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Topic Discussion: Calligraphy Art and Television Media (1)
In the current media context, television, as a popular and popular communication medium, has important value for the dissemination of calligraphy art. In recent years, the calligraphy columns and programs of television stations across the country have been in the ascendant, and television has become one of the important communication media for calligraphy art to the public. To this end, China Calligraphy News has published a public call for papers on the topic of "Calligraphy Art and Television Media", which deeply explores the relationship between traditional calligraphy art and television media, the influence of television media communication on the aesthetics of traditional calligraphy, the cultural interest of calligraphy and the scale grasp of mass entertainment. Selected manuscripts from this issue are published for the benefit of readers. (Editor)
Zhen Wei: "The beauty of each other" and aesthetic improvement
The perspective of art ontology focuses on the observation and description of works, and pays attention to placing works in historical coordinates and ontological evaluation systems for comparison and judgment. Through the analysis and interpretation of the content and form of the work, evaluate its professionalism, ideology and artistry, judge whether the formal language and aesthetic meaning of the work are innovative, whether it has reached the basic qualities identified by academic norms, and how meaningful and influential it is for the later generations. The perspective of mass communication (especially television media) pays more attention to topicality and public opinion effects, and the focus is on the law of speaking about events, and pursues information efficiency and incremental dissemination in specific communication contexts. Therefore, public opinion usually does not have academic value.
Of course, due to the spread of television media, there have also been many "film and television celebrities" and "calligraphy and painting phenomena" of "film and television celebrities". A key factor in the phenomenon of film and television celebrity calligraphy and painting is the huge attention brought by popularity, which adds traffic added value to the circulation of works, so it is necessary to consider more social factors to examine works only from the artistic value. However, unlike people, one of the most public evaluations of works is the academic rational analysis and academic evaluation starting from the ontology of art. Therefore, whether it is the works of professional artists, celebrity calligraphy and paintings or other amateur authors, targeted ontological analysis and commentary can be carried out according to the ontological laws embodied in the evolution of art. What celebrity paintings and calligraphy lack is precisely the evaluation of the perspective of art ontology.
Today, when everyone uses mobile phones to communicate and a large number of computer fonts are used, the art of calligraphy and painting brings unique physical perception and cultural experience to individuals. The concept of aesthetic education advocated by socialist China in the new era encourages people to communicate with each other on an equal footing in art, especially to reflect the mutual appreciation of "each beautiful, beautiful and common", so that everyone can actively participate in art activities, let art enrich life, and express a healthy and beautiful attitude towards life. The aesthetic characteristics of calligraphy and painting art that cultivate self-cultivation and cultivate sentiments embody the civilized and noble national way of life. Regarding art as a medium of communication in the multicultural ecology of society, under the premise of respecting the diversity of tastes, the academic community also needs to properly guide and improve the aesthetics of the public. The evaluation of different types of works is stratified and categorized. In-depth study and observation of the social factors behind the emergence of these cultural phenomena can help us understand China's unique cultural propositions. Digging deep into the life function of art and combining it with television media better and more organically can better expand the aesthetic education space of calligraphy and painting art today. As the carrier of Chinese mass culture and aesthetic education in the new era, television media will continue to play an important role in communication in the future.
(The author is a professor at the School of Arts and Media, Beijing Normal University)
Liu Faquan: Grasping the scale of calligraphy cultural interest and mass entertainment
What is the cultural interest of calligraphy? Calligraphy is the art of writing Chinese characters, "starting from the use of the pen, based on the knot, into the chapter, beautiful in the rhyme".
What is mass entertainment? Entertainment is an activity that is inspired by expressing joy and sorrow, rejoicing in oneself and the skills of others. The so-called mass entertainment is the entertainment activities that ordinary people have the opportunity to personally participate in or carry out aesthetic appreciation. Mass entertainment is popular, popular, commodity (consumer), and media. Under the influence of the market economy and new media, calligraphy culture also has a tendency to "pan-entertainment".
So, how to grasp the scale of calligraphy interest and mass entertainment aesthetics? The author believes that, first of all, calligraphy culture should abandon the vulgarization of entertainment. The phenomenon of vulgarization of mass entertainment in calligraphy is infringing on the cultural quality, appreciation taste and value orientation of the audience. Practitioners should give full play to their cultural functions, make extensive use of television, the Internet and other media, keep the new and clean the source, guide the public to learn traditional Chinese culture, and improve the aesthetic level of the whole people's culture.
