Artistic aesthetics, which is an abstract concept full of magic and mystery. It doesn't have a clear and unique answer like a math problem, but it's a kaleidoscope that varies from person to person. Each person's perception and understanding of beauty is unique, which is a reflection of the diversity and richness of human emotions.
Taking the appreciation and analysis of calligraphy as an example, we should not just stop at the superficial strokes and structure, but also explore the deeper inner artistic conception and charm. This is like the taste of brush and ink in Chinese painting, the kind of beauty that can only be understood but not expressed, can often be fascinating and intoxicating.
A good calligraphy work is not only a display of skills, but also an expression of the author's emotions and state of mind. When we appreciate a piece of calligraphy, if we can feel the author's emotions in it, joy, sadness, tranquility or excitement, then the work has undoubtedly reached a higher level. It is as if we can pass through the tunnel of time and space and form a spiritual resonance with the author.
The beauty of calligraphy lies not only in its form, but also in its connotation. The smooth and natural lines, the shades of ink, and the rigid or soft brushstrokes all contain the author's emotions and temperament. Only when these elements are perfectly integrated can it be called a "good calligraphy".
There is the theory of "ten beauties" in the stele study: strong courage, muddy weather, brushwork jumping, dot painting, strange attitude, spirit flying, full of interest, bone method hole, natural structure, flesh and blood are abundant. However, today's aesthetic concept seems to be far from this, they are more inclined to pursue external beauty, advocating a flowing and sweet style, while sneering at the archaic and jerky and vigorous style of writing. Those unique and ingenious handwriting often become the object of criticism in the world.
Taking the 1942 Hongyi master Li Shutong's "deathbed pen" as an example, the four characters "intersection of sorrow and joy" were ridiculed as "ugly books" by contemporary netizens because of their unique style. These four characters are indeed very different from the usual elegant and handsome beauty, and their crooked font looks like a child's graffiti at first glance. However, this is the master's unique artistic expression, which contains deep emotions and philosophies. In the world of art, beauty and ugliness are inherent, but people are often bound by secular concepts and find it difficult to truly appreciate the true meaning.
But from the artistry, penmanship analysis, you can appreciate the strength of these 4 words, from the style of the book, Hongyi master and Wu Changshuo, Shen Yinmo and others, advocating seals, steles, has copied the "Yishan carved stone", "Zhang Menglong stele" and other steles, but also take the law Zhong Xuan, Mi Fu, Wang pet and others.
The seal is fused with regular script and cursive script, forming a concise and round, simple and straightforward style of calligraphy, the line of writing is crisp and neat, open and vigorous, although the law tablet is learned, but the words of Master Hongyi, not as majestic as Yan Zhenqing, as if the surging river gushes out, giving people a kind of masculine momentum of the general.
Instead, it presents a diluted and sloppy, gentle and Confucian style, inspired by Wang Pet Xiaokai, the knot is small and relaxed, the dot painting is short and concise, not showing the edge, the pen is round and solid, very "ugly and cute", like a lotus root, so some people jokingly call the word "baby body" and "baby body" of Master Hongyi.
However, this "dying pen" is different from his early calligraphy, on the basis of retaining the elegance and simplicity and jerkiness, the strokes are elongated, the body is slender and poured, crazy and vast, the strokes are depressed and frustrated, and the muscles and bones are strong, with a strong visual effect, the perception of life, the Tao method, and the integration of pen and ink.
Therefore, when this "intersection of sorrow and joy" first looked, it made people feel the vicissitudes of life, and after savoring it, the heart became indifferent and quiet, pure and inactive, and the more you pondered, the more mysterious it felt, just as Feng Zikai commented: "The most detached, with no state and prepare for all states." ”
Mr. Qi Gong, the "grandmaster" of modern calligraphy, also praised the calligraphy of Master Hongyi, and commented: "Pu Weng is good at the eight laws, and the ancients are good at Li Taihe and Su Zizhan books. ”。
Ma Yifu also said: "Master calligraphy ......."It is quiet and quiet, and it should be regarded as a masterpiece ...... the bookIn 1999, when the "Calligraphy magazine" selected the "Top Ten Outstanding Calligraphers of the 20th Century", Master Hongyi was selected into the list, which shows that the appreciation of calligraphy can not stay on the surface, but must be excavated from the depths to achieve objectivity and fairness.
Therefore, artistic aesthetics is a subjective and objective process, which requires us to feel and experience with our hearts. Only in this way can we truly appreciate the beauty of art and create an aesthetic experience that belongs only to us with the author.