Appreciation of calligraphy and font works of Tiandao Rewarding Diligence
Calligraphy Font Heavenly Rewards Appreciate Calligraphy Font Heavenly Rewards Pictures 1
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Calligraphy Font, Heaven, Rewarding Diligence, and Drawing Five Comments on the Beauty of Calligraphy Power
The power of calligraphy refers to strength, wrist strength, arm strength and whole body strength. The so-called whole body exertion means that the whole body is hard when writing. Qing Liu Xizai's Outline of Books says:? Li's seal, lively and flying, can lift his body with strength. All books put light weight first. However, there is no light body method except strength. ? Many book critics in Qing Dynasty emphasized the whole and attached importance to its application. So-called? Can you lift your body? This statement is puzzling. How can a person lift himself up? If he holds an object equivalent to his own weight, then the calligrapher becomes a Hercules. But the writing style of Hercules is not necessarily reflected in the lines, is it? Force? . There are strength, wrist strength and arm strength in writing practice. ? Full strength? It is a metaphysical theory to mention his body. Some people who engage in calligraphy are influenced by this statement and make it vulgar. When writing, I deliberately put on airs there, shaking my head with a pen, waving my arms and turning my back, which is unbearable for human eyes. This is different from a musician who plays the piano or violin, is infected by sound waves and unconsciously follows the pitch jitter.
Finger force, wrist force and arm force are used the most, and fingers move the most when picking up a pen. Followed by wrist strength, followed by arm strength (for writing big characters, not for writing small ones). But whether you write big words or small words, you should use different fingers.
Force belongs to the category of physics. The force in the field of physics is reflected in stippling lines, that is, pen power? . ? Is brushwork the feeling of the viewer? The point of view. Pen power exists objectively. No matter whether there are appreciators or not, there is pen power in the stippling lines of words, and the feeling does not precede existence. Appreciator's sense of force? Only secondary.
In calligraphy, the forces mentioned in mechanics come from fingers, wrists and arms. Cai Zhonglang's "Nine Potentials" said: Make the pen heart often point to draw. ? It is to let the pen tip run in the strokes of stippling, and running is the movement of force. The movement of this force is consistent with the strokes and belongs to mechanical force. The acting force is related to mass and acceleration. Quality, specifically: the first is the hardness of the pen, the second is the thickness of the paper, and the third is the depth of the ink. Let's talk about the power in the pen first, which was put forward by the ancients. Qi Li? This general understanding is acceptable if it is emphasized that strength can only be obtained through brushstrokes. If every hair or even 10,000 hairs should exert their strength together in the process of writing, that is to say, finger strength, wrist strength and arm strength are all transmitted to every nib through the pen, is that right? Force? Isn't it like sending electricity? It's impossible. Even the speaker can't do it It is right to always have enough strength in strokes, but it is not? Qi Li? Effect.
The hardness of the pen shows its own elasticity, with high hardness and low softness. The elasticity of the pen is caused by the direct contact between the pen and paper. A pen deformed by a force can partially or completely recover its original elasticity after reducing or removing the external force. When we pick up a pen and press it, the pen itself will react. Press down, bend the pen, lift it up, and the pen is straight again. If it is hard, it will be straight faster. Action bends it and reaction straightens it. This repeated movement of actions and reactions is reflected in the strokes of words, leaving? Handwriting? What does this mean? Force? , forming the so-called? Pen power? .
The acting force is that the force is transmitted to the pen and the pen is transmitted to the paper. There are two ways to start the action: one is to point straight down, and the other is to spread it out on paper. The two methods are interchangeable, not dead. We all have this experience. When picking up a pen, the tip of the pen always touches the paper first, and then the pen is pressed down, so that the brush can be spread out on the paper, so that the process of lifting the pen up and down is what we traditionally say? Mention? And then what? News? This process.
