Calligrapher Xue Yong s words are straight

The same and different calligraphy and painting are different in the eyes of different people, but no matter who has good or bad calligraphy and painting, there are valuable and worthless, expensive and relatively cheap. A calligraphy and painting, in different places, different times, and different auctioneers, will be different. So it's hard to judge.

What is particularly proposed here is that Runge is an unreliable reference, mainly looking at the market and your own understanding of the work.

1. The oracle bone inscription is the earliest systematic text seen at present, which contains the basic elements of calligraphy art, such as penmanship, knots, and chapters. The penmanship has the change of thickness, light and heavy, Xu disease, the structure is shaped with the body, let it be natural, and the chapter is scattered and harmonious and unified.

2. The calligraphy strokes of the Western Zhou Dynasty are heavy, the knots are strict and square, the chapters are scattered and natural, the calligraphy style is thick and vigorous, full of simple and dignified atmosphere, showing the strong and vigorous style of the Zhou Dynasty.

3. The small seal is the standard text determined after the unification of the six kingdoms of Qin, which has been sorted out and simplified by Li Si and others, and its strokes are evenly stopped, round and vigorous, the knot is stable, the top is dense and the bottom is sparse, and it is calm and stretched, which not only reflects the overall style of the Qin Dynasty's refinement and majesty in unifying the world, but also reflects the aesthetic mentality of restraint, rational benevolence and the golden mean advocated by the former Confucianism.

4. The emergence of official script is a major milestone in the history of calligraphy, which completely changes the neatness and uniformity of the lines of seal script. The meaning of Lishu's fluctuating pen has been significantly strengthened, so that the emotional movement rhythm that has accumulated in people's hearts for a long time can be vividly displayed, infiltrating the intention of the calligrapher, and having a richer and more distinct connotation of life The beauty of the connotation.

5. From the perspective of the spatio-temporal background of the Han Dynasty culture, the calligraphy of the Han Dynasty was radiated by the spirit of the times, reflecting the Han nation's admiration for the majestic and unrestrained momentum, and was the embodiment of the objectification of human power. It is in such a cultural and psychological time and space that we see the Han Fu with a magnificent demeanor, and the ancient and simple beast carvings in front of Huo Quai's tomb.

6. During the period of the Northern and Southern Dynasties, the society of the Southern Dynasties was relatively stable, and the book world was shrouded in the style of "two kings", and the inheritance of the "two kings" was a matter of ability, and the achievements were not high. The calligraphy of the Northern Dynasty is mainly reflected in the inscription, at this time the calligraphy is the transition period from the Han Dynasty to the regular script of the Tang Dynasty, Zhong Zhishuai called it "the old style of the Han and Qin dynasties, and the Sui and Tang dynasties can be observed below", which is a major feature of the calligraphy of the Northern Dynasties, so the general style is very different from the south.

7. "Tang people are still lawful". There is a Tang generation, and there are many famous regular script masters, and the stars are shining. In particular, Yan Zhenqing's regular script is dignified and majestic, rich and simple, and awe-inspiring and masculine, so it has become a typical representative of masculine beauty in the history of Chinese calligraphy.

The formation of the heroic and magnificent style of Yanzi and the rigorous style of the law is not accidental, it is a portrayal of the political rationality and vitality of the Tang Dynasty.

At this time, all art fields changed the subtle and charming fashion of the early Tang Dynasty, and concentrated their respective aesthetic pursuits on the focus of aesthetic spirit, which was not only full of the spirit of realism, but also filled with romanticism, showing the healthy and plump cultural mentality and bold and rich artistic taste of the Tang people.

8. "Ming and Qing Dynasties". In the Ming Dynasty, due to the germination of capitalist factors and the awakening of citizens' consciousness, the culture and art of the Ming Dynasty were created with the aesthetic tendency of reflecting the life of the citizens as the mainstream.

The charm of Chinese calligraphy comes from the diligent collection and artistic practice of generations of calligraphy masters from ancient China to the present. Because the ancient Chinese calligraphy art originated from the understanding of the image and the condensation of art, the current calligraphy works can still make people appreciate the beauty and splendor of nature.

Chinese calligraphy has been inherited for thousands of years since its birth, and for thousands of years, countless literati and artists, emperors and generals, heroic knights, and ordinary people have lingered, wandered, indulged in, and fallen for it, which is the charm of Chinese calligraphy art. Someone once made such an analogy. The art of Chinese calligraphy is like a magic pillar, as long as you have the opportunity to get close to it, you will be sucked by it tightly.

When you climb up this magic pillar, no matter how hard you use your strength and all your tricks, it will always be difficult to reach the top.

Xiang Mu of the Ming Dynasty described the art of calligraphy in his "Calligraphy Yayan" in this way, he said: "It can follow the shape and posture, judge the situation and promote its prestige, each stroke becomes its shape, and each character is different from its body." ”

This unique charm of Chinese calligraphy attracts not only Orientals, but also Westerners. Fairbank Reischauer, an American who lives across the ocean and has little knowledge of the art of Chinese calligraphy, admires Chinese calligraphy in his book China: Tradition and Change:

Calligraphy is a great art in East Asia! ”

Chinese calligraphy.

Art has a long history and a long history. It is both a unique art and a comprehensive art. It is no exaggeration to say that it is the oldest and most expansive space in Oriental art (it is surrounded by Japan, Korea in the east, Vietnam and Singapore in the south, and as far as some parts of the West), the most abundant and far-reaching art, and it is a treasure of Oriental culture and a broad and profound knowledge.

As a result, "the Japanese often proudly say that Easterners have more 'Ichimi' than Westerners." This 'one beauty' is not satisfied with the mere symbol of words, but also the sublime art of calligraphy."

Calligraphy is the art of writing Chinese characters. It is not only a cultural treasure of the Chinese nation, but also a unique treasure house of world culture and art.

From the Xia, Shang and Zhou dynasties, through the Spring and Autumn Period and the Warring States Period, to the Qin and Han dynasties, the historical development of more than 2,000 years has also led to the development of calligraphy art. During this period, various calligraphy styles appeared one after another, including oracle bone inscriptions, gold inscriptions, stone inscriptions, and handwriting of silk and vermilion.

Among them, the fonts such as seal script, official script, cursive script, and regular script were finalized in the screening and elimination of hundreds of miscellaneous characters, and the art of calligraphy began to develop in an orderly manner.

After research in modern times, about the origin of Chinese writing, the Jiahu site culture has appeared the symbol of the nature of the original text, 8000-9000 years ago, earlier than the oracle bone inscription of Anyang Yinxu more than 4000 years, is the earliest human knowledge of the prototype of writing.