There has always been a debate about the clumsiness and ingenuity of the calligraphy style, whether it is "rather clumsy than clever" or "rather clumsy than clumsy". At least in the Tang Dynasty, there were many people who discussed it, and it has become more and more intense, and even ugly, weird, and strange are beautiful. The author is not talented, often have doubts, in the study of calligraphy to look at the works of the ancients, not blindly think that the more clumsy the better, the idea of communicating with everyone, I don't know right?Hope for the wise to be corrected.
Qin Lisi's "Using Brushwork" talks about "sending feet if you swim in water", my understanding is that although Li Si is talking about sending feet, in fact, any stroke is applicable, and it must be written as vividly and vividly as a fish in water, which does not mean that the more clumsy and ugly the strokes, the better. Li Si said that "the dance pen is like a mountain and a cloud, or a volume or Shu, light and heavy" is to say that the strokes are written with collection and release, light and heavy, thick and fine, varied, flexible and lovely, how to ask for the more clumsy the better. Wang Xizhi's "Remembering Mr. Baiyun's Calligraphy" has Mr. Bai Yun's words "only looking at the ease, and sending the only quiet", which means that the writing looks elegant and free, smart and lovely, and when writing it should be calm and steady, not ostentatious and not fancy, I think this is not a requirement to write honestly, but it is clever, and there is a very high technique of clumsy and clumsy.
Yu Shinan said in "On the Essence of the Brush": "Those who have not understood the meaning of the book, every bit of the painting requires the image of the book, which is the best to take the clumsy, how can it become a book evil!.""Does this mean that if you are clumsy, you are not calligraphy?He also said, "The sweep is light and heavy, and the clouds are obscured by a sunny day."If the breeze shakes in the blue sea, the air is like a galloping horse, and it is also like a hook, the weight comes from the heart, and the magic should be used in the hand. "Floating clouds, breezes, galloping horses, are smart and chic, magnificent, how can there be clumsy, stupid, ugly meaning, but also specifically pointed out wonderful, "wonderful use should be hands"?
Sun Guoting said more directly and clearly in the "Book Pedigree", for (Zhong, Zhang, and Erwang) "The four sages of the ancients, the ancient and the modern are unique, and the present does not catch the ancient, and the ancient quality is now beautiful." It is pointed out that "three changes in quality and text, galloping evolution" is "physical constant". It is said that "the ancient quality is now beautiful" is the objective law of the development and change of things. Sun Special gave an example, saying, "Why bother to carve the palace in the acupoint, and the anti-jade chakra in the vertebral chakra!.""Why do you want to live in a cave without a palace-like house, and a broken car with wooden wheels instead of a modern car?Sun Guoting advocated that calligraphy should be "beautiful", he said: "Let the pen be the body, gather the amount of forming, the heart is faint and imitate the effect, the hand is obsessed with the reason of waving luck, and it is not ridiculous to seek its beauty!.""It's impossible to write indiscriminately, if you don't understand how to write, and if you don't know how to use a pen with your hand, you want to write smartly and beautifully.
Ouyang Xun's "Teaching Tips" "Every pen must be in the circle, the strength is vertical and horizontal, contemplative and quiet, when the word is reviewed, the four sides are even, and the eight sides are available;Length and shortness, thickness and compromise;The heart and eyes are accurate, and the density is correct. The least busy, busy is lost;The time cannot be slowed, and the slow is the bone idiot;and do not be thin, thin when withered, not fat, fat is turbid;Gentle and auspicious, natural preparation. "Look, the pen should be round and upright, light and heavy, think well, the word momentum should be evenly stopped on all sides, all eight sides, not long or short, just right, not thick and thin, the thickness is appropriate, the heart wants to look good and accurate, sparse to deal with well, not busy, not stagnant, not too fat, not too thin, look carefully, think thoughtfully, slowly copy, over time, naturally improve. How specific and detailed the requirements are, imagine how much is rather clumsy than coincidental, and the calligraphy practiced according to this can only be charming, dignified and generous, and enviable.
