[Yan Gongda • Baoyun Tang Art Review] Forty -three reading of reading: The content of the text is the "nuclear" of calligraphy works

As far as the scholars are concerned, Wang Xizhi's "Lanting Preface" is regarded as a good example. As the first line of books in the world, the aesthetic characteristics of "Lanting Preface" are most in line with the aesthetic appearance of traditional calligraphy: "Culture is not Chinese, quality, not wild, not excited, and gentle." The techniques are rich and standardized, and the brushwork of the script is enriched. The paintings are concise and the structure is varied. For example, the writing or techniques of the 21 "Zhi" characters are different. They are not the same, each has different postures and aesthetics. In addition to the artistic and technical nature of the world, "Lanting Preface" is also the classic in the Wei and Jin prose, and has been included in "Ancient Congress". There are few short stories, the words are important. "It can be said that" Lanting Preface "can become a classic and has a great relationship with its text content. Mr. Yan analyzed this in the article "The Aesthetic Value and Life of Chinese Calligraphy":

In 353 AD, more than 40 celebrities in the Eastern Jin Dynasty held a repair activity in Hueiji Mountain Yin. After compiling the poem Wenhui that day into "Lanting Collection", Wang Xizhi readily brushed and wrote a preface. This is "Lanting Preface". A literary work of the scenery -like style has actually spawned the "world in the world in the world. A line of books. And Yan Zhenqing's "The Manuscript of the Nie" and Su Dongpo's "Huangzhou Cold Food Poetry Post" became famous in the world for the superb literary and book art expression. This is the close relationship between literature and book art, because they are based on thoughts and language, and it is simply what the ancients said. In the interpretation of ancient texts, "Heart" and "Yan" are composed of two parts. Wang Xizhi successfully explored the convenient and beautiful manifestations of Chinese characters, relying on his profound literary and artistic skills, and created the classic status of "Lanting Collection". This is that calligraphy must be expressed as meaningful words, both art and literature, and express the author's cognition and emotions of the objective world. ("Baoyuntang Art Review")

Wang Xizhi's "Lanting Preface" (Chu Suiliang's copy)

Chinese calligraphy has the dual attributes of culture and art. Good calligraphy works are first of all, the text content must have profound thoughts, rich emotions, Zhuoyuan's insights, elegant realm, and moving text, so as to trigger the desire of the writer's desire to write , Enter the writing state of "Corresponding to the mind, I forgot with me two forgotten", so as to "integrate the poems and books, smooth their chests, disperse their arms, and express their feelings with their own feelings." Classic. Taiwanese scholar Wang Zhuangzhi said: "Calligraphy does have its independent advanced art ... If it is analyzed by its characteristics, it is found that it is the most similar to music, especially similar to vocal music ... The best vocal music is lyrics lyrics The meaning of the meaning of music and the rhythm of music can reach a realm. "In the appreciation of calligraphy works, the text content will definitely affect the viewer's appreciation psychology. Those masterpieces are undoubtedly the interoperability of text content and book art expression, and they are developing in terms of artistic aesthetics, stimulating the magical effects of 1+1> 2. "Wang Xizhi's" Lanting Preface "is a beautiful text recorded at the time of the grandchide at the time. Yan Zhenqing's" The Manuscript of the Nie "is the sacrifice of mourning the nephew and tearful, and Huang Tingjian's" The Qi Shangzhu "records the Buddhist science and calligraphy of the Song Dynasty. The era is associated. From Huai Su's "Self -narrative Post" to Lin Sanzhi's "On the Book Post", etc., etc., all of which are closely integrated with the society and culture at that time. Text. "(Mr. Yan's" Walking Walk ") These classic law books that have been passed down are all beautiful structures. It is the text content and the connotation of the book art. They have no text and ink, and the text and brushwork complement each other, thus Han Mo Shenghui, which has become a model of bibliography circulating in the ages. Mr. Yan has also summarized the text content and artistic performance of these classic law books:

When we review the classic art works in history, we will find that most of these works have such characteristics: in the content, writing records the profound social life or specific humanistic events of that era; The new elements were injected into that era, including the elements of pen and ink techniques and the spiritual elements of the times, and completed the glory of the art inheritance and creation of the times. There are two aspects of the culture creation of art works, namely the creation of content and form, and the interaction between "literature" and "qualitative". ("Walking Walk")

Yan Zhenqing's "Liu Zhongxie Post"