Second, we should not be prejudiced against mass entertainment. We should have a specific and realistic analysis and judgment of the vulgarity and elegance of calligraphy culture. For example, the famous "Book of Poetry" on the mainland was originally a folk slang song at that time, but it can become the elegance of later generations, while drama, traditional Chinese crafts, etc., which were originally popular entertainment products from the folk, became treasures in the current world. Therefore, we should put an end to the simplistic and biased tendency of viewing the past as elegant and the present as customary. The creation of calligraphy art is inseparable from the mass soil.
On the one hand, actively fight against the secularization of calligraphy, widely use new media to disseminate calligraphy theory, popularize calligraphy cultural knowledge, and enhance public calligraphy cognition and aesthetic interest; on the other hand, keep the integrity and create new public calligraphy cultural works.
(The author is a freelancer)
Wang Yudeng: The expressive value of the diversity of writing materials to the television media
At present, the visual expression of calligraphy art in television media is mostly in large rice paper and large characters, which is credible and effective, but the form of expression is relatively simple. Because of this, the expressiveness and influence of calligraphy in the mass media have been limited, and the diversity of written material expressions has ceased to exist. For example, in the variety show "Myo Ink Chinese Heart" broadcast by Zhejiang Satellite TV, the mainstream writing material is still white rice paper, although it enhances the broadcast effect of the program, but ignores the original value of the writing material.
At the moment of the rise of calligraphy television programs, we should pay attention to the expressive value of different types of paper to calligraphy works, and encourage the value of writing materials to be excavated from the history of calligraphy. Writing materials such as bamboo, wood, and silk are all witnesses to the development of paper with the times, and there are many kinds of paper that are worth learning. Rice paper, on the other hand, is only divided into raw, cooked and half-cooked, and is obviously overstretched in expression. Therefore, in the calligraphy TELEVISION program, we cannot abandon the extensive writing materials of the former human eyes because of the high public acceptance of rice paper, and objectively it also limits the expressiveness of calligraphy on paper, and paper such as hemp paper and bamboo paper should be introduced in a timely manner, plus relevant intellectual statements, so as to enrich the knowledge and interest of the program.
Television media should build a professional and convincing knowledge system in calligraphy programs, so that the public is aware of the value of writing materials, so that the forms of hand scrolls, fans, and letters can enrich the stage effect of the program, so that the historical context of calligraphy can be more perfected. Although this form of expression will have a series of negative effects on the presentation of calligraphy television programs: the stage is large and the works are small, the way of presentation when writing, and the audience in front of the scene and the TV are not clear, whether to consider the use of modern light and shadow media technologies, such as VR, AR, 3D and other means to achieve stage effects, or to change the way of stage performance, the art of calligraphy is displayed through multiple means and multiple media. This can not only effectively supplement the types of paper, but also effectively expand the breadth of calligraphy knowledge, guide the public to cultivate professional calligraphy knowledge, so as to clarify the development of calligraphy history and enrich the aesthetic interest of the audience.
Therefore, calligraphy TV programs should take the dissemination of traditional calligraphy knowledge as the first priority, and make calligraphy TV programs present multi-level performance characteristics through multi-material and multi-form writing, so that they can not only enrich the performance of the program, but also spread the cultural value system of traditional calligraphy in edutainment.
(The author is a graduate student at Beijing University of Technology)
Li Du: Television media and documentary calligraphy
The traditional transmission of calligraphy, in addition to the calligrapher's writing through the scene, mainly includes the physical dissemination of inscriptions, inscriptions, inscriptions, plaques, utensils, inscriptions and other forms. Under traditional communication media, calligraphy becomes imprinted on a physical substance, thus becoming timeless and observable. The author is "absent", and all his artistic skills are condensed in concrete material results. Calligraphy thus becomes a trace of the inscribed object, a kind of "completed" art similar to the painting, with a clear material form that is decoupled from the author.
The transmission of calligraphy in the television medium is the introduction of calligraphy to television in the form of television programs, VCDs or DVDs, etc., and its most prominent feature is the author's "presence and absence". The calligrapher is not actually in the same time and space as the audience and is therefore "not present"; however, with the ability to store time for subsequent playback through the medium of television, the calligrapher achieves "presence". Calligraphy is no longer a trace of timelessness, but a process in time; it is no longer completed, but unfinished, completed. The creative process of calligraphy can be opened up to the audience through television. Because it is "not present", the calligraphy work needs a material form to carry it in order to become appreciatable, and the television medium is this form; because it is present, the audience can intuitively appreciate the calligrapher's creative skills and the abundant feelings immersed in the creative process. Therefore, it can be understood that calligraphy in the television medium is that the audience uses the television medium to pull the author who is "not present" to the "presence" and urge him to complete a calligraphy work "on the spot". The calligraphy disseminated by the television media is not only a trace of inscription, but also a process of recording.
