| Calligraphy and painting have a long history of mutual absorption and reference in China.People's understanding of them has experienced a process from the outside to the inside.When they are interlinked in the inner artistic law,they are consciously away from imitating the object shape and developing human creativity to shape the image of painting and calligraphy.Along with this process,as an art language with national characteristics,the form of brush and ink gradually matures and becomes independent.Xu Wei's calligraphy and painting works belong to literati painting and literati calligraphy system,emphasizing self-discipline and opposing heteronomy.It is an important characteristic of literati painting that calligraphy and painting are interlinked.Calligraphy and painting are interlinked not only in their brushwork,but also in their ideas of taking things and creating images.It is not to describe the shape of all things in nature,but to use the combination of abstraction and image to create images to convey emotion.Xu Wei was born in period of which literature and art emphasizes the expression of self and the respect of individual emotion.In Ming Dynasty,literati painting gradually evolved from small intentional freehand brushwork,and tended to be bold and unconstrained in Shen Zhou's works.To Chen Chun,both calligraphy and painting were further bold and unconstrained.On this basis,Xu Wei created freehand brushwork.In addition to bold and unconstrained writing,it is more important to further sublate imitation and build images in an independent form of writing.Xu Wei has excellent thinking quality,bold thinking courage makes him consciously innovative,able to process information with high quality and quickly grasp the common essence of things with different appearances.Rich imagination enables him to break through the shackles of existing experience and create a new image of painting and calligraphy.The rich association makes it reorganize and transform the existing image,and then produce new image of painting and calligraphy.Xu Wei's thinking has profound speculative nature,and constantly develops his vision and mind.Xu Wei achieved his self-image and integrated Confucianism,Buddhism and Taoism,which also made Xu Wei integrate in poetry,literature,calligraphy and painting.Xu Wei's thinking has a good understanding,which enables him to see the essence and the end through the phenomenon,and to grasp the core elements of things in an abstract way.In this way,it is convenient to understand and feel the aesthetic synaesthesia of different things,and on this basis,the aesthetic isomorphism between paintingand calligraphy can develop smoothly.Xu Wei's creation of calligraphy and painting clearly requires that idea control shape,put idea in the first place,and shape according to the change of ideas,has an advantage that it can be targeted.The image of calligraphy and painting is based on the use of brush.Brush has the significance of tool and unique connotation in Chinese culture.Xu Wei has outstanding performance in the three levels of brush-quality,brush-sense and brush-work,and all of the three sides explains the construction of the image of calligraphy and painting in detail.It is Xu Wei's mature image theory that makes him break through the shackles of shape and traditional shape boldly,and actively construct the image of calligraphy and painting in the form of ink to convey the infinite meaning.Xu Wei's image of painting and calligraphy has a lively life interest,and also benefits from his exuberance.This kind of state needs the freedom and comfort as the precondition.This special state made Xu Wei's potential burst out efficiently,not only the sensory system became acute,but also the pen and ink were moved in a rhythmic way.Therefore,the paper-based image of painting and calligraphy is full of vitality and charm.At the same time,Xu Wei made shape with potential.One is to make the image of calligraphy and painting full of rhythm,the other is to convey infinite meaning with limited image.Xu Wei's conscious consciousness about form and the strong desire to express real emotion make him understand the opposite relationship between form and emotion,and he creates three emotional types of painting and calligraphy images,arduous,resentful and wild.Using the form elements of Haojian,the fast visual rhythm,and the combination of Yubo to construct the vigorous painting and calligraphy image,to show its spirit of striving for success.He uses the grumpy form elements,the rapid visual rhythm,the close and cross combination to construct the magnificent image of calligraphy and painting to vent its anger.Painting and calligraphy images of which characteristic called Xiaosan constructed with round form elements,slow visual rhythm and sparse combination to express his wild and elegant feelings.Xu Wei's calligraphy and painting achievements are inherited and carried forward by later generations.In the aspect of creation,literati painting is more separated from the similarity of form,and turn to pursues the similarity of dissimilarity,calligraphy and ink methods are both further developed.The author can adopt corresponding ink forms according to different emotions.In the aspect of painting and calligraphy theory,we should deepen our understanding of the significance of communication between painting and calligraphy,pay more attention to the important role of active thinking in communication between painting and calligraphy,and have new understanding of the role of "Xing" in painting andcalligraphy creation,and put forward that in the state of strong musical sense,we should also have new understanding of the corresponding relationship between form and emotion.In addition,Xu Wei's creation of calligraphy and painting has enlightening significance to the contemporary teaching of painting and calligraphy,especially in casting the tinking of essentials consciousness,subject consciousness,righteous consciousness,preciseness consciousness and rhythm consciousness. |
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