many audiences.
What is the difference between art calligraphy and traditional calligraphy? How should we look at the jianghu body and star writer characters that have been criticized by many people?
Leaving the work and leaving the process
The art of calligraphy is the art of sublimation on the basis of writing. Although it has become art and has an aesthetic function, it still does not lose the function of writing, that is, the practical function of conveying the meaning of the written text, that is, the function of reading.
Even if Wang Xizhi's ruler is concerned today only with its aesthetic function, how ingenious the knotted characters are, how vivid the brushwork is, and how well the rules are, and have no intention of reading the text content it writes; but in Wang Xizhi himself, including the recipient of this ruler, the function of the first place is definitely to express and receive the meaning and content of the words he wrote.
The art of calligraphy is like the art of clothing made for the cover. This dress can be worn on the catwalk and can also be worn in daily life.
Even if art calligraphy is still writing, it is not based on writing, but it is not based on writing, but it is used to create art in the form of calligraphy (writing brush characters), and its function is all aesthetics, especially the aesthetics of brushwork, ink and chapters, and has nothing to do with the functions of writing and text reading. Its aesthetic is no longer limited to judging "beauty", but expands to judge "ugliness"; its form is no longer limited to writing, but extends to various means such as behavior and performance. The appreciation of an artistic calligraphy, in addition to viewing the work, can also watch the process of creation.
Although the appreciation of works is also available for the art of calligraphy, the appreciation of calligraphy works of art, in addition to appreciating the beauty of their knots, strokes and chapters, also needs to know the content of the words written. And the appreciation of artistic calligraphy works, even if it is written with words, we do not have to know the content of the words it writes, but only need to appreciate the weight of its pen and ink, the dry and wet, the thickness and length, the twists and turns, the rhythm of dense gathering, and the vivid rhyme.
The way of appreciating the viewing process is unique to art calligraphy. Although Zhang Xu and Huai Su's cursive writing and literature also record their creative process considerably, it has a fundamentally different nature from today's artistic calligraphy creation, which focuses on the process of performance rather than the result of creation. Zhang Xu is the first to leave their works, and the art calligraphy, the process of leaving is the first. Thanks to today's high technology, aerial photography and other means can be used to record the creation process of art calligraphy for everyone to watch in an all-round way.
Art calligraphy is like clothes made for art, even if it is made almost like "clothes", but still with cloth. Such clothes, purely for the art display on the catwalk, can not be worn at all in daily life, and are for artistic clothing.
Part of Huai Su's "Self-Narration Post"
Talent, skill and cultivation
The difference between calligraphy art and art calligraphy, such as the difference between costume art and art costume. The art of calligraphy belongs to the category of traditional calligraphy, including epigraphy and theology, no matter how innovative, it is inseparable from aesthetics and practicality. And its achievements require the writer to have the conditions of talent, skill, and cultivation.
Skill is the calligraphy ability of the heart, eyes, and hands. The heart is related to talent, and the eyes can see the works of the famous masters of the past, and the hand is the depth of the kung fu.
Cultivation is the cultivation of culture, a subset of history, poetry and literature, and a belly full of vigor. With the development of today's publishing industry, it is entirely possible for our generation of writers to surpass the predecessors, but compared with the famous masters of the past, they always feel quite inadequate. Why? Although the talent is not easy to say, it is not necessarily inferior; the skill is obvious, it must be surpassed; the rest is cultivation, although it is possible to surpass the predecessors, but in fact it is not surpassed- how many of the scholars of this generation have really read the epic books of the scriptures?
Art calligraphy belongs to the category of modern calligraphy and contemporary calligraphy, and there is no such thing as epigraphy and theology. It originated in the "ugly book" of the modern era, taking the so-called "small word count" in Japan as the origin, and then poured into modern art such as western abstract composition, so Li Luogong, Huang Miaozi, Zhao Lengyue, Wu Guanzhong, Gu Wenda, and Xu Bing explored in different directions.
In the 21st century, there are several big names in the book industry who have succeeded in this regard, although they have been denounced as "ugly books" by the traditional school, but in my opinion, the achievements are very different, far ahead of the exploration of the various families and the Japanese "few words" school.
Wu Guanzhong Poetry Painting Enmity 2005
A turning point in the history of calligraphy
Why is the art of calligraphy "not as good as the past" but the art of calligraphy is "better than the past"?
Because the accumulation of calligraphy art "ancient" is too long, there have been too many excellent calligraphers and excellent works, and the previous generation of calligraphers have rich and bona fide cultural cultivation in addition to talent and skill—although today's publishing conditions make it possible for us to surpass the predecessors in terms of cultivation, today's environment makes it impossible for us to truly read the epic books. Even if some of the winners of calligraphy awards are almost not allowed to let Wang Duo in terms of visible pen and ink, etc., it is really not enough from the perspective of invisible breath and so on.
