Generally speaking, when writing calligraphy, especially when writing a long scroll with a large number of words, you will encounter many repeated words, and these repeated words are like a stone backlog in the hearts of many calligraphers and a lingering nightmare. As long as you write these repeated words exactly the same, your own calligraphy works will be inferior to others.
But the question is, why do we feel this way? Why is it that when dealing with repetitive subjects in artistic creation, if you can't make changes, you will appear to be inferior?
Regarding this issue, the most widely spread and most influential argument is the interpretation of the word "Zhi" in Wang Xizhi's famous calligraphy-"Lanting Preface".
However, if we carefully examine all the "Zhi" characters in "Lanting Preface", we will find that the difference between them is not as big as we imagined. Many characters can actually be grouped into one category, and there is no difference at all. If there is a difference, there are only a few posture changes and adjustments between strokes. Mr.
Qi Gong is very disgusted with this statement. In an article, he thought that it was impossible for a primary school student to write so many "Z" characters to be exactly the same. It can be seen that the so-called change is just that people cannot completely repeat The instinct is nothing, not surprising.
However, Mr. Qi Gong exaggerated the similarities of these same characters, blurred the difference between the artistic creation of calligraphers and ordinary people's writing, and did not see the originality of Wang Xizhi's artistic modeling.
In fact, the endless power behind the development of art comes from the unremitting artistic creation of artists and the power to never stop and explore the mysteries of art.
Since the West lacks calligraphy art that is purely to appreciate writing, abstract and concrete, like the East, if we want to link this issue with the history of Western art, the best reference object is painting The development trajectory of art.
Monet, the representative of impressionist painters, is an interesting person. As a representative of impressionist, he and Pissarro, Renoir, Sisley, Degas and others continue to innovate and explore in art, and finally get rid of the academy The old paintings with strong breath strongly counterattack the classical romantic paintings full of clichés and create a new visual art where light and shadow meet in the art of painting. The impressionism conveyed by the impressionist paintings of
quickly set off an upsurge of innovation in various fields, and a variety of impressionistic works of art emerged in the fields of music, literature, and film.
Among all Monet's art works, the most intriguing is Monet's series of paintings "Haystacks". Everyone knows that Monet's most famous painting is the "Sunrise". Even when it comes to his series of paintings, the most famous is "Water Lilies." But for Monet himself, the most obsessive and most inextricable part of his life should be the Haystack series.
"Haystacks" series Monet painted more than 30 pictures in his lifetime, which created and constituted a distinctive group painting series in his later years. Unlike the "Water Lilies" series, the "haystack" is a more monotonous and boring thing in real life, so Monet often needs to perform differently through "haystacks" in different scenes, different times and places. Light and shadow effect.
This is a painting theme that is very training but also examines the artist's artistic grasp, sensitivity, and perception. From the point of view of the later effects, although the stacking of paintings of the same theme is difficult to arouse people’s appreciation for haystacks, it is through the process of drawing haystacks that Monet grasps the light and shadow effects of things, and then successfully applies them to him. Among other paintings in his later years, he created the world-famous "Water Lilies" series in one fell swoop.
Therefore, the level of an artist's artistic level and the quality of his artwork can often be seen from the treatment of repeated subjects.
Coincidentally, as one of the four masterpieces of ancient Chinese literature, "Water Margin", if we leave out the vulgar values and social habits in the following, and only look at Shi Naian's skill in writing novels, we have to admire Shi Naian's. Novel magic pen. Sometimes Shi Nai'an doesn't even "passively" deal with these similar subjects unintentionally. On the contrary, in his works, the creation of these similar plots and similar characters is more like "showing skills". For example, the same is fighting the tiger. He not only wrote about Wu Song fighting the tiger, but also Li Kui killing the tiger; he wrote about the improper relationship between Pan Jinlian and Ximenqing, and he also wrote about Pan Qiaoyun, who also had an improper relationship; after Lin Chongqi resolved ,Also wrote Lu Junyi's uprising.
Shi Nai-an handled the laying of these similar plots very well, and did not see any similarities. Each similar plot was created to express the different personalities of the characters, which fully demonstrated Shi Nai-an’s deeds. The keen sense of a great novelist.
Jin Shengtan once said about this question in "Water Margin":
was deliberately committing the subject, but he had the ability to draw nothing from each other.
Actually, the subtext behind this sentence is that only when dealing with similar things and expressing similar things without losing ground, the true skill and level of the artist will immediately be presented to us.
We use this theory to explain that in calligraphy creation, calligraphers want to do everything possible to find differences and express different mentalities in similarities. It is more appropriate.
However, we still need to know that calligraphy creation by calligraphers should not be a channel for calligraphers to show off their skills. If the calligraphy work itself is only a stippling style with high skill, then the meaning of this calligraphy work is missing. Incomplete.
When people of later generations look at Wang Xizhi’s "Landing Preface", they cannot get rid of this. Most people only see the beauty of technique and beauty of Wang Xizhi’s "Landing Preface", but they cannot see what is behind Wang Xizhi’s calligraphy. The thoughts and emotions of Wang Xizhi. The same situation of
also exists for those who hate Yan Zhenqing’s "Sacrificial Nephew Manuscript" because they cannot see the "superficial" sense of order and beauty they want from such a work. "The chaotic strokes, composition, and scribbling everywhere are disappointed, but I just ignore the chaotic appearance behind the war-torn heart that misses relatives.
Therefore, there is nothing wrong with pursuing dazzling skills and pursuing so-called "newness" and "change" in art, but do not blindly use this as the ultimate goal of artistic expression, otherwise, the weight of art will be greatly castrated. Even when Monet was drawing boring haystacks, we can still perceive some of Monet's faint emotions in his later years, a sense of desolation in his old age, through his vivid brushstrokes.
-
-
-
-
-
-
-
-
-
-