■ Huang Yihan Calligraphy Five Words Lian
■ Huzhou Thesis volume (partial), Tang, Chuanyan Zhenqing book, paper, xingshu, collection of the Palace Museum
■ Collection Weekly reporter Chen Fuxiang co-ordinated
■ Huang Yihan (Honorary Chairman of Guangzhou Huangpu District Book Association)
Chairman He Hongjia of the Shunde District Federation of Literature and Literature recently asked this question at the opening ceremony of a calligraphy exhibition. Is calligraphy a work of expression superior or mentally superior? This question is quite interesting! Chairman Ho thought about it and believed that both were important. Indeed, skill and mentality are all good works. Tracing back to ancient times, The Western Han Dynasty Yang Xiong scholar Zeng Yun: "Words, heart voices also; books, heart paintings also." Later generations summarized it as "words are the voice of the heart, and books are the paintings of the heart." Reading Yan Zhenqing's "Sacrifice Nephew Draft" was full of sorrow and indignation when she wrote it, and the technique seemed to have been shelved. But in fact, the technique has been appealed to the tip of the pen, but seeing the beauty of writing into the expression of the heart, I can't help but let it flow, overflow, and be at will. At this time, the unintentional writing will also reach the realm of "four tranquilities and four noes" as Fu Shan said.
The expression of the human heart can be understood as lyricism when engaged in artistic activities. The premise of calligraphy lyricism is to master the writing skills, just as the singer must know the vocal skills, and his singing voice can move the heartstrings, and it is difficult to imagine that a singer with incomplete five tones can sing moving songs. Writing without writing skills and complete disregard for rules is just wild fox Zen, and although the writer is shy, the work cannot impress the people of insight. They are often superficial and vulgar, manifested in the smooth and soft use of the pen, exaggerated and restless, so that the real sense of "ugly" books. The mental nature of jianghu calligraphy is false and untrue, and if the audience does not have a deep understanding of calligraphy knowledge, it is easy to be blinded by it, so there are some "calligraphers" who hang many "titles" that can become popular in society. This is an important reason why calligraphy is difficult to form a noble status in people's minds, and the proliferation of formalism and the reduction of cultural content.
Calligraphy expresses temperament, and having higher writing skills is a necessary rather than sufficient condition. Lyrical heart also requires the author's natural mental outpouring, love for life, concern for society, insight into the world, true feelings of self-expression, and emotional state of mind when writing, such as the "five in five" taught by Sun Guoting, which is closely related to the quality of the work. "Five-in-one" can only be in love, the pen is brilliant, and the work can put an end to contrivance. The creative environment of contemporary calligraphy works is very different from that of the ancients, and the works written similar to those of the ancients may be similar in appearance, but the qi rhyme is far away. The reason is that contemporary people cannot directly worship the ancients as teachers, and there is a gap between them and the ancients' temperament and academic attainments, and they know it but do not know why. Therefore, although some pro-post masters write beautifully, it is even smoother and more beautiful than the original post. But it is always difficult to write about the self, and it lacks true temperament. In this situation, the Qing Dynasty Song Cao once analyzed: "The essence of calligraphy lies in the ability to merge, and the gods can be separated." The so-called departed, we must double the processing force, natural and wonderful. Both in the wrist and still in the heart, Fang has no right army habits. To achieve "natural and wonderful life", it is necessary to "cultivate the heart", that is, "write the heart". Every stroke is like Wang Xizhi, and the word "there is a place to come", which is a good writing kung fu. However, if "it cannot be shed", there will be many people in the Tang and Song dynasties who concentrated on imitating the calligraphy of Xizhi, and the plate stagnation is similar to forming a "courtyard body".
The ancients already had a lot of experience in this regard. Zhao Yi of the Eastern Han Dynasty said in "Non-Cursive Writing", "The ugliness of books, in the heart and hands, can it be strong? Zhao believes that calligraphy is out of human nature, emphasizing human temperament, the so-called sentimentality. Cai Yong Yiyun: "If you want to write, first scatter your arms, let your feelings be arbitrary, and then write it." Cai Yong watched calligraphy from an artistic standpoint. Successive generations of calligraphers have always had the unremitting pursuit of Shangyi, and the Song Dynasty calligraphers are particularly prominent. Shangyi is actually writing about temperament, and when Huai Su wrote cursive, "suddenly screamed three or five times, and the walls were full of tens of millions of words", which was the successful practice of calligraphy lyricism.
I am afraid that no contemporary writer admits to pursuing only skill and neglecting to write the mind, but there are only some differences in understanding and method, resulting in a difference in degree. Extreme examples are the excessive pursuit of skill and the neglect of the writer's work are "one side of a thousand people", which is highly similar; the works of those who do not seek skill but only seek the heart are very different, "in the form of calligraphy, the horns are sharp, lack of overall artistic accomplishment." (Chen Zhenlian). A careful analysis can be found that most of the common works are those who have good skills but neglect to write the heart or want to express the heart and cannot be comfortable, but more are just copies and imitations of ancient calligraphy. why? The author believes that it is mainly a conceptual problem, the concept of calligraphy equivalent to writing is still widespread, the formation of calligraphy beauty can not keep up with the development of calligraphy popularization, and the relationship between the atmosphere of the work and the spirit of the times is becoming more and more distant.
Calligraphy is a relatively abstract art. Because of the ambiguity of its interpretations throughout the ages, the general audience can only seek to understand from the identity and authority of the writer (rather than from the critical articles). Although calligraphers have different opinions on the so-called mental performance of calligraphy, it is fortunate that more and more people who have received certain calligraphy training and have studied ancient inscriptions will have an evaluation standard in their hearts and can truly read the techniques and lyricism in calligraphy works.
Appreciation
Commentary:
Only Huzhou outside the river is the most humble, this year the water of the states and the state into the Taihu Lake, Tian Miao is very undimbustered. Lai Liu Shangshu, in this way, people's hearts are at peace, otherwise, they can only not rest in peace. True white.
The collections are: Song "Zhenghe" two parties (both fake), "Shaoxing" three parties (right, middle and upper left two seals pseudo), "Ji Hui Qing Reward", "Neifu Shuyin", Yuan "Northern Yan Zhang Clan Treasures", "Duan Ben", Ming Hongwu Neifu "Siyin", "Xiang Molin Appreciation Seal", Qing "Liang Qing Biaoyin", "Yi zhou appreciation" and so on.
This post is a letter written by Yan Zhenqing about the flood in the Huzhou area and the people's appeasement. According to the content of the writing and the historical data, the writing time should be after the seventh year of the Tang Calendar (772), that is, during Yan Zhenqing's tenure in the History of Huzhou. However, after expert identification, this post is not written by Yan for the following reasons: First, the paper used for writing is bamboo paper with powder and arsenic, and this kind of paper only appeared in the Song Dynasty. Second, in terms of writing style, the author uses a round and continuous pen, the side is charming, and the ink color is gorgeous, which is very different from the sadness of Yan Zhenqing's "Sacrifice Nephew Manuscript" and the excitement of "Fighting for the Seat Post", and also lacks the meaning of Yan's book's "house leak marks". Therefore, it can be inferred that this post is a copy of the Song people.