Is calligraphy a result, or is it a process? It can be seen that the television medium is not just a container for calligraphy works, it is quietly rewriting the connotation of calligraphy. The temporal nature of the television medium makes it possible for "absent" authors to come to the scene; it documents the process of creating calligraphic works in its entirety: both the finished work and the process of completing the work. In his treatise on Homer's Epic, Lessing pointed out that Homer was good at "imitating a set of action that can be seen", and went on to point out that "in the work of the painter you can only see what has been done, and in the work of the poet you can see the process of its completion". In the traditional sense, "book" and "painting" are close neighbors, and far from "poetry". But if calligraphy is no longer "finished" but "in the process of completion", can calligraphy thus become a poetic art? After the transition from inscription to record, the beauty of calligraphy is not only reflected in the arrangement of the glyph structure, but also in the formation of the arrangement; not only in the "sense of flow" of the lines, but also in the flow itself, which is a new possibility promised to calligraphy in the era of television media, pushing the calligrapher from behind the scenes to the front of the stage, changing calligraphy from inscription to record.
(The author is an undergraduate student at Nanjing University of Communication)
Zheng Keyi: Calligraphy programs need to be based on professionalism
An excellent calligraphy program should balance the professionalism and popularity of the program, and grasp the scale between the cultural interest of calligraphy and the entertainment of the public.
Professionalism is the guarantee of the cultural heritage of calligraphy programs, and without the control of professionalism, calligraphy programs will be no different from other variety shows, and even embark on the road of pan-entertainment. Without professional analysis, the public will take a detour in learning calligraphy. For example, "hurried cursive writing" can easily make viewers who have not been exposed to calligraphy think that the pen is in a hurry, and it is written in cursive when it is too late. However, whether it is the analysis of Su Shi and Zhao Shuo, or from the analysis of modern grammar, it should be interpreted as writing in one go and not easily interrupted, which is the true meaning of cursive writing. Therefore, calligraphy programs should invite calligraphy practitioners with high contemporary recognition to form a team with excellent professional level, select calligraphy materials for the program, tell calligraphy stories for the audience, and analyze calligraphy skills for learners.
Popularity determines popular acceptance. The original intention of the creation of calligraphy programs is to popularize calligraphy knowledge, inherit calligraphy culture, and make calligraphy closer to the lives of ordinary people. Calligraphy programs should become interesting lectures for ordinary people to get in touch with calligraphy, not a school that reads from a script. Therefore, calligraphy programs must clarify the needs of the audience, consider the preferences of the audience, and cannot be high and low. You can try to take calligraphy as the core, set up appropriate forms of presentation, turn abstract techniques into concrete and perceptible art forms to present to the audience, to avoid the audience seems to understand non-understanding, confused; select material content that conforms to today's current affairs, narrow the distance between calligraphy themes and life; learn from traditional programs, increase the setting of entertainment links, such as breaking through, elimination, etc., in the fast-paced era to maintain a certain sense of tension and freshness of the audience, to prevent visual fatigue; but also to invite stars, artists and ordinary people in different fields as guests. Share your experience of the art of calligraphy from different perspectives. Not long ago, the calligraphy and aesthetic education program "Miaomo Chinese Heart" provided us with an example. The program starts from the five bodies of "seal, li, grass, line, and kai", and then cuts into the calligraphy story and calligraphy characters, and shows the pen and ink techniques that are difficult for the people to understand to the audience with the switching of the song and dance rhythm and the expression of monologue emotions, and leads the audience into the world of calligraphy in a simple and simple way.
Only by grasping the scale of professionalism and popularity can calligraphy truly enter the homes of the people and enhance the people's cultural self-confidence!
