There is still a long way to go in Xiu Yuan, and I will look for it up and down. -the warring States period. Qu Yuan. >
3. The whole world is muddy. I am alone. Everyone is drunk and I wake up alone. -the warring States period. Qu yuan >
4. I am still full of kindness. Although I died nine times, I still have no regrets-Qu Yuan >
5. The old man crouches, aiming for thousands of miles; Martyrs are full of courage in their twilight years-Three Kingdoms. Cao >
6. Athletes must be fast horses, and fast horses must be athletes. >
7. Dance with the sky, always be ambitious-Tao Jinyuan Ming >
8. Straight as bamboo rope and clear as jade pot ice-Southern Dynasties. Song. Bao Zhao >
9. A strong grass can be recognized by a strong wind, and a sincere priest can be recognized by a swaying board-Don Li Shimin >
10. I hope you can learn from me, but be careful not to be a peach and plum-Tang Libai >
1 1. The poor festival is now, and the painters are hanging one by one-Wen Song Tianxiang >
12. Live as a hero and die as a ghost-Song. Li Qingzhao > (>
13. where is Chang' an, just under the horseshoe-don Cen Can >
14. It's late in Sang Yu, and it's still full of twilight-Don Liu Yuxi >
15. The sea is vast and there is no way out-Don Li Bai >
16. Young people's troubles are like clouds-Don Li He >
17. A piece of ice is in the jade pot-Don Wang Changling >
18. One day, I will ride the wind and waves, and set my cloudy sail straight and bridge the deep, deep sea-Don Li Bai >
19. Since God has given talents, let them be used! , spin one thousand silver, all back! -Tang Li Bai >
20. Oh, how can I solemnly bow and scrape to those high-ranking people who never want to be shown an honest face-Don Li Bai >
2 1. Song Xin hates thousands of feet, and the evil bamboo should be chopped-Don Du Fu >;
22. Although it is difficult, it takes a lot of hard work to blow out wild sand before reaching the gold-Tang Liu Yuxi >
23. There is no water in a small pond, so it is better to have Wolong in the shallow place-Tang Doudong >
24. It is better to die on a branch than to be blown down by the north wind-Zheng Song Xiao Si >
25. Determined but not sharp, success takes too long. -Zhang Song Xiaoxiang >
26. Since ancient times, no one has died in life, so we should take care of our history-Wen Song Tian Xiang >
27. Don't be afraid of being smashed into pieces, but stay on earth-Yu Ming Money >
28. Don't praise the color, just keep your breath fresh and dry. -Wang Yuan Mian >
29. After numerous blows, you are still strong, and you are not affected by the east, west, north and south winds-Xie >
30. Falling red is not a heartless thing, but turning into spring mud protects flowers more-Qing Gong Zizhen >
3 1. Turbid wine is hard to put out the tears of worrying about the country, and the salvation should depend on the talents of the group-Qing Qiu Jin >
2. hard pen. Appreciation of calligraphy works with brush. The necessity of appreciating calligraphy works with a brush. On the beauty of calligraphy art, calligraphy is a unique visual plastic arts.
When people appreciate an excellent calligraphy work, they will undoubtedly appreciate the beauty and be intoxicated by art, but it is not easy to appreciate the beauty of calligraphy art. Compared with other arts such as literature, music and painting, calligraphy is more abstract and elusive.
Common is a work, different people have different views, and the aesthetic results are also very different. Even the evaluation of the works of a generation of calligraphy masters is not necessarily the same. So, is there a unified standard for the aesthetics of calligraphy art? The answer is yes, but the problem lies in the aesthetic point of view, the basis he holds, especially his cultivation level.
Many categories in art, simple and plain, dignified and dull, bold and rough, broad and loose, elegant and frivolous, are all subtle. If you can't grasp them when appreciating and evaluating them, you will get the opposite conclusion. As the saying goes, "you can watch the doorway, but you can't watch the excitement". Different understandings of calligraphy art will lead to different aesthetic conclusions. "Look at a thousand kinds of musical instruments and then know them and practice a thousand songs." Throughout the ages, there are countless aesthetic works about calligraphy art, which can be summarized as follows: 1. The expression of physical beauty of lines is accomplished by lines, and the basic element to embody the beauty of lines is to require lines to be varied.