It is not difficult to see that these are both art and literature. Calligraphy works can show the writing content of writing on the basis of "art". Such works are the skills, artistic, artistic, more vivid and full of work. Xiao Xian said: "Literature is the mother of calligraphy." For today's scholars, they must not only be a porter of poetry of ancient and modern sages, but also to have literary talents with poetry, composition, and composition. Incorporate into the poem, and then show the art of calligraphy. Nan Huaijin said: "Some people can only read their texts and don't need to know them. The work can only read its words and cannot read its text. Even if it is read, you can't understand the "book, such as", ". Because the content of the text is copied at hand, how can it be read through the text? For a book with profound culture and artistic accomplishment and rich life knowledge, it is of course conducive to calligraphy art creation with the help of self -writing poems, and it is more profound. The Song of the Song Dynasty said: "Zi Zhan's article discusses, who is born alone, has a high style, and the true fairy. As for painting and calligraphy, they are also fine." It can be said that the text content of Su Shi calligraphy is often more contagious than writing skills. Let readers full of eyes and happy. Su Shi's poems, calligraphy and painting are high, all of which are derived from his chests of tens of thousands of books, and their words: "Retreating the pen as the mountain is not full. Therefore, we emphasize that the bookmaker must have the ability to write the content of self -writing, and aims to emphasize the scholarization and literatiization of scholars, not craftsmen and craftsmen. With higher literary cultivation and solid calligraphy skills, even if you do not use your own poems as the creative content, and remember to make some life trivial matters, the text also has clear meaning and real content logic. Even if you copy the words of others, you will never mention the pen that is "thick virtue" and "Shangshan Ruo Shui". In response to the creation of the content of the theme and in line with the times, it reflects its aesthetic value and a deep soul. For example, in the Four Songs of the Song Dynasty, Su Shi rarely copied the poems of others. Mi Yan basically did not copy it. Cai Xiang did not copy it (except the monument version), and Huang Tingjian copied more poems and essays such as Liu Yuxi, Li Bai, etc. Zen family quotes, etc. Is Huang Tingjian who is not good at poetry? How is it possible for him and leader in Jiangxi Poetry School. This is because "Huang Tingjian is the most practical to calligraphy. The practicality of ignoring is inevitable that artistry is inevitable. It can be said that Huang is the one with the most artistic consciousness in the four Songs'" Song Four "." (Cao Baolin) It is also copying his humanistic words. Because the writer's cultural and artistic accomplishment is different, the expression of the minds, artistic language, and ideological emotions also has the differences between high and low.

Zhao Mengfu's "True Cao Thousand Characters" (partial)

Although writing text is not the essential content of calligraphy works, it is not optional in calligraphy works. Different text content, its calligraphy works have different artistic effects, such as the artistic effect of the works produced by Wang Xizhi's written works in the "Book of Books" in Sun Guoting The love is so lustful, the book "Painting praise" is involved in the riches, and the "Huang Ting Jing" is unreasonable, and "Taishi Zhen" competes. The misery is miserable. The so -called music -related laughter laughed, and the words are sighing. "Different text content can pin the different emotions of the book, and the calligraphy works show different styles of style through calligraphy works. The famous drama Wei Minglun said: "Literature is the soul of all art. Whether it is painting, dance, music, it is based on literature and connotation. There is literature in it, maybe home, otherwise, it may be craftsmen. Real calligraphers must be sure It is the same root of the documents. With such a heritage, it can become an excellent calligrapher. The Chinese literature is not strong and cannot become a very good calligrapher. "This statement reveals the characteristics of Chinese calligraphy art, and it also understands the Chinese -style aesthetic habits. That is, what calligraphy art is pursuing is not artistic, but for life. As Liu Xizai's "Book Summary" said: "Books, such as also, as their learning, such as their talents, such as their will, in short, they are like it."

Some people are confident that today's calligraphy has surpassed the ancients, which may be just in the training of techniques and the form of works. If the calligraphy of the exhibition hall that is light and light content is compared with the ancient works of the ancients, the difference is not a little bit. Today's scholars pay more attention to technical training, comparing the brushwork, writing methods, and chapters, and ignore the spirit and connotation of the pen and ink brought by the text content. Mr. Shen Peng pointed out in the article "Tradition and" One Painting ":

"Professional" dilutes the culture of calligraphy. Calligraphy retreats from the vast cultural field to the calligraphy "itself". The breath of literati is weakened, and the writing "deliberate" and "deliberate" more than "unintentional" and "free". Several excellent works can be called wisdom and dexterity, but they cannot reach the wisdom and style of the ancients.

The "literature" of the calligrapher, especially on the side of calligraphy, is also directly related to the breath of calligraphy works. The humanistic literacy of the calligrapher is not only the accumulation of knowledge, but also the direct revealing of the spiritual realm and mental state in writing. All kinds of art must be "learned", and the particularity required by the calligrapher directly penetrates into the countless "one painting", hidden in the "wave of twists and turns". For the current scholars, they basically attach great importance to the question of "how to write", but they often despise or even ignore "what to write". Zhang Taiyan was a disciple Huang Kan Run: "Wen (Shouwen, Sacrifice and the Ories), each two hundred yuan; book, four feet, eight yuan." The text is worthless, and the painting and calligraphy skyrocketed. The phenomenon of the light content of this book today is quite alert. "The way of text is big". If the creation of calligraphy does not pay attention to the content of the text, how can we leave the traces of contemporary culture? Mr. Yan pointed out in the article "Borrowing a Soul of Plum Blossoms -My Road to Study Books":

The content of the text is the "nuclear" of any calligraphy work. Only when there is a nucleus and life, there is a charisma, and only the roots. ("Baoyuntang Art Review")

Whether it is writing a poem, a record of daily life, or copying the words of others, it is incomparable, but it must be correct and take the question of "writing" seriously. Mr. Yan believes that "the content of the text is the 'core' of any calligraphy work", not that everyone is a writer, all of which can write poems to create calligraphy creation, but emphasize that the writer must improve the personal culture Cultivation, scholars must be cultural people. After all, the art of calligraphy is also the product of the times.

(Text/Peng Qingyang)

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