Article source：Peng Qingyang embrace yun Tang academy
Release time：Jul 24, 2018Page view：89
Courtesy: dialectical unity of yin and yang in calligraphy
Original: Peng Qingyang embrace yun Tang academy July 7
Hui gan tie by Mi Fei
Dialectical relationship between yin and yang in calligraphy. The principle of yin-yang balance in Zhouyi runs through the whole process of calligraphy transformation. " one yin and one yang means Tao" - yin: softness, deficiency and quietness; Yang: just, real, moving. " ... with the movement of the pen as yang, with the silence of the ink as yin; Take qi with pen as yang and color with ink as yin. Yin and yang in the body use pen and ink ... " ( Tang Dai )" black is yin, white is yang, yin and yang make up, which is the work of self-creation " ( Zhang style ). In calligraphy, opening and closing, contending for concessions, deficiency and excess, hiding dew, vertical and horizontal, ping qi, fangyuan, consolidation and dispersion, sickness and astringency, hardness and softness, moistening thirst, obedience and inversion are the dialectical unity of yin and yang.
- respectful words of " yun Tang yi si Lu"
Mi Fei's " Zhu zhong tie"
Cai Yong's " nine potentials" says: " the book originates from nature. Nature is established, yin and yang are born Yan; Since yin and yang are born, the situation has changed. " since writing is natural, calligraphy should follow nature, and the beauty of calligraphy is higher than nature.
Mr. Yan gongda believed that " the principle of yin-yang balance in the book of changes runs through the whole process of general changes in calligraphy" was true. For example, Liu Xizai thinks in the book overview: " there is yin and yang in the painting. If horizontal, the upper part is yang and the lower part is yin. Vertical is yang on the left and yin on the right. Only those who have the slightest qi can have both yin and yang; otherwise, they can only have yang. " Liu Shi applies yin-yang theory to calligraphy theory to analyze and explain the most basic strokes of calligraphy art - horizontal and vertical. he thinks that" only those who have a few cents can have both yin and yang ". this is the result of the center's use of pen and ten thousand cents.
Mi Fei's " Yanhe post"
" one yin and one yang means Tao," and scholars of all ages have attached great importance to the Yi-ology concept of " yin-yang balance and integration". Zhang Huaiguan's " six - body book theory" says: " the husband has negative yin and holds yang, and the book is soft outside but firm inside. If it is slow, it will be fine at first; if it is urgent, it will be destroyed; if it is short, it will be different; if it is short, it will lead to the slope of the rock valley; if it is dangerous, it will not collapse; if it falls, it will not lose. " Liu Xizai's" book summary " says:" books should have both yin and yang. All calm and depressed, yin also; Qiba haoda, yang also. " these Yi-ology philosophies are expressed in the calligraphy techniques as the deep integration of multiple contradictory unity. This philosophy is everywhere in the calligraphy art, as Mr. Yan gongda said, " opening and closing, contending for concessions, actual situation, hidden dew, vertical and horizontal, even odd, fangyuan, whole and scattered, malady, hardness and softness, moistening thirst, shun and inverse are dialectical unity of yin and yang in calligraphy." Mr. Rao zongyi stated in " yi gua is the ancestor of calligraphy" that " it is true that all arts apply the principle of bipolar opposition. literature, music, dance and drama are all exceptions, but none of them is based on bipolar opposition as calligraphy is. ...... nothing is not the embodiment of the relationship between yin and yang, which is the infiltration and expression of the spirit of yi ".
Mi Fei's Yuan Ritie
Liu Xizai's " book summary" says: " book, yin and yang are inflexible and unyielding. generally speaking, it is fair to conform to the nine virtues of" Yu Shu ". " calligraphy should have both yin and yang qi" and " cannot be biased". this is also the state that emphasizes the fairness and harmony pursued in calligraphy aesthetics.