The art of calligraphy is an ancient art, and Chinese calligraphy has a distinctive representation and strong national identity in the forest of the world's writing art. I bring you the following, I hope you like it.
Appreciation:
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On the beauty of the force of calligraphy:
The force of calligraphy is the force of the finger, wrist, arm, The four aspects of the force of calligraphy are finger force, wrist force, arm force, and whole body force. The so-called whole-body force means that the whole body is exerted vigorously when writing. Liu Xizai's "Overview of Calligraphy" said: "Li Yangbing's seal script, lively and flying, is all due to the power to lift his body. All calligraphy is based on the lightness of the body. However, there is no other way to lighten the body except through long strength." Many book critics in the Qing Dynasty talked about the power of the whole body and emphasized the use of whole body power. The so-called "can lift his body" statement is incomprehensible, how can a person lift himself? If it is said to lift and his body weight equivalent object, then, the calligrapher became Hercules. However, when Hercules writes, there is not necessarily "force" on the lines. Force, wrist force, and arm force do exist in the practice of writing. "Whole body force", can lift its body force, is the theory of the metaphysical. Some people engaged in calligraphy by the influence of this statement, make a very vulgar, writing intentionally there to make a show, holding the pen swinging head, dancing arm, turning the waist, unpleasant to the human eye. This is not the same as playing the piano or playing the violin a musician, infected by the sound waves, unconsciously follow the pitch of the tone of the high and low sway, is not the same.
Of the three, finger strength, wrist strength, and arm strength, finger strength is used the most, and the finger moves the most when picking up the pencil. Next is the use of wrist strength, followed by the use of arm strength to write large words with it, when writing small words is not used. But whether you write big words, or write small words, you need to use different sizes of finger force.
Force belongs to the realm of physics. The force of the physics category is embodied in the lines of the dots and drawings, that is, ''the force of the brush". The view that "the power of the brush is the feeling of the appreciator". Stroke force is an objective existence, no matter there is an appreciator or no appreciator, there is a stroke force in the lines of the character, and it is not that the feeling precedes the existence. The appreciator's "sense of force" is only second nature.
The force that mechanics refers to, in calligraphy, comes from the fingers, wrists, and arms. Cai Zhonglang's "Nine Potentials" says, "Make the center of the brush always travel in the dots and drawings." It is to make the brush tip execute in the strokes of the dots, and execution is the movement of force. This force movement, which carries out the strokes all the time, belongs to the action force of mechanics. The force is related to mass and acceleration. Quality, specifically refers to: the first is the softness of the pen, the second is the thickness of the paper, and the third is the thickness of the ink. First of all, the force in the pen, the ancients had put forward the "ten thousand hairs of the same force", if it is to emphasize the force through the pen to reach, so the general understanding can be. If you say in the process of writing every milli and even ten thousand milli to a piece of force, that is to say, finger force, wrist force and arm force are through the pen and then transferred to each pen milli tip up, such "force" is not like the transmission of electric current as it is, can not be done. It is not possible to do so. Neither can the one who makes this statement. Force in the strokes always to, to be enough, it should be, but not "ten thousand millimeter force" effect.
The softness of the pen, showing the size of its own elasticity, hard hair elasticity, soft hair elasticity is small. The elasticity of the pen is caused by direct contact between the pen and paper deformation. Pen, deformation under the action of force, in reducing the external force or remove the external force can be partially restored or completely restored to its original state of elasticity. When we pick up a tube of pen and press it down, the pen itself produces a reaction force. Pressing down, the pen hair bends, lifting up, the pen hair is restored to its original straight, such as hard hair, it will straighten more quickly. The action force makes it bend, the reaction force and want it to return to the original straight. So the repeated movement of the force and reaction force, embodied in the word strokes, leaving the "handwriting", that is, showing the "force", the formation of the so-called "pen power".
The force of action is the force that reaches the pen, the pen reaches the paper. The beginning of the role of the two methods: one is the tip of the pen straight down, the other is the millimeter on the paper. The two methods can be interchangeable, not dead. We have all experienced this. Pick up the pen, always the tip of the first contact with the paper, and then press the pen down, the pen can be laid on the paper, so that the pen or up or down the process is what we traditionally call "lift" and "press" process.
From the downward stroke of the pen to the spreading of the hair, it is the process of "lifting" to "pressing", and then from the spreading of the hair back to the tip of the pen, it is again from "pressing" to "lifting". This is the process from "pressing" to "lifting". Both "pressing" and "lifting" are forces. The interchangeability of these two forces, can make the performance of the force has a rhythm, become a writing line rich in changes in the art form, which is the art of calligraphy in a sense of rhythm, is the beauty of the force.
The tip of the pen straight down, our most taboo is the top stab, take the tip of the pen there to poke, like taking a bayonet to stab the paper. Top stabbing is not writing, but "chiseling", like taking a chisel there chisel. Brush hair flat, the most likely to appear pen "inertia", brush hair flat, "Li" on the paper can not afford, just sweeping across the past. Only neither the top of the prick, and not sweeping, in order to straight down the force through the force, the force of the pavement rubbed open, so that the brush lines, whether thin or fat, skinny is the beauty of the strength, fat is the beauty of the fullness.
Straight down and paving, pen and paper contact, relative sliding occurs, resulting in sliding friction, such as the pen strictly speaking, should be the pen and ink to the right execution, by the paper to its left friction, at the same time the paper is also subjected to friction of the pen to its right. The effect of this friction is mutual. Calligraphers in the practice of writing habitually and artistically deal with the relationship between them, so that they are specifically left in the line of handwriting, which produces the beauty of the form of force.