All art has developed to the extremely subtle realm, and it is close to **. The same is true for the art of calligraphy. Zhang Huaijun said that calligraphy is a "silent sound", Sun Guoting said that calligraphy is "like the overlapping of eight sounds", and Shen Yinmo said that calligraphy is "silent and harmonious", all of which are the best problems of calligraphy. Calligraphy is originally a visual image of words, but under the pen of a calligrapher, the dotted lines of the text seem to have a wonderful sound rhythm, and its aesthetic effect is the same as **, which is silent**.
Mrs. Wei said: "The point is like a peak falling stone, and the bump is really like a collapse." Yuan Ang said: "The emperor's elephant book is like a song around the beam, and the piano is slight." Suo Jing said: "Let go, the rain is scattered, the high note is strong, and the overflow is overflowing." Yu Shinan said: "The sound of the drum is born at will. Du Fu used "Qiang Qiang Ming Jade Movement" to describe Zhang Xu's cursive writing with a loud sense of rhyme and rhythm. Many people in the Tang Dynasty described Huaisu's cursive script as "running snakes and walking into the seat, and the sound of showers and whirlwinds is full" (Zhang Yu), "the pen is long for the sound of showers" (Wang Yong), "the gold plate is scattered with crystal beads", "the wind and rain are flying on the wall" (Ma Yunqi), to describe and appreciate the beauty of Huaisu's cursive script. Xiang Mu also said: "The heart and the pen are specialized, and the month after month is not tired." For example, the strings are stroked in the piano, and the wonderful sound comes from the fingers; The province is enclosed in the crossbow, and the arrow should fly in response to the hoof. Cheng Yaotian said: "The knot of a word, if the eight tones are appropriate, it is as good as it, and it is also deduced as well." "Bright Ru" words are clear and distinct, and "Deduction Ru" words are endless, both talking about ** and calligraphy.
The beauty of this kind of sound has a lot to do with people's character and temperament. Kang Youwei said: "Being able to empathize with people is the ultimate book." The appreciation of "rhyme" in calligraphy is a kind of emotional objectification, which is the activity of making pen and ink affectionate through the activity of imagination, which is the activity of merging feelings and imagination. In other words, it is to tease out the value and meaning latent in the lines of brush and ink through perspective, and in fact, through imagination. The rhythm of calligraphy comes from the emotional and psychological changes of the calligrapher. Chen Yi of the Yuan Dynasty once said: "Happiness is harmonious and the word is comfortable, anger is rough and the word is dangerous, sadness is depressed and the word is constricted, and happiness is calm and beautiful." If there is a heavy and light feeling, the words are shallow and deep, and the changes are endless. "The differences in the brushwork and physical characteristics of the characters are closely related to the rhythm and rhythm of the calligrapher's inner emotions. Therefore, in order to understand the problem of sex and emotion in calligraphy, we must first understand the relationship between rhythm and human emotion and psychology.
Rhythm and emotion have a huge relationship, rhythm is the most direct and powerful medium to convey emotions, and it can even be said that rhythm itself is an important part of emotions. The basic emotions of human beings are roughly the same, and each emotion has its own special rhythmic pattern, so the physiological changes and rhythms they cause also have a common pattern. Joy is laughter and cheerfulness, sorrow is crying and low, shame is blushing and contained, fear trembling and outward. When emotions occur, physiological and psychological functions will produce corresponding action tendencies along with emotions, and this action tendency associated with emotions will be precipitated in people's hearts, and it will become a formal emotion, which is called "emotional action".
The action pattern of this emotion, and the formalized emotion it corresponds to, do not point to a specific scene or event, so most of the emotions it evokes have no object to speak of. It is abstract, not concrete. Both poetry and ** have rhythm, but the rhythm of poetry is governed by the meaning of the text and is concrete; The rhythm is pure form, without clear meaning, and abstract. The emotion evoked by the rhythm is a "formalized emotion". Calligraphy, like **, is also a pure form of rhythm, an abstract rhythm, a rhythm with greater inclusion and greater space for understanding. This rhythm is the soul of ** and the soul of calligraphy.
"Emotional action" is a formalized emotion that is best expressed in the lines of calligraphy. In this way, the lines and physical structure of calligraphy have a "homomorphic and isomorphic" relationship with the physiological and psychological structure of human beings, and a certain line and physical structure just reflect a certain corresponding physiological and psychological process and feelings. There is a certain correspondence between form and emotion, and the emotional changes in the human heart can be represented by abstract linear shapes.
For example, when angry or excited, people's movements are generally nervous and stiff, and when they are happy, their movements are generally light and soft.
For example, horizontal lines have a sense of stability, harmonious, gradually changing curves have a sense of softness, and irregular, sharply changing lines have a sense of tension. The straight line is a feeling of stillness, hardness, strength, simplicity, and stability; Curves are sporty, soft, light, graceful feelings. Appreciating the aesthetic pleasure of crisp lines is a kind of affirmation of oneself, and it also obtains a kind of affirmative power physiologically. Appreciating the sluggish and frustrating lines is through overcoming resistance and difficulties, so as to show the strength of the subject's will, and thus also obtain a deep affirmation of oneself.
When people accumulate a variety of different psychological feelings in their life experience, and experience lines with similar psychological expression when writing, and experience these lines, the abstract lines of calligraphy become "meaningful forms", and the lines have a sense of power in people's feelings, a sense of life, and become "alive". When a calligrapher writes a line that corresponds to a certain emotional feeling in his heart, he or she can convey the inner emotion and cause roughly the same emotional experience in the viewer's mind, and the viewer also constantly improves his aesthetic ability in the process of understanding the line.
Pop a silent paper on the sound. Under the pen of the calligrapher, sometimes jumping, sometimes graceful, sometimes agitated, sometimes melodious, this heart song with different rhythms is intertwined into the affectionate echo in the long corridor of Chinese calligraphy history, and becomes the string sound of history. Chinese calligraphy, like an old and young song, has reverberated in the depths of our national aesthetic soul for thousands of years.