An Analysis Of The "Magnificence" Of Calligraphy

"Magnificence",as an aesthetic category,is an aesthetic category nurtured by traditional Chinese culture with unique connotations and national characteristics,and reflects a positive,vigorous,bold and unrestrained spirit and aesthetic consciousness.Calligraphy,as an important artistic form in traditional Chinese culture,not only expresses the temperament of the writer,but also reflects its national cultural characteristics,and has unique aesthetic value.The "grandeur" of calligraphy presents a highly condensed aesthetic state of art,which is neither a simple expression of formal beauty nor a single expression of style beauty.Instead,it achieves the harmonious unity of internal essence,external form,style beauty,and the creative subject.Nowadays,most academic fields focus their research on "grandeur" in the single field of aesthetics,while there are relatively few in the field of calligraphy.However,there have also been references to only a single perspective,such as the style level or the ideological level,without taking a holistic perspective.After summarizing and sorting out the research on "magnificence" in multiple disciplines,the author placed it in calligraphy to see its performance,which has both unique connotations and the presentation of calligraphy practice.This article takes "magnificence" as the main research object,and observes calligraphy from its perspective.It is divided into four parts.The first part is to sort out the aesthetic and calligraphy connotations of "magnificence",first of all,to give an ontological interpretation of "magnificence";Secondly,the connotation of aesthetics is discussed by comparing it with "beauty" in four aspects: external perceptual form,internal essential content,aesthetic subject object relationship,and aesthetic sense;In calligraphy,the connotation is discussed from the distinct and strong subjective spirit and the grand and abundant external momentum.The "tension pervades" section is also a foothold for the following discussion of technical performance;The second part is to discuss the practical expression of "magnificence" in calligraphy techniques,or which techniques can express "magnificence",starting from three aspects: seal and Zhou strokes,external expansion and composition,and dense composition;The third part discusses the presentation of "magnificence" in calligraphy media,which is divided into two sections.One is that the aesthetic feeling of "golden stone gas" in the epigraphy rubbings coincides with "magnificence",and the other is the existence of cliffs.The reason why cliffs are separated separately is because of their unique "magnificence" feeling created by combining them with the natural environment;The fourth part discusses the value of "magnificence" in the development of calligraphy.First,it is necessary and necessary to reconstruct the importance of taking "magnificence" as an aesthetic ideal,both for individuals and for the entire nation.Second,it is the reproduction of the connotation of "magnificence" in calligraphy,that is,the proposal of the "Zhengda" style of calligraphy,which also coincides with the one meaning of "magnificence".This article discusses these four aspects in order to have a comprehensive understanding and grasp of "magnificence".To sum up,the conclusion reached is that the "magnificence" of calligraphy is manifested externally in a vigorous,bold and vigorous style.The techniques embody the Zhuan Zhou style with "force" as the core,the external extension of characters with broad and broad opening,and the dense composition with abundant weather.The most important of these is the spiritual characteristics of the subject,with "magnificence" as the aesthetic ideal,Calligraphers should have a conscious spiritual pursuit and independent personality consciousness,constantly transcend themselves,and achieve their artistic ideals and spiritual pursuit.They should not only achieve the self value of the "little self",but also achieve the social value of the "big self."..