(The author is an undergraduate student at Sichuan University)
Ma Xueyi: How to play the entertainment function of calligraphy
The first in the industry to shout out the slogan of "Happy China", Hunan Satellite TV was once "one big" in the field of variety entertainment programs. During the Dragon Boat Festival in 2019, a "Calligraphy Conference" talent show was launched, and the program comprehensively competed through the two selection links of "Small Test Bull Knife" and "Magic Pen Raw Flower", and the "Young Calligraphy King" was selected by the character judge. However, the show only appeared for one episode and disappeared from the audience's vision, from expectations, discussions to short-lived flashes, what caused such embarrassment? Some people say that calligraphy cannot be beaten, some people say that a certain character judge is not professional, some people say that there are a lot of hard injuries in the program, and some people say that teenagers should not make stars... In fact, from the perspective of TV media entertainment characteristics, the program is eye-catching, hot, and earns fans, and is successful as a TV talent show.
Using entertainment talent shows to transform calligraphy for television dissemination actually has the worry of "cutting enough to do". Although calligraphy also talks about "entertainment", such as the Song Dynasty Ouyang Xiu in the "Test Pen" has a comment: "Su Zimei tasted the words: the clear window is clean, the pen and paper and ink are extremely sophisticated, and it is also a joy in life." However, those who can enjoy this pleasure are very rare, and those who do not move their good things for foreign objects are also very rare. Yu Wan, knowing this fun, hates that the font is not working, can not go to the ancients, if you think it is happy, then there is more than enough. Another example is Liang Qichao's view that calligraphy is "one of the most beautiful and convenient entertainment tools", and discusses some characteristics of calligraphy as self-entertainment. Combined with their calligraphy practice, they all emphasize that the study of calligraphy is in the harvest, and its use lies in self-amusement. But this kind of self-entertainment is fundamentally different from the entertainment of television. One is to pursue the true state of inner richness and self-enrichment, and the other is to pursue the bubble illusion of external stimulation and audience flow. If the televised transmission of calligraphy is lost to the end, although it can get a moment of hilarity, it will not gain anything in the end.
In fact, Neil Bozeman asked the question of whether we are controlled by television or can we reasonably use this medium for learning and improvement. If soap operas, (entertainment) reality shows show the characteristics of television media entertainment, documentaries (including documentary reality shows) show their truth-seeking qualities. Based on the truth-seeking to produce programs, the professional field of thinking and the image of the television media combined, can not only attract watching, but also guide reflection, let people not get tired of watching, its cognitive improvement and emotional sublimation, non-entertainment programs can achieve. With the support of the State Administration of Radio and Television, a number of media and funds jointly launched the "Record China" put forward keywords such as "authoritative", "fresh", "documentary", "docking" and "excellent", "authoritative", "fresh" and "documentary" made the audience look forward to the documentary, and "docking" created a new mode of production and dissemination, opened up the relationship between funds, personnel and platforms, and achieved the "excellence" of "recording China".
On February 22, 2022, CCTV and the China Calligraphers Association signed a strategic cooperation framework agreement in Beijing, kicking off the prelude to the Chinese Calligraphy Conference, and as a calligrapher and TV audience, I look forward to the emergence of the excellent Chinese Calligraphy Conference.
(The author is the director of the Art Teaching and Research Department of the School of Urban Culture, South China Normal University)
Zhang Qichen: How calligraphy TV shows treat the aesthetics of public calligraphy
Regarding the current public's ability to appreciate the aesthetic appreciation of calligraphy, the author believes that the current public generally has a greater one-sided aesthetic appreciation of calligraphy art. In education, we have vigorously emphasized the standardization, beauty and cleanliness of Chinese character writing, which subtly fixed a common-sense aesthetic of calligraphy, that is, an absolutely standardized and beautiful calligraphy aesthetic. This is a contradiction, resulting in some classic works in calligraphy and some aesthetic concepts (such as the aesthetics of epigraphy and cursive) that are difficult to be recognized and accepted by public common sense. Calligraphy TV programs can neither be classrooms nor pure variety entertainment programs, nor can they blindly cater to the common sense of the public, which needs to be resolved through appropriate methods.