1, the beauty of harmony. European and American artists attach great importance to this element of beauty. The length, density, thickness and straightness should also be considered when making chairs. Doing well is beautiful, but not doing well is not beautiful.
The book is dignified, making it ethereal, simple and quiet, vigorous and powerful. The running script is patchy and unconstrained.
The cursive script is elegant and smart, which makes the whole story gloomy and magnificent, and all of them reflect the harmonious beauty of lines. 2. Dynamic beauty.
For lines, there are two beautiful sayings in ancient times, namely "through the paper back" and "through the wood". This is an exaggeration to express the strength of lines, but it shows that calligraphy pays attention to brushwork, which can better reflect the beauty of strength, fineness, strength, swing and flight of lines, so the sense of strength and posture cause the dynamic beauty of lines.
Grasp the "rhyme" of the work. Even if people have ups and downs, such as high mountains and flowing water, sometimes they spill thousands of miles and sometimes they spin between dangerous beaches, they also have beautiful artistic effects.
Second, the beauty of the rhythm of the pen is similar to the beauty of music, drama and dance, because it makes the painting between points, between words, between words and even the whole work full of melody and poetry. So that the appreciator can appreciate beauty from it.
Calligraphy, like music, creates abstract images with abstract language, which seems to easily arouse various associations of the appreciator. In the works of excellent artists, it can create a realm, which makes people feel broad, broad, implicit, profound and sublime, and the spirit is sublimated. Just like beautiful music can stimulate people's souls, feelings and meditation.
Third, the form of beautiful calligraphy is composed of strokes, structure and composition. In strokes, it depends on the strokes, such as pressing, frustration, slow, thick, thick talk, Fiona Fang and so on. The change is natural and smooth; Structurally, it is carefully cared for, symmetrical and vivid, depending on its density, strewn at random, inheritance, striving for concessions and integrity; In terms of composition, it depends on its size, height, width, black and white, reality and so on.
China's unique square Chinese characters provide a broad space for the artistic creation of calligraphy. The written words should not only conform to the norms and laws, but also be rich in changes. Only by combining lines and integrating one's sincere and strong feelings into the realm of the work can the audience feel moved, thus producing ideological and emotional voices.
Fourth, the composition is beautiful and the composition layout is good. Between the lines, between the lines, we should look at each other and contact each other. A calligraphy work should be consistent, dense and coherent, and have a sense of artistic integrity.
1, corresponding to each other, one after another. As far as an excellent calligraphy work is concerned, if the overall layout is reasonable and the style is elegant, from the viewer's point of view, composition can seize the initiative, jump into the eye, give the viewer the first impression and produce the first visual effect, which is the most critical point for the success or failure of this word.
In the composition layout, we should take care of each painting, the arrangement position of each word, whether it is correct, reasonable and natural, whether the title is printed, whether it is harmonious between words, and whether it is consistent between lines, so as to achieve proper density, compromise and harmony, and look forward to life, which is seamless. Whether the overall layout is natural and vivid, people can see it at a glance, black and white, dense, magnificent and consistent, giving people a sense of unity and integrity and achieving the corresponding aesthetic effect.
2, virtual and real, ethereal. Jiang Baishi, a poet in the Song Dynasty, said in the Book Continuation: "It should be quiet and even. If it is not sparse, it will be cold. If it is not dense, it will be carved. "
In Qing Dynasty, Deng said: "Calligraphy and painting can be in a sparse place, not in a secret place, so it is often drawn as a painting, and curiosity comes out." Because of the characteristics of Chinese characters, calligraphers can create various works with their artistic conception and pen and ink skills to express their unique style.
Different calligraphy works reflect the author's different ways of thinking. Some works are ethereal and white, with broad and quiet momentum, giving people a sense of ethereal leisure, while others are graceful and generous, with a heavy and great sense of freedom. Some works are ancient and beautiful, strange and dangerous, and have a sense of narcissism. In the art of calligraphy, we pay attention to showing talent without ink, and count white as black. For example, in Yan Zhenqing's Ambassador Liu Zhong's post and Huai Su's self-narrative post, there are many examples of alternation between reality and reality.
