Baijiao | (1907-1969), a native of Zhangyan Town, Jinshan District, Shanghai, whose original surname was He, whose name was Rule of Law, whose name was Fu, whose name was Yuanxiang, and whose name was Xuru. Later, he changed his name to Bai Banana. Don't sign the Yunjian residents, Jilu Fusheng, Fu Weng, Qiu Paper Enmo Waste Sleep and Forget To Eat People, etc. Born in Shuxiangmendi, he was a member of the Preparatory Committee of the Shanghai Academy of Chinese Painting and deputy director of the Secretariat Office, a member of the Shanghai Branch of the China Artists Association, a member of the Shanghai Chinese Calligraphy and Seal Engraving Research Association, and a calligrapher and painter of the Shanghai Chinese Painting Academy. He was the chief editor of the "Humanities Monthly" and the author of "Yunjian Talk Art Record", "Jilu Poetry Manuscript", "Guest Record", "Ten Lectures on Calligraphy", "Calligraphy Learning Speech" and so on.
The question of how to appreciate calligraphy is not easy to talk about. Calligraphy is different from other arts, although it comes from life like other art, but it is more abstract after all. It's not like painting sculpture, it's a bit like music and different from music. Sun Guoting, a calligraphy theorist of the Tang Dynasty, said: "What the heart reaches is not easy to fulfill the famous sayings." At my own level, it is naturally not necessary to say.
But the question of how to appreciate calligraphy exists. For example, someone said: "The same stele and this post, hundreds of millions of people love it, learn it when they are young, and get old and not tired of it." Learn to learn, turn over and over, the more you look at it, the more interesting it is, and you can't stop it, what is the truth?" Another person said: "Look at the calligraphy of various calligraphy, various genres, and calligraphy of various calligraphers, and the impression it gives people is thick, majestic, beautiful, solemn, dangerous, and so on. Some people also said: "People say that calligraphy has a square and a circle, but the square pen is not from two pens, but from one pen, so what is the reason?"
It makes sense to try to understand these issues and to illustrate them.
The word "book" about calligraphy in ancient times only referred to writing. However, when people write, they add thoughts and feelings, through the combination of form and content, infiltrating the law, the law is integrated into the feelings, and the role of calligraphy is beyond the function of the text itself. We see chairman Mao's handwritten "Sending the Plague God Two Songs", which is full of emotions throughout, embodying the wonder of "eagles hitting the long sky, fish flying shallow bottoms". It allows us to imagine the feelings of the Chairman when he put pen to paper, "imagining the imagination, not sleeping at night, the breeze blowing, the rising sun at the window, looking at the southern sky, and gladly ordering the pen". The artistic charm of calligraphy makes the author's spirit gallop into the infinite vast world through the limited image of the stippling structure.
Different styles emerge using the same tools, and different styles are attractive precisely because of their mature artistic power. What is the power of mature art? Mature artistic power is a movement that is just right under the influence of the thoughts and feelings of the time and place. Predecessors have also experienced this aspect, as if saying: "Words are the voice of the heart, and books are the paintings of the heart." That is to say: "The knot of the book is like the human body, the hands and siblings are the same style, and the manners are extraordinary." The appreciation of calligraphy requires the cooperation of the appreciator and the writer. The viewer sees the inner thoughts and feelings of the writer from the changes in the shape and lines of the calligraphy. The acquisition of this cooperation is based on the knowledge of art, and the basis of this understanding is practice. We understand the dependence of cognition on practice, that is, the flesh-and-blood relationship between the aesthetic activity of art and the practice of labor.
Paper, ink and pencil are all first-class, and when put together, they do not produce a good calligraphy or a good painting. The reason why a good calligraphy or a good painting can be produced is that people can use it. Practice first means that action comes first under the guidance of correct thinking. Chairman Mao said: "Our practice has proved that we cannot immediately understand what we feel, and only what we understand can we feel it more deeply." Chairman Mao's words can be applied to illustrate the problem of appreciating the law.