Calligraphy TV programs should implement the concept of aesthetic education, and the goal to be achieved is to let the audience understand calligraphy as correctly as possible, appreciate calligraphy, and begin calligraphy practice. The dissemination of calligraphy culture cannot only be in the way of knowledge transfer, tell the audience what kind of brushwork there is in this pen, what kind of contrast relationship the whole work has, even if the audience understands the complex technicality, it is difficult for the audience to really like. Calligraphy TV programs should strive to let the audience enter the long history of the development of calligraphy, use television film and television art to explain the internal principles of calligraphy development, and take the audience into the historical context of the development of calligraphy to understand the ins and outs of related issues by reproducing the development of fonts and the way of life of the ancients, and answer those seemingly counterintuitive questions in historical interpretation. For example, for cursive writing, you can give full play to the advantages of stage dramas, interpret the story of Hanjian cursive, the story of ancient calligraphers such as Zhang Zhi and Zhang Xu, so that the audience can realize why there is cursive, which looks scribbled and difficult to recognize, how it develops into a book style loved by future generations of literati, and finally how to appreciate cursive. For the problem of cursive writing, the author thinks that the cursive chapter of the second issue of Zhejiang Satellite TV's "Miaomo Chinese Heart" is very good and worth learning. Calligraphy TV programs should also pay attention to the story behind the art of calligraphy, and deeply explore the life experience of ancient calligraphers, the creation and circulation process of books. The calligraphy culture is broad and profound, and there is a rich resource library for tv program creation.
For the current public's calligraphy common sense aesthetic, TV programs should be treated with caution. Any aesthetic concept has become common sense, which means that there is a large scope and depth of recognition within the scope of society, and it is difficult to easily subvert it. Especially in the field of aesthetics, which lacks objectivity, it is even more difficult to use convincing means such as factual materials, direct experiences and scientific theories to explain.
Therefore, on the one hand, the program producers should consolidate their professional resources, face the public's common sense aesthetics of calligraphy, and not avoid the various doubts of the public about calligraphy; on the other hand, they must grasp the scale and do not leave the audience with an outrageous impression, thus affecting the credibility of the television media.
(The author is a teacher at the School of Fine Arts and Design, Leshan Normal University)
Xu Weiguo: "Rules" and "Guides" - the dissemination of calligraphy culture by the television media
In recent years, with the country's emphasis on traditional culture, calligraphy has entered the public eye more and more frequently through television media. From the phenomenon point of view, this should be a good opportunity for people to improve the aesthetics of calligraphy. The popular TV series "The Age of Awakening" in 2021 has a lot of calligraphy-related pictures, which left a deep impression on the audience and received praise. However, this is not the case with most TV shows. They have many problems in expressing the content related to calligraphy, mainly in the following two aspects:
First, the quality of calligraphy works is not high. In film and television, it is common to use calligraphy works as backgrounds, and there are also TV show titles that use calligraphic fonts. This has a positive effect on the spread of calligraphy culture, and its influence is beyond doubt. However, some of the calligraphy works that appear in the film and television pictures are of worrying quality, vulgar in style, lack of tradition, and sometimes have typos. It misleads the masses and teenagers who do not understand calligraphy, and also damages the image of calligraphy culture.
Second, the writing action is not in place. Many TV shows appear in the writing screen according to the needs of the plot. This in itself is conducive to the development of the plot and sets off the characters. However, from the TV screen, the actor's writing action is blunt, not standardized, and the materials such as writing instruments used are unreasonable. The whole writing process is full of errors and omissions, giving the audience the wrong guidance, which is not conducive to the spread of calligraphy culture.
Therefore, the correct and quality use of calligraphy works and interpretation of writing actions in television media is a problem worthy of attention at present. The use of "regulation" and "guidance" is in line with the realistic requirements of the media era.
The first is "regulation", that is, regulating the content related to calligraphy in television programs. Includes calligraphy works, writing movements, and writing scenes that appear on television shows. Relevant departments must strengthen their review, and supervise the improvement or deletion of television programs that do not meet the requirements of calligraphy culture; in order to regulate the calligraphy pictures in the television media and promote the benign development of the integration of television media and calligraphy culture.
The second is "guidance", that is, guiding and guiding the TV program production team to strengthen the cultural literacy of calligraphy.
First, set up "calligraphy guides". Television programs involving calligraphy content shall employ professional "calligraphy guides" to provide comprehensive guidance on calligraphy knowledge and skills such as calligraphy scenes and writing actions in the program, so as to avoid common sense errors in calligraphy. It is similar to "martial arts instruction" and has greater significance for cultural dissemination.
Second, improve the calligraphy literacy of actors. At present, it has become fashionable for actors to learn calligraphy, and some have a good foundation in calligraphy, so we should set an example and guide and encourage entertainers to strengthen calligraphy learning and improve their writing skills. At the same time, it also helps to role-play and deepen the plot.
(The author is a teacher at Shenzhen Longgang Vocational and Technical School)
Producer: Yang Chao, Zhu Zhongyuan
Editor: Yu Jiamin
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