Try to say enlightenment
Text/Xue Fubin
"Who Says Anything to Repay the Three Chunhuis"
We should be thankful to the ancients, because Chinese characters have a very high aesthetic taste from the beginning of their existence.
The ancestors used their wisdom and wisdom, or the shape of the object, or the god to take the meaning, referring to the heart, suitable for use, so there are beautiful and practical Chinese characters.
《Titled Guangzhou Mei'an》
Chinese characters are full of associations, refinements and creations. And these are the conditions necessary for artistic creation. Therefore, Chinese characters themselves have an indisputable artistic quality.
Whatever is beautiful is easy to be accepted, spread and even passed on. People are happy to show beauty, so the art of calligraphy with beautiful Chinese characters as the carrier came into being and was passed on.
"Hundred Kinds of Inscriptions on Han Tablets"
It has been passed down because of countless famous and unnamed calligraphers who have worked hard to express it, to excavate it, to perfect its beauty and practicality.
It is not unfortunate that this history for them, and even for the calligraphy itself, although there are incisive expositions in theory, but it lacks the construction of a systematic and rigorous, in-depth and meticulous discipline system, and what they see is more about some wonderful metaphors and incomprehensible stories they have created in books, so understanding these metaphors and stories has become the door for ancient people to study calligraphy.
Take Sun Guoting's "Book Genealogy" as an example: this is undoubtedly a classic of all history, and it is still of great guiding significance for those who study calligraphy today.
"Qinyuan Spring, Summer Palace Spring Tour"
However, some of the metaphors in the text are really difficult to accurately understand the meaning. Please look at the following paragraph: "The difference between the hanging needle of the GuanFu, the strangeness of the running thunder and the stone, the terrifying posture of the Hongfei beast, and the frightened state of the snake dancing snake." The trend of the rocky peak, the shape of the dangerous maple, or as heavy as a collapsing cloud, or as light as a cicada wing. The guide is the spring note, the Dun is the mountain, the fiber is like the beginning of the moon, the fall is like the stars of the river Han", read like a flower in the fog, light yarn obstacles, vague and hazy. You can't say what these parables must be, but you can clearly feel that they are inextricably linked to the person being compared. Whenever I read such articles, I often wonder if it is these obscurities and ambiguities that make people so fascinated and want to lead to the end. Perhaps this is the charm of calligraphy as an art!
A few dot paintings can transform into endless, distinctive shapes and radiance, so that we feel either vigorous and strong, or beautiful and flowing, or fresh and dashing, or simple and clumsy... And so on different impressions, this is the beauty of calligraphy. It is indescribable and difficult to describe. Appreciating it, understanding it, learning it, creating it requires an ability, and that ability is perception.
The inspiration stems from the persistent love and understanding of the art of calligraphy. It requires the writer to "use knowledge without distinction" and "concentrate on the middle" to be able to "touch things to feel it" (Song Changwen's "Continuation of the Book Break").
"Four Songs of Ink and Ink"
Gu Yun "Lyric of the Book" and "Book for The Heart Painting". The creations of true writers are all condensed with their emotions, painstaking efforts and pursuits. They love life, love nature, feel and suck in the beauty that inspires them, so as to create shocking works.
For example, "In the past, Zhang Xu was good at cursive writing, did not cure other skills, was moody and embarrassed, sad, happy, resentful, longing, drunk, bored, uneven, moved by the heart, and would be developed in cursive." ”
Wing Mei
Look at things, see mountains, rivers, cliffs and valleys, birds, animals, insects and fish, flowers and trees, the sun and moon, the stars, wind and rain, water and fire. Thunder and thunder, song and dance wars, the changes in heaven and earth, gratifying and shocking, all in books; Therefore, the book of Xu, the change of the ghost god, can not be forgotten, so that he will be named in the future generations for the rest of his life" (see Tang Hanyu's "Sending Gao Idle to the People's Order"). Here Zhang Xu's emotions resonate with the natural things in life, resulting in associations and impulses, "take the body near, take the things far away", "gratifying and shocking, a dwelling in the book", this is his perception.
"Satirizing the Bookworm"
Perception requires association. Everything in life may have an effect on artistic creation, inspiring the author's thoughts and inspirations to make associations. However, all this should have happened naturally after the author had "deliberated on it". Wang Xizhi's view of the goose and gobind, Cai Bo's chalky broom creation, Zhang Xu's view of the Danfu controversy, and Huai Su's sense of Xia Yun's wind change are all vivid examples. Such as the leak marks of the house, the cone painting sand, the folding strands, the printing clay, etc., all show the habits of observation and thinking developed by the ancient calligraphers because of their love, and the feelings generated by them. "There is a move in the Chinese side can be super divine and wonderful." And these insights are experiences, and they have become a precious scripture for all generations.
"Lyrical Song"
From this, we can know that perception is a kind of painstaking thinking, a sublimation after continuous accumulation, a fit and integration of the subjective and objective worlds, and a condensation of the author's painstaking efforts.
So where does this ability come from, in other words, how is it cultivated?
