書法美的外觀形式
The appearance form of calligraphy beauty
藝術(shù)作品的形式就是內(nèi)容的存在方式。書法美的外觀形式的構(gòu)成因素與表現(xiàn)形態(tài),就是運(yùn)筆點(diǎn)畫線條與結(jié)構(gòu)章法的有規(guī)律的組合。
The form of works of art is the existence of content. The constituent factors and expression forms of the appearance form of the beauty of calligraphy are the regular combination of brush stroke, dotted line and structure.
1、運(yùn)筆點(diǎn)畫的形態(tài)
1. The form of brush point painting
書法以用筆為上。書法是靠運(yùn)筆點(diǎn)畫所產(chǎn)生的線條來組合結(jié)構(gòu)、章法,書法家正是通過運(yùn)筆點(diǎn)畫來賦予線條各種美的形態(tài):方圓粗細(xì)、曲直動(dòng)靜等。
Calligraphy is based on pen. Calligraphy combines the structure and composition by using the lines produced by the pen movement and stippling. It is through the pen movement and stippling that calligraphers endow the lines with various beautiful forms: the thickness of the square, the straightness, the movement and stillness, etc.
由于書法運(yùn)筆的方法不同,可以使點(diǎn)畫線條呈現(xiàn)出方筆、圓筆之分。方筆以“折”為使轉(zhuǎn),在書寫每個(gè)字的點(diǎn)畫線條時(shí)行筆斷而復(fù)起,其收鋒為“外拓”法。圓筆以“轉(zhuǎn)”為使轉(zhuǎn),行筆換而不斷,其收鋒為“內(nèi)擫”法。方筆用法如魏碑中的《張猛龍》,圓筆用法則如魏碑中的《鄭文公》。而方圓并用的運(yùn)筆方法,就會(huì)產(chǎn)生剛勁中寓靈秀,婉約中含峻奇的形式美感。
Due to the different methods of calligraphy, the dotted lines can be divided into square pens and round pens. The square pen takes "folding" as the turning point. When writing the dotted line of each word, the pen breaks and resumes, and its ending is the "outward extension" method. The round pen uses "turning" to turn, and the line pen changes continuously, and its closing edge is "internal" method. The usage of square pen is like Zhang Menglong in Wei stele, and the usage of round pen is like Zheng Wengong in Wei stele. The method of using both square and round pens will produce a formal aesthetic feeling of combining strength with dexterity and elegance.
線條曲直動(dòng)靜的形態(tài)美是更強(qiáng)烈而多變的。曲與直、動(dòng)與靜在書法作品中互為關(guān)照,互相映襯。從隨體結(jié)詘的篆書、波磔多姿的隸書、點(diǎn)畫多變的楷書、行云流水的行書、龍飛鳳舞的草書,其曲直動(dòng)靜的發(fā)展越來越強(qiáng)烈,書法美的線條形式遵遁著這樣一個(gè)軌跡。草書線條的曲直動(dòng)靜之美可謂是集書法形式美的大成,是非常精致的。劉熙載《藝概》中指出:“書家無篆圣、隸圣、而有草圣。蓋草之道千變?nèi)f化,執(zhí)持尋逐,失之愈遠(yuǎn)”??袼兀☉阉兀╊崗垼◤埿瘢┑牟輹€條形態(tài)“矯若游龍,疾若驚蛇”,其曲直回旋、動(dòng)靜奇逸,的確是千態(tài)萬姿,不可端倪的。
Straight and beautiful lines are more dynamic and changeable. Song and straightness, motion and stillness take care of each other and set off each other in calligraphy works. From the seal script formed with the body, the official script with various shapes, the regular script with changeable stippling, the running script with flowing clouds and flowing water, and the cursive script with flying dragons and Phoenix, the development of its straightness and movement is becoming stronger and stronger, and the line form of calligraphy beauty follows such a track. The beauty of cursive lines is a masterpiece of the beauty of calligraphy form, which is very exquisite. Liu Xizai pointed out in his "art outline": "a calligrapher has no seal script saint, Li saint, but a grass saint. The way of covering grass is ever-changing. The more he pursues it, the farther he loses it". The cursive lines of Kuang Su (Huai Su) and Zhang Xu (Zhang Xu) are "as graceful as a wandering dragon and as fast as a startling snake". Their twists and turns and strange movements and stills are indeed thousands of forms and shapes, which are inconceivable.

2、運(yùn)筆點(diǎn)畫的節(jié)奏
2. Rhythm of pen movement and stippling
書法線條在紙上運(yùn)動(dòng)的形式不是平拖直劃一抹而就,而是富有節(jié)奏韻律變化的輕重徐疾、抑揚(yáng)頓挫的運(yùn)動(dòng),在筆情墨韻中激蕩著情感的旋律,形式美中滲進(jìn)了強(qiáng)烈的音樂節(jié)奏性。唐代張懷瓘在《書議》中把書稱之為“無聲之音”。虞世南在《筆髓論》中也認(rèn)為書法有似于音樂演奏,“鼓瑟綸音,妙響隨意而生。”
The movement form of calligraphy lines on paper is not a smooth drag and straight stroke, but a rhythmic and rhythmic movement of light and slow diseases, cadence, stirring the melody of emotion in the pen emotion and ink rhyme, and a strong musical rhythm is infiltrated into the beauty of form. In Shuyi, Zhang Huaixiang of the Tang Dynasty called the book "the sound of silence". Yu Shinan also believes that calligraphy is similar to music performance in "on the pith of the pen." the sound of drum, harp and Lun is produced at will. "
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