From writing to communication, what is it? Mention? Arrive? News? Is it the same from spreading the brush to using the nib? News? Arrive? Mention? This process. ? News? And then what? Mention? It's all action The exchange of these two forces can make the expression of force rhythmic and become an artistic form with changeable lines, which is one of the many rhythms of calligraphy art and the beauty of force.
The nib goes straight down, and what we are most afraid of is stabbing. Poke it there with a pen tip, just like stabbing paper with a bayonet. Spike is not writing, but? Chisel? It's like cutting there with a chisel. When the brush is laid flat, the pen is most likely to appear. Inert? The pen is tiled. Lai? I can't stand talking on paper, just sweep it away. Only if you don't stab or sweep can you penetrate the straight force and flatten the force. In this way, no matter whether the stroke lines are thin or thick, the thin ones have a strong aesthetic feeling and the thick ones have a full aesthetic feeling.
When laying flat, the pen and paper contact, resulting in relative sliding and sliding friction. For example, when a pen (strictly speaking, it should be pen and ink) runs to the right, it is subjected to the left friction of the paper facing it, and at the same time, the surface of the paper is also subjected to the right friction of the pen. The influence of this friction is mutual. Calligraphers habitually and artistically handle the relationship between them in their writing practice, and leave them in the lines of calligraphy, which will produce a beautiful form of strength.
Whether calligraphers write with soft pen or hard pen, the purpose is the same, that is, to write well, just like shooting, no matter what brand of gun, as long as you can hit the target. So what? A good book doesn't choose a pen? . But ... in terms of quality, the force of soft pen is different from that of hard pen. Generally speaking, the force with rigidity in softness is easy to be implicit, and the force with rigidity in rigidity is easy to be sharp. However, calligraphers can overcome their difficulties by making it easier, seeking soft revelation and seeking subtle efforts. One is implicit and the other is explicit, which is better? This involves people's different aesthetics. In the past, some calligraphy theorists liked to show their edge, while others emphasized their implication. There are implicit beauty and explicit beauty. Two-week inscriptions on bronze are the representatives of the former, and the steles of the Northern Wei Dynasty are the representatives of the latter.
The thickness of paper, the thickness and the strength of calligraphy are also different. Calligraphers write on Xuan paper instead of drawing paper because the rougher the contact surface, the greater the friction, the thinner and more delicate the paper, and the more delicate the strokes they write. Understand this truth, we can grasp the extent to which the quality of paper shows strength. Weakness is as powerful as weakness. We saw an old tree root, and we thought it had an ancient beauty. Sometimes we use it as a bonsai and grow new strips from it. Then, this bonsai will give people two kinds of beauty. The beauty of calligraphy is similar to this. If the beauty of these two forces is divided into? Masculine? With what? If so, then greatness is masculine and gentleness is feminine. Some people will ask:? Is it still beautiful when the strength is weak? A new willow branch is tender. When it is blown by the spring breeze, it is elegant and colorful, just like the lines written in a certain brushwork in calligraphy, soft and powerful. We will never regard it as a sliver made of cotton or spun yarn.
The power of calligraphy that paper should show in quality is generally like this.
How big is the expressive power of ink? When the ink is thick, the force is easy to condense and has a sense of cohesion. When the ink is light, the force is easy to disperse, and there is a feeling of spreading and spreading. Condense and release every powerful beauty. Calligraphers of all ages in China emphasized the use of thick ink and writing on paper, with a sharp contrast between black and white. It is said that Dong Qichang was the first person to write in light ink. He wrote a lot of new words, but once he didn't have time to develop thick ink, he wrote in light ink, and the result was good. But he is not a famous light ink writer, and he writes in thick ink in most cases. Some people in the modern avant-garde in Japan spilled light ink on paper and it became words. Is it developed under the influence of China? Our modern calligraphers in China also write in special light ink, which is probably an exploration. As far as friction is concerned, writing with thick ink or Jiao Mo has greater friction than writing with light ink. Calligraphers must make full use of their years of artistic skills in using ink if they want to be expressive in using ink.