Appreciation is to practice the level, appreciation is helpful to practice, can also be said to be part of the practice. In practice, we have an understanding and raise our understanding to theory, and theory is both a criterion for appreciation and a standard for learning, and this organic combination is also a dialectical relationship.
Characters are symbols, organized, formed into words, used words to create sentences, added thoughts and feelings, and combined form and content, it is not just a symbol. Form and content are inseparable, and certain content produces a certain form. If it can be said that the form of calligraphy is some objective materials such as pointillist structures, and the content is people's thoughts and feelings, then the performance of these contents governs the changes in objective forms.
The question is how to express the inner thoughts and feelings as external images. On this question, can it be understood in this way to explain: calligraphy itself through the calligrapher's brushwork, ink rhyme (thick and light, dry and wet), interstitial frame, line qi, chapter, as well as the weight and speed of the pen, and the change of the writer's emotions, the expression of majesty, beauty, solemnity, danger, flow, bravery, wit, pleasure and so on, and it is here that people are given endless imagination, experience and exploration.
Drawing talks about lines, and books talk about lines. Lines can express strength and momentum. Only brushes can adapt to this kind of change. Therefore, the brush is the best and most advantageous tool, and other pens cannot do it. Chinese painting and calligraphy all talk about using pens, which is the truth. At the end of the Han Dynasty, When Talking about the use of pen gestures, Cai Pipa said: "The momentum is unstoppable, the momentum is unstoppable, but the pen is soft and strange." What's so "weird"? Strange is in "change", wonderful is in "soft". Soft brushes give people flexible use, changeable, and each person's temperament is expressed, becoming a different face. The painter writes in a pictorial way, which is unique and has a special style, so that the calligraphy is "colorless and brilliant with pictures, silent and musical harmony", which attracts everyone.
Calligraphy speaks of "strong", "composure", "three points of human wood", "force through the back of the paper", etc., all of which are about "force". Wei Shi said: "Those who have many strengths and tendons are holy, and those who are powerless and have no tendons are sick." Madame Wei said: "Those who are good at writing power have many bones, and those who are not good at writing power are fleshy." It is also about "force". Li Shimin said: "We are only seeking their backbone strength, and the situation is self-generating." How does the force manifest itself? From the pen performance. The pen itself has no power, so it manifests itself as strength through the human heart, through the human hand. Heart trusts the hand, hand trusts the pen, pen trusts paper. If you have a strong heart, and your hands are enough to pay for it, you can "handy". The heart and hand are corresponding, the pen is affirmative, without hesitation, which shows the fortitude of the pen strength. With the power of the pen, with proficiency, and when the pen is written, it can have the complete freedom of speed and slowness, light and heavy, turning, and wetness, going back and forth, rigid and soft, front and back, left and right, and exquisite on all sides, all of which are unsatisfactory. The predecessors said a thousand words, and did not bother to say that it only explained one thing, that is, to point out how to use the brush well to work, in order to achieve the wonderful state of humanization.
Calligraphy each person has their own style, personality is different, each person writes, expressing each person's own temperament. So there is no absolutely consistent standard for appreciation. If Yan Zhenqing's characters are thick and powerful, Du Shaoling's poems say that "the book is expensive, thin and hard, and theosophical." In this way, there are two different criteria. Another example is the word of Zhong Xuan, some people say such as "the cloud crane travels to the sky, the crowd plays the sea"; Some people say that he is like "stepping on a dead toad". Wang Xizhi's characters are said to be "majestic", such as "the dragon jumps the heavenly gate, the tiger lies in the phoenix que"; Some people also say that he "has the talent of a girl, but has no husband". Yan Zhenqing's words, some people say that he is "quite strange and great, the book as far as Yan Lugong"; Some people also said that he "has a calligraphy but no good points", which is simply a "thick-skinned steamed bun". It can be seen that everyone has a different love for books, and the standard of appreciation is also different.