The "pre" of art calligraphy is only forty or fifty years, these forty or fifty years are still only in the process of unsympathetic exploration, and the method of success has only just been clarified today, that is, talent, skill, and creativity are indispensable.
Talent is hard to say, so it doesn't matter. Kung Fu is the reading of the heart, eyes, and hands of the famous works of traditional calligraphy masters. Creativity is the creativity of art, of course, mainly the composition, behavior, concept and other ideas of modern art.
In the previous generation, Zhao Lengyue's skills were the most profound, and his creativity was more novel than Wu Guanzhong. Today's art calligraphers who are big names in the book world have no shortage of profound skills that surpass Zhao Lengyue and whose creative novelty surpasses Wu Guanzhong. The "back is better than the front" of artistic calligraphy, and naturally it is taken for granted.
As we all know, in the history of calligraphy, Wei and Jin were an epoch-making turning point, which was marked by the change of the daily writing style from a seal book to a line letter. When xingkai became a common font for daily writing, the art of calligraphy sublimated on the basis of writing entered an era of self-consciousness.
I believe that in the history of calligraphy, today is another epoch-making turning point, which is marked by the transformation of calligraphy from calligraphy art to artistic calligraphy. When artistic calligraphy becomes the main form of calligraphy of artistic creation, it itself enters an era of self-consciousness.
"Nowadays, the writing of brush characters is no longer based on the practical function of "publishing articles", but with aesthetics as the only function. Compared with the calligraphy art of Shangyi, which is purely as artistic creation, such as Bai Shuo and Qi Gong, it is different from the calligraphy art of the previous generations that have been sublimated on the basis of writing - the calligraphy of "Shangyi" is more typical.
Zhao Lengyue calligraphy works
The rise and fall of calligraphy is not outside the world of books
The jianghu style and some star writer characters are denounced by some writers in today's book world. There are two reasons for the rebuke, one is that it is too poorly written, and the other is that it sells too expensive.
Calligraphy, or brush writing, can only be written by a calligrapher, and no calligrapher is qualified to write— which is very domineering. Only people who write well can write, and people who write badly are not qualified to write - this is still very domineering.
In fact, Jin Luji's "Ping Fu Ti", Tang Li Bai's "Shang Balcony Post", and Du Mu's "Zhang HaoHao's Poem Post" were the star writers at that time. In my opinion, by the standards of the book world at that time, except for Du Mu, who wrote well, Lu Ji and Li Bai were not the best at writing. Of course, from today's point of view, all three are well written, and there are different ideas from other booksellers.
Lu Ji wrote Zhang Cao, and we leave aside the inscriptions of Suo Jing and The Imperial Elephant, the Zhang Cao of the Han Dynasty is written in such a magnificent and majestic way. This is only written by ordinary book workers, suo jing and other if there is ink to pass on, the level of land machine is really far behind. Li Bai's big grass, regardless of Ouyang Qing and Yu Shinan's grass, compared to Zhang Xu and Huai Su, what about it? It can be seen that the history books do not contain that they are good at calligraphy, and they seek truth from facts.
Famous calligraphers at that time, such as Hu Zhao, Wang Zhi, Ouyang Tong, Xu Hao, Shen Chuanshi, etc., all had high achievements. At that time, the inscription Shu Dan had a very high run gold, and it was this group of famous calligraphers with high calligraphy achievements who were solemnly invited, and no one went to invite Lu Ji, Li Bai, and Du Mu at all. I speculate that if someone had asked them to write a stele at that time, Wang Zhi and Shen Chuanshi might have jumped out and denounced them.
However, in today's history of calligraphy, the works of Lu Ji and Li Bai are regarded as the most precious treasures, while Wang Zhi and Shen Chuanshi have almost disappeared. Why did the stars and writers outside the book world become the celebrities in the history of calligraphy today? And the sub-heavyweights in the book world at that time had almost no place in the history of calligraphy today?
This is the problem of "the book is passed on by man" and "the book is passed on by man". Lu Ji and Li Bai, there are very few celebrities outside the book world who can purely "pass on books to people" in the history of calligraphy; very few celebrities in the book world can purely "pass on people to books". Because there are too many well-written calligraphy on the book world, and the capacity of calligraphy history is quite limited, it is impossible to write every celebrity in the book world. So, what kind of book celebrities can finally be written into the history of calligraphy? That is, there are both superb calligraphy levels that are enough to "pass on books by people", and Bo Qia's achievements outside the book that are enough to "pass on books to people", such as Erwang, Ou Yu Chu Xue, Yan Liu, Su Huang Mi Cai... Nothing less.
Some star writers are the object of criticism in today's book world. In fact, the rise and fall of calligraphy is not the "wind and waves" outside the book world, but the Zhidao Hongyi within the book world. If the book world itself is not vibrant, even if there is no star writer's word and jianghu style, the book world is still not happy. Self-perk, even if the star writers outside the book world are strange in words and rivers and lakes, the book world will be prosperous.