"Smart" and "clumsy" involve the problem of aesthetic categories. Different times, different people, and different stages of a person's standards for Yu Mei have differences, and sometimes this difference is very large. The same is true of the aesthetics of calligraphy.
▲Part of the book "Zhang Qianbei"
"Qiao" is relatively "clumsy", and the problem of Qiao should be cut from two angles:
1. From a technical level
Liu Xizai said in "Art Overview, Book Overview": "Those who study books begin by not working for work, and then seek work without work. Those who do not work, the best of work. "Zhuangzi Landscape Chapter" said: "Both carving and polishing, returning to simplicity." Good man. ”
That is to say, there is a process of learning books, first of all, the learner is required to have quite proficient techniques, and masterful techniques are the basis of calligraphy creation, that is, "work". However, it should be noted that the technique cannot be regarded as an end, because the technique is not just the art itself. The Buddhist saying is "to go ashore and abandon a boat", and to reach the other shore, I am afraid that it is impossible to do without a boat, and those who regard the technique as the purpose do not want to go ashore.
▲ Yi Bingshou Affiliated with the Five Words of the Book and Coloring Paper
2. From the perspective of artistic creation
"Qiao" is a state of mind, which reflects that the author of the book has no thoughts, does not know what he wants and what he wants to do, and relies on certain skills or insufficient skills to "follow the trend" and "catch up with fashion". Crooked or smeared, his works seem clumsy, but it is a coincidence, not a true temperament from the bottom of his heart, but his temperament, which will soon be overwhelmed by the "trend";
Second, they have certain ideas and corresponding skills, but their cultivation is not enough, they cannot let go, and they still carry the boat when they board the shore, that is, they "do not open their minds" and "make unwarranted artifices", and make form and decorative designs for the sake of effect. This is a mentality of those who sell fame and reputation in a hurry to achieve quick results, and it is a "small family spirit".
"Humble" is different. It points to a realm of the scholar, a high realm of aesthetics, the expression of people's true feelings, and the embodiment of the inner beauty of the essence.
▲ Ni Zan "The True Works of the Right Army of the Batang Dynasty", Xingshu, paper
"Humble", as an aesthetic category, was proposed very early. Huang Tingjian's "On Books" said: "All books are more clumsy than clever. And Dou Meng of the Tang Dynasty also explained "humble" earlier: "Humble: not relying on cleverness." (Shushufu)
When it comes to "humble", scholars usually think of "childish" or "ancient humble". "Childishness" is the essential manifestation of children's nature; "Ancient humble" is often made out of practical and unintentional production, formed by the relationship between materials and time, such as a large number of gold and stone characters preserved in history, which are the natural expression of truth. Although they may have some kind of technical flaw. But the common point is that they all have natural interest, few traces of man, authenticity and simplicity, which is the most precious thing about the nature of human life that the artist pursues.
Zhao Zhiqian once said: "The scholar has the highest realm, and the ears of ancient and modern people. A three-year-old child, who can see nature; If you accumulate great Confucianism, you will have a divine show, so books work for those who do not learn books and cannot write. Liu Xizai said: "Famous masters are noble, everyone is noble." "Everyone" values "truth", and pursues "truthfulness", the so-called "natural interest" of the old man Shiraishi.
In the creation of calligraphy, "humble" means "landing on the shore and abandoning the boat", "those who do not work, the extreme of work", and "returning to simplicity", and the old man Shiraishi often said that he should "have no painter's habits." "Because you write calligraphy, not making words, not creating works on any theme according to some standard or ism, they should come from the heart, not be influenced by technique and form, it is true feelings that are cultivated from the inside and come from the outside, that is, do not have desires, "desire" is an obstacle, it makes you unable to be authentic, if your feelings are not true, your intentions will not be cut, and the work will be "clever" and cannot be touching.
▲ Liang Wudi Xiao Yan's "Unusual Interesting Post", hidden in the National Palace Museum in Taipei
As Fu Shan said: "Those who hide in seeing have a heart." If you have a heart, you are clumsy and clever, if you are clever, you have many camps, and although you have gains, you will lose them. This also shows that "clever" and "clumsy" are dialectical, "big cleverness", but "clumsy" does not have to hide, hide "clumsy" but actually "clever".
"Humble" is not an inherent aesthetic, but with the development of calligraphy art, it is a product of the times, but the spirit contained in it is people's observation and return to the essence of life. This is the true meaning of "humble".