Multi -dimensional construction of Zhu Guangqian Calligraphy Realm

When talking about calligraphy, Zhu Guangqian not only emphasized the practical function of calligraphy, focused on the cultivation of calligraphy writing "muscle skills", but also strengthened the artistic aesthetic function of calligraphy, giving calligraphy more aesthetic connotation. Therefore, in the process of building a calligraphy state theory, he divided Chinese calligraphy into "defects", "stability", "alcohol" and "transformation" four dimensions such as "technology", "art", and "personality". On the one hand, on the one hand, it reveals the inherent logic of Chinese calligraphy from "technology" to "art" and the inherent logic of breakthroughs. On the other hand, it highlights the value and significance of Chinese calligraphy in writing technology and art aesthetics.

Cultivation of "Technical": from "defective" into the "stability"

Chinese calligraphy has never been consciously transferred to consciousness, and from "naturally revealed" to the "intentional portrayal" stage, it pays great attention to the imitation of famous artists or handed downstakes. People can see the "scale law" in the "naturally revealed" calligraphy works, so they use this "scale method" to create calligraphy. As for the purpose of imitation, it is to develop a "muscular skills" that combines the "scale of scale". Zhu Guangqian believes: "Various arts have their own special muscles ... If you want to learn an art, you must first learn its special muscle skills." To this end, he is building the process of building a calligraphy realm theory. Among them, calligraphy has not been discussed within the field of art. Instead, it is given the same attention at the "defect" and "stability" in the practical stage of calligraphy technology. According to Zhu Guangqian's point of view, if only calligraphy works in "defective" and "stability" are concerned, they do not have artistic aesthetics, which is not enough to call art. However, in terms of the process of creation of the entire calligraphy art, the "defective" and "stability" have a vital role in the art creation of calligraphy. The cornerstone of the breakthrough. Therefore, when Zhu Guang potentially built the theory of calligraphy, the "defective" and "stability" as an indispensable link was proposed, and it was believed that if it stopped or stopped through the "defect" to the "stability", The writing technology or "muscles skills" is really difficult to enter the artistic level of calligraphy.

In fact, Zhu Guangqian emphasized the importance of writing technology or the cultivation of "muscle skills", the root of his root is that he did not agree with the view of "artistic performance" represented by Crozi. More than appreciation. In his opinion, "appreciation and creation must be intuitive; appreciation can stop as long as the image is intuitive, but creation must go further. This image is shot into specific works and convey it to others." For the creation of calligraphy art, the image of a certain kind of words in my heart is only the beginning of creation -appreciation, and the conversation of this image is the completion of creation. As for the key to conveying, it is the "muscle skills" written. According to Zhu Guangqian's understanding, the so -called calligraphy art creation is just the image of people who intuitively in the heart that can dominate the "muscles movement" of their wrists, and then use the "muscle movement" of the wrist to make the brush the pen. The image of the word is written on the paper.

Of course, Zhu Guangqian is not satisfied with the font of "defective". In his opinion, although a word can be written in the "defective", because "the use of the wrist cannot be free, ... the word is often crooked, and the pen is often awkward." Therefore, he pays great attention to writing methods such as twist pipes and fighting, and the use of pen methods such as Zhengfeng, Tibetan, center, partial front, and invisibility, wrists such as pillow wrists, wrists, and "separate cloth white" and other chapters. train. In his opinion, if you want to enter the "stability" from "defective", you must learn from the "scales" of these "scale methods" such as "scale method". As for how to obtain these "muscles skills", Zhu Guangqian believes that the abstract "scale method" that needs to be abstracted by the brushwork and chapters into specific works to figure out. In the muscles, the intentional imitation gradually becomes unintentional imitation, and gradually develops the "muscle skills" that compat with the "scale method". Because of this, Zhu Guangqian attaches great importance to the imitation of the character's handwriting or the inscription. He believes that the purpose of imitation is to develop the "muscle skills" written. It can be seen that imitation and the "muscle skills" learned through imitation played a vital role in promoting calligraphy from "defective" to "stability". However, this role is limited to the practical aspects of calligraphy, which is the practice of "technical" (calligraphy writing skills), not the manifestation of "art" (calligraphy art aesthetics). In Zhu Guangqian's view, imitation is only the foundation of calligraphy art creation, which is not enough to create, and it cannot show the artistic aesthetic function of calligraphy.