The cultivation of history, culture, art and other aspects goes without saying. As far as calligraphy itself is concerned, every scholar has received an education full of associations and insights from the beginning of learning books.
Liu Yuxi's "Buried Room Ming"
Try to see: beginners learn to carry out their method of "pulling stirrups" ("stirrups" has two solutions; one finger to pluck the oil lamp wick, one finger to shallow stirrups, all with calligraphy, here used to metaphorically transport the meaning of the pen's fingers and palms), followed by the study of brushwork, then a "Yong" character eight methods, "side, Le, Nu, 趯, Ce, plunder, peck, brick". Graphically and vividly put forward the essentials of pointillist painting, but all are described in extremely dynamic non-calligraphic movements. As long as the learner understands these words first, he can accurately grasp the requirements and writing methods of these dot paintings.
"The Mountain of Money"
And Madame Wei put forward in the "Pen Array Map" that "the point is like a falling stone in the sky, as horizontal as a thousand miles of clouds, straight as a long live dry vine ... It is more necessary for scholars to feel the internal connection between these images and dot paintings through association and understanding, so as to grasp the morphological writing of dot paintings. Those who are required to be good at point painting are compared and described by painting sand, printing clay, folding noodles, leak marks, etc., while the ugly, boring, and lack of aesthetic writing is described as "dead snake hanging tree", "cloth chess calculation", "bee waist", "crane knee", "nail head", "rat tail", "bamboo knot", "broken firewood" and even "ink pig".
"Tea Tasting"
Although the needle is sharp, it is still vivid and witty. So that the learner can quickly understand its shortcomings, so as to produce a deep impression, such as "flesh and bones, branches and old stems." Jiao Ruoyu Dragon, Fei Ru Feng, Dun Zhi Shan An, Dao Ru Quan Zhu, Dragon Leaping Heavenly Gate, Tiger Lying Phoenix Que, etc. are deeper expressions.
In short, under the influence of this purely Chinese method of education, the scholar must, in this obscurity, from the marginal to the slow approach, and in the gradual understanding, combine the metaphor and the metaphor into one, that is, grasp this "law" or some kind of requirement.
"A Bunch of Self-Deprecating"
Just imagine, such an uninterrupted, through-the-line associative education, can the reader's perception not be enhanced? Once he has realized what kind of book learner will definitely make a big step, if there is no understanding, then the book learner can only be a bookmaker or a "book slave" at best, no matter how much effort he has put in.
We can think that perception is the key to the creation of the writer, and association is through this means, and persistent devotion, continuous practice, experience, thinking and understanding are indispensable steps to complete this process.
"Feelings of Winter"
"The artist's eyes have a professional sensitivity, a sensitivity that is not innate, but is cultivated in long-term professional orientation" (Sun Ziwei, "Aesthetic Meditations"). The sensitivity of the profession makes the book writers have the impulse to "look at the object and the book", and this sensitivity is very valuable. Just as poets and musicians are good at grasping sudden inspiration, book readers should also be good at capturing this fleeting feeling, and then receive the effect of "thinking of the magic", whether technically or in the charm, realizing this feeling means a leap of rebirth, or a transformation of a new style. But it requires diligent accumulation.
"Wing Mei Three Songs"
However, it must be pointed out that art is not a reproduction of life and nature, nor is it a simple and vulgar imitation of the natural world. It requires observation, selection, digestion and refinement. It is common to have "word selection graphics", or "because of the text into paintings" to "explore" and "innovate", but in fact, it is shallow and crude, and the "common fetus" is clumsy. Gai, because he did not yet know the intention of the gods, felt its wonders, which is the true meaning of the art of calligraphy.
Bai Juyi", "Ask Liu Nineteen"
Therefore, it should be said that perception is one of the qualities that a true writer and even an artist must have.
Xue Fubin
【Art Resume】
Xue Fubin, Hui. Born in August 1944 in Beijing. He has successively served as a member of the 3rd and 4th Directors and Evaluation Committees of the Chinese Calligraphers Association, the 2nd, 3rd and 4th Vice Chairman of the Beijing Calligraphers Association, a director of the Beijing Municipal Federation of Literature and Literature, a member of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference, a judge of the CCTV International Calligraphy Competition, and a judge of the "Lanting Award" of Chinese Calligraphy. His works have participated in the 2nd to 8th Chinese Calligraphers Association Calligraphy and Seal Engraving Exhibition, the China Youth Exhibition, and various important large-scale book fairs at home and abroad. It is also collected by Zhongnanhai, Diaoyutai, great hall of the people and so on. He has published Selected Calligraphy of Xue Fubin, Selected Seals of Xue Fubin, Miscellaneous Traces of Yu Mo (Collection of Poems), Chinese Calligraphy Teaching Series - Research on Xingshu, and a variety of calligraphy teaching materials.
He is currently a librarian of Beijing Municipal Literature and History, an advisor to the Beijing Book Court, the vice president of the China Ecological Calligraphy and Painting Academy, a member of the Chinese Poetry Society, the president of the Chinese Calligraphy Culture Research Alumni Association of Capital Normal University, and a special tutor of the Academy of Fine Arts of Tsinghua University.