In Du Mu's "Jiangnan Spring", we appreciate the beauty of Jiangnan. In later calligraphy works, we saw the unique beauty of Jiang Nanchun through the art of calligraphy. The following is what I arranged for you, I hope it will be useful to you!

appreciate

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On "Those who are good at books don't learn their books"

"Book" and "Jian" are the two legs of the development of calligraphy art, and they can be said to be indispensable. As a mature calligrapher, only by being good at writing and teaching can we "aim high". Being good at books but not learning is superior to others; Good at learning, not good at reading, that is, "the eyes are superior and the eyes are inferior." A good learner is not necessarily a connoisseur, theorist or bibliophile, but a good reader must be good at learning.

Therefore, Zhao Huanguang's "Talk on a Broom in Cold Mountain" said: "In the past, people said that' good scholars don't learn, and good scholars don't learn'. As soon as they arrived, they shrugged off it. It is unreasonable to say that you can't learn from others. If you don't learn, you can't write it. "

This passage hits the nail on the head: Zhao thinks that "good scholars don't write" is "not here" and "good scholars don't learn" is disdain. According to records, the famous saying "a good book doesn't take people" comes from the great calligrapher Wang Xizhi. Zhao Huanguang's explanation of these two sentences is quite in line with Wang Xizhi's intention. Source: Calligraphy Home, Calligraphy Home China Calligraphy Learning Network. Because a calligraphy appreciation theory is not put forward in isolation, it is necessary to consider whether it has a certain social and cultural background. Wang Xizhi's view of appreciation must have background factors.

Let's first analyze that the sentence "a good mirror doesn't write" is "not yet". The so-called "not yet" means that kung fu hasn't arrived yet. Because most connoisseurs can't write, or occasionally don't want to show it to others, they are used to irresponsible comments, but they dare not create their own works, because there is a folk saying that "it is better to make fun of others"-but when they are used to judging others, they fail and become the laughing stock of adults, so the position of this "critic" is also in jeopardy. So, "How did he write it himself?" Or "can he write?" They would rather make this question a "cold case", which is secret but not suitable, with some mystery, than take it out and let others comment, because calligraphy and painting, including poetry, are all bad things if you say yes, and those who are "eager to learn" but not good at books don't want to be bored, so they might as well spend their time on their eyesight and mouth.

When talking about the relationship between "book" and "mirror", Wang Xizhi was talking about the intelligentsia and scholar-officials who were popular in the Eastern Jin Dynasty and the Duhui Dynasty, which originated in the Eastern Han Dynasty and was formed in the Eastern Han Dynasty. Such as: "The Book of the Later Han Dynasty * * * cloud:" It is ridiculous to catch the shackles between ghosts and gods; The national life was entrusted to Yan Temple, and scholars were ashamed to associate with it. Therefore, ordinary people fight against anger, which Chu Shi talked about. Then arouse word of mouth and exchange problems with each other; Pingongqing, ruling as appropriate, the wind of cricket, walking in Sri Lanka. "

This kind of comment on the people's world style spread from the political circles and the literati class to the people. Of course, there are also some comments from bureaucrats and party followers, such as the comment on He Fu in the preface to the biography of the Party: "The world governs the party, and it is promoted by its teachers." Fan Bang and Cen commented on 9: "Ru Nan was the prefect of Fan, and Nanyang was the founder of Nuo painting", and "Nanyang was the prefect of Cen Gongxiao, and became the husband of Hongnong, but sat silent". Later, world celebrities were judged as "three kings", "eight handsome men", "eight cares" and "eight yuan in ancient times".

This ethos of judging politicians continued until the Wei and Jin Dynasties. For example, in Shi Shuo Xin Yu, * * recorded the exclusive doors of "appreciating reputation" and "tasting algae", such as Gongsun Du's comment as "Yun Zhonghe"; Jiao's as dense as thousands of feet pine: Zhang Hua commented that Lu Ji brothers and Gu Rong were "Yue Long Yunjin" and "Feng Ming Chaoyang"; Huan Yi commented on Chu's yearning for "skin sunshine and autumn"; Guo evaluated Huang Shu as "uncle Wang Wang, as vicious as a thousand hectares" and so on, all of which belong to the category of metaphor.

By the Eastern Jin Dynasty, calligraphy had entered a "conscious period". Scholars who advocate this view believe that, first, calligraphy gained its own character and status at that time, and people regarded calligraphy as a work of artistic display and collection. Secondly, calligraphy criticism has become a common practice. For example, Wang Xizhi, who was praised as a "book saint" by later generations, was also criticized and even belittled by some people at that time. For example, Ji Geng, a general in the west, did not admire Wang Xizhi, who was on par with the right army, when he was young. "Domestic chicken" and "wild owl" have become idioms with different styles of writing. Naturally, Geng Yi's so-called "domestic chicken" and "wild owl" contain factors of different aesthetic criticism standards such as elegance, vulgarity and novelty.