Thanks: Teacher Zhang Xuguang from China Calligraphers Association
For a calligraphy work, how to applaud it and how to applaud it is often the benevolent see benevolence, and the wise see wisdom. Mr. Zhang Xuguang believes that: whether a work is good or not, there are many specific standards from lines to fonts, from composition to artistic conception, as well as the ability to use ancient methods and innovation ability, but they can be summed up in four words when evaluating, namely "in place" and "taste". ".
About "in place"
in place,It refers to the perfection of the ability to use traditional ancient methods, that is, the mastery of all the elements required by calligraphy itself, such as lines, structures, and composition. To learn "Wang" or "Yan", you must go through scientific training, master his writing habits, transform your own writing habits, and write like him. The popular point is "knowledge at home". Only by pursuing changes on this basis premise. The problem is that some people have been writing for a long time, that is, they lack ancient methods and keep repeating their own habits, without the things of the ancients, and they have not used the habits of the ancients to change their own habits.
About "Taste"
smell,It means that the unique aesthetic pursuit of the author expressed in the works is different from the emotional expression of others, and this individual emotional expression is presented as the line language or form of calligraphy after repeated refinement by the author. He said, I recently wrote a four-screen "Heart Sutra". According to the content, I opened up the font, purified the lines, made it more empty, increased the line spacing, and focused on the void. Writing scriptures requires purification. This "taste" is based on the foundation in place. If the basic skills are not "in place", the pursuit of "taste" is empty talk.
How to achieve "in place" and "taste"?
Mr. Zhang Xuguang said: If you want to be "in place", you need to learn more, copy more posts, learn more about traditional culture, improve your ability to understand rubbings, and at the same time, improve your modern aesthetic ability. There are a lot of things in the classic inscriptions that are consistent with modern aesthetics, such as melody, rhythm, space, shape, etc., which cannot be found if the aesthetic ability is not high. Mr. Zhang Xuguang pointed out that the traditional cultural accumulation of contemporary calligraphers is not enough, and the modern aesthetic consciousness lacks the realm of surpassing skill, which directly affects the in-depth understanding and grasp of tradition, and also affects the improvement of the realm of calligraphy.
He gave an example: To study the two kings, one must know that the era of the two kings was the era of metaphysics, and the three pillars of metaphysics are "Book of Changes", "Zhuangzi", and "Laozi". These things have a great impact on people's world outlook, values and artistic pursuits. For example, Taoism pursues inaction and Taoism follows nature, and requires calligraphy creation to abandon artificiality; far wait.
Some of our works, from the perspective of the use of ancient methods, can still feel "in place", but they are flat and not exciting. The root cause is that the traditional classics have not been excavated enough, and many wonderful things that exist in the tradition have not been included in the works. It has a lot to do with the accumulation of traditional culture.