Qing Zhu Luzhen's "Essentials of Calligraphy" said more bluntly: "The great importance of the book can be exhausted in one word." Said: The pen is round. ......The essence of the book is said to be charming, and if the cover is not square, it is not flattering, and if it is not round, it is not flattering. Books are expensive and strong, and the wind of books is also bone-like. The book is expensive and round, and the attitude of the book is fluent. "The basic requirements of calligraphy can be summarized as the square and round shape of the pen. Good calligraphy requires both vigorous and beautiful writing. Strong, refers to the word has bone strength, stand steady, good-looking, not only with the pen round and beautiful, but also the length of the fit, the width of the decent, up and down the course, the size is appropriate, fat and thin, free to retract, smart and chic, etc., but not to say clumsy!Zhu further pointed out: "It is easy to be strong but difficult to complete." It is also specifically pointed out that "the strength is hidden in the circle, and the snai gets it". It is advocated that there is a circle in the strength, and there is strength in the circle, especially in the circle, which can be regarded as success. What has been talked about more and learned from is the four sentences in Fu Shan's "Writing Words to Show Children and Grandchildren": "It is better to be clumsy than clever, rather ugly than flattering, rather fragmented than slippery, and rather straightforward than arranged." Yes, Fu Shan said bluntly, "It's better to be clumsy than clever, and it's better to be ugly than flattering." Fu Shan's thesis is to say that "writing words is the first to be a person, and people have strange words since ancient times." It is everyone's consensus to talk about books according to people, and words are like people. But we must not absolutize it, because it is not advisable to absolutize it. For example, if a good person is a moral person, will the words be good?Are heroes and exemplary characters calligraphers?Obviously, it is not true, and the consensus is probably that calligraphy should be honest, sincere and sincere, not opportunistic, so ambitious, and strive for fame and fortune!
Fu Shan said that the experience of Si Ning is obtained in the process of learning books, the first time to learn Jin and Tang Kai law is not like, after learning Zhao Ziang can soon be real, he thought of Yan Lugong's loyalty, Zhao Mengfu's apostasy (Zhao made the Yuan Dynasty official), Fu Shan himself is very backbone, swore not to be an official of the Qing Dynasty, of course, he values Yan and despises Zhao, so although Zhao Zi is beautiful, he doesn't like it, he doesn't want his children and grandchildren to learn, not entirely from the perspective of calligraphy. In fact, with a turn of the pen below, there is still a certain affirmation of Zhao. "However, it must be known that Zhao is devoted to the right army of the king, only because of improper learning, so he is soft and beautiful." Fu also admitted that Zhao studied Wang Xizhi with his heart, and calligraphy had a solid foundation, but the development was not good later, and the backbone was not good, and he only sought soft beauty. The contemporary calligrapher Mr. Qi Gong's calligraphy quatrain 100 poems also mentioned that the uncle and nephew of Cai Jing in the Song Dynasty were better than the four masters of the Song Dynasty, Su, Huang, Mi, and Cai were all on the art of calligraphy, but because of the problem of morality, calligraphy was not praised by later generations. Of course, Zhao Mengfu is much better than Er Cai, people still recognize Zhao's calligraphy, and also call it the four masters of regular script: Yan, Liu, Ou, Zhao, it can be seen that Fu Shan's view is only Fu Shan's view.