There are many reasons why the standards of analysis and appreciation are different: the atmosphere of the times is different, the thinking is different, the life is different, the literacy is different, the achievements are different, the understanding is different, the book style is different, and the square pen is different. Either the three are biased, or in addition to the three, the reference to other books is different, and the writing is different. Speaking from personal hobbies, early years, middle age, and old age are different. In short, there can be no complete agreement, nor does it have to be consistent. There are many Chinese fonts, in addition to zhengyi, xingshu, cursive, there are oracle bones, gold scripts, large seals, small seals, Qin Li, Han Li, Northern Wei and so on, rich and colorful. Each person can learn from themselves, absorbing and changing from various fonts. For example, writing a letter in letters, referring to the meaning of the seal book, or referring to the meaning of the book; Writing Yan (Zhenqing) body and mi Pu xingshu and so on, melted out to create their own face.
For example, Deng Shiru's calligraphy first entered the door from the seal, and the calligraphy was written, and then it went to the seal book, and the seal was written and passed into the real book. He wrote the seal with a pen, so the seal was square; Add the lishu with the meaning of the seal book, so the lishi circle. He also used his own seal to seal the person, so his seal book, lishu, and seal engraving all became a family of their own.
Zheng Banqiao calligraphy originally learned from the Yellow Valley of the Song Dynasty, and also adopted the seal as "ancient and modern miscellaneous shapes", and the words contained the meaning of painting orchid bamboo, changing into a new meaning. Jin Dongxin calligraphy in and out of kai li, self-pioneering, not bound by predecessors, clumsy for yan, heavy for clever, do not have fun. Mo Qing is refined and ancient, can expand and grow, the bigger and stronger, xingkai originates from Wang Yishao, Yan Zhenqing, and absorbs and wins, and expresses new ideas. Rough looks like Li Xiya, but special for Jinxiu, self-opening mouth.
He Zizhen learned Yan Zhenqing, referring to "Zhang Heinu" and "Xinxing Zen Master Monument". He studied deeply, joined together, and came out of his own face. Zhao Jieshu first learned Calligraphy He Zizhen, and later went deep into the Six Dynasties, and could become a family in three aspects: Kai Ren Xing, Calligraphy and Painting, and Calligraphy and Painting Printing. Shen Yushi studied all of Bao Shichen in his early and middle-aged years, and there was no considerable, and later he changed the law and played the stele and posted, resulting in a new look.
Wu Changshuo kaishu first learned the Zodiac Zhou, and later learned Wang Juesi, and the seal book changed from learning Yang Yisun to writing the "Stone Drum Text", writing a face, which was unified with the seal carving, and a different school.
Qi Baishi learned Jin Dongxin in his early years, and later learned Zheng Banqiao, "Sangong Mountain Stele", etc., majestic and vigorous, but also met the eyes, he carved the first Anhui school, Zhejiang school, extreme precision, and later melted the Han chisel seal, combined with his calligraphy, and his own face. Their efforts to innovate have enriched the cultural heritage of the motherland.
But accomplished writers often have their own shortcomings and habits. For example, He Zizhen's "Ding Tou Rat Tail" in his later years, and Zhao Zhiqian's loss of skill, Wu Changshuo sometimes saw black qi, Qi Baishi saw domineering qi, and so on.
In this way, appreciation seems to have no standard.
No, there are standards. If there is no standard for appreciation, how do we talk about appreciation today? Appreciation can be talked about, appreciation is principled. What principle? Appreciation comes from practice. As mentioned above, appreciation must have a practical level. The practical experience of predecessors has summed up the theories, and we can summarize them into several principles.
Appreciation is to look at both the parts and the whole.