The "art" manifestation and breakthrough: from "alcohol" to "transformation"

Although compared with the "defective", the "muscles skills" written in "stability" are more skilled, and the handwriting written is more in line with the "scale law", but it is still a mediocre state and belongs to the practical stage of calligraphy. If you want to turn and break through from "Technology" to "Art" to achieve the artistic creation and aesthetic stage of calligraphy, it is necessary to work in addition to the tame "muscle skills" and "Even" Huajing ". In other words, only by imitating imitation into the creation can the artistic aesthetic hall that can really enter the calligraphy.

As far as the artistic creation of calligraphy works is concerned, Zhu Guangqian believes that the "stability" has never been imitated, and she keeps the font without seeking changes. In his opinion, if you want to avoid these shortcomings, you need to go further on the basis of "stability". Through the various calligraphy styles such as Tangbei, Six Dynasties, Hanli Qin Yan, and Jin Wenjia bone, then The strength of the family style is to gradually expand their realm and gradually mature the "muscles skills", thereby forming its own unique style to achieve the "mellow realm". In this process, calligraphy creators will consciously move their character and interest into the image of the words that are intuitive in my heart, and generate a taste of a subjective aesthetic image through the fit of "interest" and "image". Or emotion. Then, in the process of artistic creation, with the "muscle skills" written by writing, the fun or emotional "external shooting" with subjective aesthetic images into the change of text writing, so that the straight hooks of life and interests, etc. The traces of ink Tu can show the personality and taste of writing creators, thereby creating their own unique styles, making the characters "bone force", "gesture" and "Shen Yun". In other words, with the combination of "interest" and "imagery", such calligraphy works have been transferred from the practical stage of calligraphy to the art aesthetic field of calligraphy. However, the calligraphy works in the "alcohol" still failed to completely separate from the scope of the "craftsman" to the highest state of calligraphy. In Zhu Guangqian's view, if you want to reach the highest state of Chinese calligraphy- "transformation" and achieve the breakthrough of "art", in addition to working hard to cultivate the "muscle skills" and artistic cultivation, calligraphy creators must "learn in character science in character science The next set of more important kung fu in all aspects. " This means that in Zhu Guangqian, personality cultivation plays a very important role in increasing the artistic aesthetic value of calligraphy works. This emphasis on personality cultivation indicates that on the issue of art and morality, Zhu Guangqian opposes the view that art and morality are completely separated from the form of aesthetics represented by Crozi. Although Zhu Guangqian also acknowledged that "art and morality have no direct relationship in intuition formed by the formation of aesthetic experience", before and after the formation of aesthetic experience, he believes that morality has a very important impact on art and can designate artists intuitive intuition in virtue. The direction or the value of the value of art works has an impact. In this way, if a person has great achievements in calligraphy, he must have "superb personality" and "mature mind learning". Because, according to Zhu Guangqian's point of view, the calligraphy creators can further increase the charm of words with their own "superb personality cultivation", "mature mind learning", "skilled muscles" and "mature artistic cultivation". The characters can not only see the skillful "muscle skills" of calligraphy creators, but also show "superb personality." It can be seen that in terms of calligraphy works in the "Huajing", calligraphy has essentially "beyond the scope of art and the personality of the whole person and the entire universe."这种对“艺”的突破，使得“化境”中书法作品的艺术审美价值和功能已远远超过“醇境”中书法作品所应有的功能，即不再局限于通过“情趣”和“ The fit of the imagery to show the emotions of the calligraphy creator or admirer can show the author's personality by virtue of calligraphy works, and realize the purpose of "good" to "good" and "beauty" with "beauty". Therefore, calligraphy works in this state are also called "gods" and "wonderful products" and so on.

All in all, in the process of building calligraphy realm, Zhu Guang did not separate the technical and practical function and artistic aesthetic function of calligraphy in the process of building a calligraphy realm. "Personality cultivation" has the same attention, and starts from multiple dimensions such as "technology", "art", and "personality", and builds the theory of calligraphy in calligraphy, revealing the internal logic of Chinese calligraphy from "technology" to "art" to the inner logic Essence However, when Zhu Guang potentially discussed the ideas about Chinese calligraphy aesthetics, it was only about artistic calligraphy and did not talk about calligraphy in calligraphy. Therefore, Zhu Guangqian's calligraphy realm is only the development of his aesthetic thought. His purpose is to prove the correctness of his aesthetic principles by using calligraphy as an example, rather than clarify the aesthetic characteristics and functions of Chinese calligraphy.

(This article is the major project of the National Social Science Foundation "Zhu Guangqian, Zong Baihua, Fang Dong Aesthetic Thoughts and Tongcheng Culture" (17zda018) staged results)

(Author unit: Department of Philosophy of Suzhou University)

Source: China Social Science Network-Journal of Social Sciences of China

Author: Su Peijun

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