On a piece of paper, the place with ink is black and the place without ink is white; Where there is ink, it is true, and where there is no ink, it is virtual; Where there is ink, there are words, and where there is no ink, there are words; It is important to have words, especially no words. White is the basis of black, black is the basis of white, and black and white complement each other; Virtual is real, but virtual is a reflection of reality. When virtual and real exist, they are interrelated.
Laozi's thought of unity of opposites is vividly reflected in the practice of taking white as black in calligraphy art. V. The content of emotional beauty The characteristic of any art is to express feelings and spirit, and so is calligraphy. Calligraphers use abstract stippling and artistic processing to melt into their own feelings and create emotional appeal.
3. Appreciation of idioms in brush calligraphy works Regular script evolved from official script.
People use it instead of official script as a model for writing Chinese characters, that is, "the font is correct and the pen is legal" (Linchi by Zhou Xinglian in Qing Dynasty). The name "regular script" seems to come from this.
Regular script began at the end of Han Dynasty, and the real development and peak period were the Six Dynasties and the Tang Dynasty. Therefore, regular script mainly includes two systems: the Six Dynasties and the Tang Dynasty.
Its * * * same characteristics are: complete strokes, complete the transition from pictographic characters to ideographic characters, and complete squares, so the world calls Chinese characters "squares". The stone inscription system in the Six Dynasties is the development period of regular script, and its representative works include the stone inscription on Yunfeng Mountain, Longmen Twenty Style, Zhang Menglong Monument, Cong Baozi Monument, Cong Longyan Monument, Shixing Wang Zhongwu Monument and Longzang Temple Monument, all of which show its innocence.
Kaifa in Sui Dynasty not only "embodies the beauty of the Six Dynasties", but also "is generous, handsome and open to tang style". The inscription system in Tang Dynasty was the peak of regular script, which had more artificial ornamentation than the inscription system in Six Dynasties.
Tian Yingzhang, born in Tianjin from 65438 to 0950, is a postgraduate in calligraphy and a cadre in the Ministry of Personnel. Graduated from Capital Normal University and Tokyo University of the Arts.
The first two calligraphers' works were written by him, Zi Qi Dong Lai and Gao Quansong.
These two works belong to Ou Kai's category and are rare works. Jing Yuan was written by Liu Jiangbo, and it is also a masterpiece in four-character regular script.
4. Appreciation of Chinese brush calligraphy works The preface to Lanting written by the thousand-year-old calligrapher Wang Xizhi is as follows:
5. Appreciation of Brush Calligraphy Works The ancient poems "Zhou Du An Ren" and "Zhou Du An Ren" are a seven-character quatrain created by Yang Wanli, a poet in the Southern Song Dynasty. This poem is simple and interesting, showing the childlike behavior of two carefree little fishermen, and their behavior reveals the whimsy and intelligence that only children have. It reflects the cuteness and agility of two children.
On a fishing boat, there are two children. They put away their bamboo poles, stopped their oars and sat on the boat. No wonder they open umbrellas when it doesn't rain. It turned out that they didn't want to shelter from the rain, but wanted to use the umbrella as a sail to let the boat go forward.
Full text appreciation:
"A fishing boat and two children are on board." This is what the poet saw. The reason why these two children caught the poet's attention is that although they were sitting in the boat, they didn't row a boat. It's strange that the bamboo pole for rowing is put away and the paddle is parked there. It can be seen that the poet's mood at this time is leisurely and cheerful, so he noticed what the two children did.
"It's strange to take an umbrella when it doesn't rain, not to cover your head but to make wind." Here, the story of two children playing umbrellas seen by the poet is omitted, and the doubts in the poet's heart are omitted, and the joy of solving doubts is directly written. The solution to the question may be that the poet saw the abnormal behavior of the child and began to observe and think more carefully. As a result, he suddenly realized that the two children were holding umbrellas even when it didn't rain, but waving the handle of the umbrella to let the wind blow the boat forward. You can also ask two children directly, and the children will tell him the reason. In any case, knowing the reason, the poet must be unintentional, for the sake of children's intelligence and their naivety.