Little by little, one painting, organized into one word, is a whole. The ancients summed up the experience of writing calligraphy and put forward the "Eight Laws of Yongzi", which itself is about point painting, but we must pay attention to the whole, not be rigid, pay attention to the turn, be coherent, pay attention to the meaning between the pen and the pen, and take into account the whole. Incidentally, the ancients talked about the "yong" character diagram of the brushwork, just like the assembly of parts of the machine, which is a disadvantage. We must see the whole from the pointillism, and combine the partial beauty with the overall beauty. Sun Guoting (Book Genealogy) said: "If you draw and apply, your shapes are different; The dots are lined up in unison, and the body is obedient to each other. ...... Violation and non-offense, harmony and difference," he talked about dot painting, but also talked about "distribution", both from the place where there is pen and ink, but also from the place where there is no pen and ink; We must look at both the real places and the virtual places, and we must look at the dense places; And look at the sparse place, just like the engraved seal, both the red place and the white place. If we take the "Eight Laws of Yongzi" to look at them one by one, and only look at the dot paintings, it is too mechanical. (The Book Genealogy also says: "A point becomes a rule of a painting, and a word is the accuracy of the final part", and we are about to look at the partial beauty with the overall beauty. As for cursive writing, it is not from the stand-up character. This word and that word, this line and that line, and even the whole picture, depends on how well its pen strength, momentum, density, tension, balance, and back. "One point becomes a rule of one painting, and one word is the criterion of the final chapter", it is precisely to say that from one point, one word is written, the whole picture is written, and finally the whole picture should become a word. Write a picture and write it like this, and look at a word and see it like this. The whole is unified.
The words written by children, little by little, the structure is a little worse, if the pen is powerful, there is natural interest, there is childish interest; Elderly learned people do not speak of writing, but write powerfully, or write like the Jinshi family seal carvers, often have clumsiness.
The letters are easy to rigid, and the grass is easy to be slippery. Easy to rigidity, so it is required to be correct and fly; It is easy to slip, so it is required to flow away and be calm.
The words are large, and it is easy to write loosely, so the requirements are tight; The words are small and easy to write, so they are required to be generous. Unity is always sought in all kinds of contradictions.
The round pen force is inside, and the square pen power extends outward. The square pen uses the meaning of Dun's pen, and the pen is more than Dun; The round pen uses the meaning of the turn, and the seal pen is turned more. Don's penmanship does not need to be round, it is dull; The meaning of the pen does not need to be abrupt, and it is too general, and it must also be contradictory and unified. Calligraphy uses pens, and in terms of signs, it is more square and round, in fact, it is always square and round, and square and round are used together.
The predecessor said: "The right army is really like grass", if "grass", that is, the flow of penmanship; He also said, "If the grass is true," if it is "true," it means that it is fast and not slippery. The Book of Books says: "Truely take the form of a dot painting, so that it turns into a disposition; Grass takes the dot painting as the temperament, so that it turns into a shape", which means that the dot painting of the real book is not related, and it is most likely to see the plate stagnation, and it should be used to flow away from the book, and it is still used to make the turn, but it is not obviously revealed, so it is said to be temperament. In this way, although the form is dignified, the sensuality flows away; Cursive stroke connection, naturally should be used to make the turn, but to make the turn easy to float, should be out of the solemnity, so although the shape flows away, and the emotion is solemn. These are also the unity of contradictions.
Odd is cooperating. It is not dull, strange is not too wild, to cooperate; Raw and cooked are also cooperative, raw or not stiff, cooked or tired. Tablets and posters, not rigid.
Not only to talk about glyphs with a pen, but also to look at the transport of ink. (The book book says: "With dry square run, will be thick and dry.") The use of ink does not make monotony, but also contradictory unity. In ancient times, ink was used, generally speaking, much thicker. In the Song Dynasty, Su Dongpo used ink "to be as good as a child's eyes", which can be seen to be used more intensely. In the Ming Dynasty, there was a development in the use of ink, and Dong Qichang made good use of light ink. The painter uses a paintbrush to write poetry inscriptions on the canvas, dipping in thick points, dipping lightly, drying some, writing is interesting. Make good use of ink, ink is light and not seeped, and the pen is dry and can write.
I think that the standard of learning can be used as a standard of appreciation.