Moreover, we can see from Fu Shan's "Essays" that there is another more important meaning than coincidentality. Fu Shan said: "There is no strange coincidence in writing, but it is clumsy, and it is clumsy. In this way, Fu Shan's clumsiness is easy to be understood and accepted. Fu Shan also said: "If you don't write without change, you won't see it, but change will not be easy." "Writing should be skillful and rely on change, and change will be smart and natural, why not be clumsy?Therefore, Fu Shan said: "The vulgar characters are all arranged by manpower, and the natural meaning of heaven is lost in order to settle down." "The arrangement of manpower is like a contrived and deliberately artificial, not natural, of course vulgar. Song Su Dongpo has an overview of "no intention to be good", which is what it means, but it is not that the more you don't want to write well, the better you can write, but that you should go with the flow when writing and not be pretentious. Of course, this is in the case of laying a good foundation and practicing skills, without the burden of thought, and the words written naturally are often better than when there are certain concerns, which is also the reason why many calligraphers are reluctant to be "forced" to write. Fu Shan also said: "Every time I force a face, I think it is true, and at that time, there is nothing to be seen about the author." "So Fu Shan's family style" in a row.
Six or seven generations, but none of them are servitude. ”
Let's go back and talk about the word Zhao. Fu Shan also said in "Essays": "Yu Ji doesn't like Zhao Ziang, and Bo Qiren hates his book." Looking at it closely, it is not okay to be thick, familiar and charming, it is cheap, it is beautiful and round, and it is still decent. The cover has changed slightly from the Orchid Pavilion to this point, and the times are high, but also by luck, not only the article. "Zhao Shiyuan, Fu Shan is not a minister, not Shiqing, and have different views, so they are disgusted with Zhao Ji, and they are from people and words, but then they take a closer look and basically affirm Zhao Zi. "Still decent" is a change from the world's first line of Shulanting, which has a very good foundation, so Zhao Shu is not fundamentally unlearnable. In Fu Shan's opinion, Zhao Shuhao is good in being mellow and beautiful, doesn't it negate Ning Clumsy and Rather Coincidental to a certain extent?So what is the clumsy coincidence?I think Li Hua's argument in the Tang Dynasty gives the right answer. Li Hua said: "Words can not be clumsy, not clever, not today, not ancient, and half of the quality." ”
As mentioned above, Sun Guoting advocated that "when the past was not good, the present is not bad." "It can not only inherit the laws of the ancients, but also not deviate from the trend of the times, and can pursue the fashion of the day, and not be different from the vulgar diseases of others. It is necessary to be "polite and polite", and it is good to properly match the style and simplicity (gentleman). Clumsiness and cleverness should also be the same, to be clumsy and clever, clumsy and clumsy, not to go to extremes, blindly clumsy, blindly clever is not advisable. Calligraphy and other things cannot be taken to extremes. Like the ancient philosophy represented by Lao Tzu, although things are divided into yin and yang poles, but it is not extreme, you see that the yin and yang fish is the yin fish has a yang eye, and the yang fish has a yin eye, which is the yang in the yin, and the yin in the yang, which are connected and penetrated into each other, like the blessing in the woe, the blessing in the woe, the good people also have shortcomings, and the backward people are not useless.
The same is true for writing, there is a circle in the square, there is a square in the circle, there is grass in the Kai, and the grass should be in Kai. Sun Guoting has a lot of discussions on this aspect in the "Book Pedigree", such as "violating but not violating, harmony but difference......It means that the writing is not the same (strokes or parts) and cannot be contradicted, and the same cannot be completely identical, for example, writing two, the top is short and the bottom is long, but it cannot be particularly short at the top and long at the bottom, and it should be done in moderation. Other widths, sizes, heights, up and down, retract and so on are the same, this is harmony and different, the two horizontal of the two are different, the upper short and the lower length, the three horizontal of the three are different, the two mouths of Lu are not the same, the two daggers are not the same, the two Xi of the feather are not the same, and the same can not be the same. Horizontal to flat, but can not be absolutely horizontal, vertical to straight, and can not be straight, with ink to moisten with dry, with the pen square in the circle, in the circle in the square, really to grass, grass to be true, these requirements abound, not only clumsy in the clumsy, clever in the clumsy, so to be half of the quality, just right.
Above, about the ingenuity and clumsiness of calligraphy**So far, I hope you will put forward your own opinions and leave a message in the comment area**.