Calligraphy requires nature. Calligraphy is "artificial", but it requires nature. As Li Si said: "The subtlety of the book, the tao is natural", "I can't make a book". It's not really impossible, it can't still come from the Dhamma. "I use my method" shows that his thoughts and feelings have been added and his style has been formed. "Pushing the old out of the new" changed the fa, so it became his fa. Art is not imitation, not photography, not a reproduction of the ancients. In the authentic handwritings and tablets of the ancients, there are the thoughts and feelings of the ancients, which can neither be learned nor faked. He has his thoughts and feelings, you have your thoughts and feelings. When you first learn calligraphy, you must teach the techniques and understand the Fa, but the Fa cannot talk about death, you cannot die under the Fa. Some people died under the fa, so the predecessors lamented: "The law is simple and intentional, and the law is prepared and the book is micro." Calligraphy can not only be sought from the technique, from the technique to seek books, can only become the "pavilion style" and "keju character". Pavilion style characters, just like the general group photo, standing shoulder to shoulder, sitting on top of each other, the gas is uncomfortable, and there is no interest. There is no thought or feeling, no art to speak of. Never learn calligraphy only to learn "family number", often go to the road of formalism, near this stele, written out is this stele, some people have no self, called "sending people under the fence", can not be autonomous: the whitewashed marble is not beautiful, there is a difference between true and false.
The positive and the positive and the change of calligraphy are the unity of contradictions.
Generally speaking of "elegant" and "vulgar". How do we now generalize about the elegance and customs of the Law?" Ya" can dialectically learn the ancients, partial overall unity, rigid and soft cooperation, alcohol in the wanton, in line with the spirit of the times, can break through the predecessors; "Vulgar" people, no thought, no life, it is difficult to say that there are techniques, "five senses are correct", there is no spirit, the east is effective, pretending, can not be unified.
When appreciating, you are not too picky about other people's disadvantages, and you will absorb more of other people's strengths. Originally, a person's eyes always run in front of the hand, the eyes have three points, the hand has one point, and the mouth exceeds the eyes, here is the need to have a cool head, objective eyes. We are often exposed to such questions, such as saying: "Learning calligraphy is one of the basic skills, do you think that Ou characters are better than Yan characters, or is Chu character better than Yu characters?" This kind of question is not easy to answer, and it is easy to answer, and everyone likes it differently. Because everyone always has their own preferences, but each person's preference must not be used as an artistic evaluation. You love the beautiful road, you can, but it is not easy to say that the dangerous road is not good. So I usually say this: For example, the scenery of the Five Peaks is different but all beautiful; The taste of the five tastes is different but all are tastes; The genres of The Hundred Rivers are different and all go to the sea. Another example is the tranquility of orchid bamboo, the fragrant wood peony, the ancient pine qikun, the weeping willow graceful, all of which are good things. I don't know if I can say that.
Appreciation also needs to be practiced. If you can't appreciate it for the first time, slowly see more, you can see the genre, see the penmanship, go further, see the same in the different, see the difference in the same. Playing with traces and exploring, following the changes, can see the bones from the surface. Calligraphy is a thing that is originally a sensual, concrete, visible image that guides the viewer to draw certain conclusions through the surface. - Of course, subjective appreciation will inevitably lead to different conclusions.
In the past, I heard Mr. Guo Shaoyu once talk about "How to Appreciate Calligraphy". He proposes six criteria:
First, the shape, look at the structure of the natural, horizontal and straight peace;
Second, boldness, from the pen power with ink;
Third, the attitude, to fly;
Fourth, the genre, not sticking to the stele, not looking at the post by the standard of the stele;
5. Talent learning, relationships other than calligraphy;
6. Meteorology, simplicity and tranquility;
Among them, the three items of form, boldness and intention are about the form of the word, the genre is calligraphy, and the learning of talent and meteorology are learning. - I don't remember much here, but if there is an error, I am responsible.
Finally, I would like to make a point: the production of art is a high degree of combination of thought, life and skills. "Thought is the soul, life is the material, skill is proficiency and creativity". Writing is away from thought, away from life, away from practice, and it is unimaginable to talk about art. Our calligraphy must have boldness, momentum, cheerfulness, and adapt to the times. We often talk about "style", what is style? Style is the unity of thought and art.
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