Dake Sanren (formerly known as Huang Xiaoguo), the twenty-first grandson of Huang Tingjian, the founder of wind erosion calligraphy, a professional calligrapher, an imagery seal carver, an essayist, and a poet. Born in Mencius's hometown in 70, the word Xixian, Mo Daqian, no two Yiren. Don't sign Yishan Layman, Wild Ink Ghost, Sansheng Mo, jokingly called Huang Luo Pot, Clown, Mu Shi Huang, and Ink Idiot. Six-year-old study, young Bingting court training, love pen and ink, into the deification of the post, melt the image of all things, the gas, the meaning, self-contained, said: wind erosion, with a relatively independent pen and ink language, is the past, but also the present.
Da Ke San Ren (formerly known as Huang Xiaoguo), the 21st generation grandson of Huang Tingjian, the founder of wind erosion calligraphy, a professional calligrapher, an Imagist seal engraver, a prose scholar, and a poet. Born in the hometown of Mencius in the 1970s, with the courtesy name Xixian and the courtesy name Mo Daqian, there are no two elegant people. Don't label Yishan layman, wild ink ghost, and Sansheng ink, jokingly referred to as Huangluoguo, Joker, Wood and Stone Yellow, and Ink Idiot. At the age of six, he studied books, and at a young age, he grasped court training. He fell in love with writing and ink, and immersed himself in divine scriptures. He integrated the images, qi, and meanings of all things into one, which is called wind erosion. He has a relatively independent language of writing and ink, which is both past and present.
The calligraphy of the three people is different from the ancients, different from today's people, the calligraphy is vivid, and the spirit is transcendent. He integrates nature and life, technique and Taoism, philosophy and classics to form a unique brush-and-ink system and brush-and-ink soul, and his works are unique, unique and difficult to imitate. The three of them are like a dark horse in today's calligraphy world, a lone ranger who dares to break through the classics and surpass himself, and a wise person who can see the world, Taoism and nature, and Yunhan Damo. He has the unique feelings of poetry, wine and ink ghosts, the wind erosion pen and ink that is self-sacred, the courage to poke the hole with a small pen, the unity of the soul to generate pen and ink, and the brilliant soul with pen and ink. The People's Daily all-media platform has conducted two in-depth interviews with the three of Dake, and after the broadcast on the People's Daily website, the response has been enthusiastic and rave reviews! The art of calligraphy of the three people is shining, and his wind erosion calligraphy has enriched the diversity of Chinese calligraphy and injected a new style into the development of Chinese calligraphy.
The wind erosion style calligraphy of Da Ke San Ren is different from ancient people and modern people. The calligraphy has a vivid and ethereal charm. He integrates nature and life, techniques and Taoism, philosophy and classics, forming a unique ink system and soul. His works are unparalleled, unique, and difficult to imitate. The three of them are like a dark horse in today's calligraphy world, daring to break through classics and surpass themselves as lone warriors. They are wise individuals who can see heaven and earth, follow the natural way of the Tao, and embody the essence of Chinese calligraphy. He has the unique wild and elegant sentiment of poetry, wine, and ink ghosts, the wind eroded brushstrokes of sacrificing oneself for others, the courage to poke holes in the sky with a small pen, and the spirit of using brushstrokes to create a brilliant and united republic of souls. The People's Daily's full media platform conducted two in-depth interviews with three people from Dake. After broadcasting on the People's Daily website, the response was enthusiastic and the reviews were overwhelming! The calligraphy art of Da Ke San is shining brightly. His wind eroded calligraphy enriches the diversity of Chinese calligraphy and injects new styles into the development of Chinese calligraphy. The wind eroded calligraphy is no longer just a simple form of calligraphy, but also a symbol of calligraphy. It is also the artistic language of Da Ke San and a masterpiece of this era.
Da Ke Sanren is a famous calligrapher in contemporary China, and his calligraphy style is known as "wind erosion". This style not only reflects his deep understanding and exquisite skills in traditional calligraphy, but also incorporates his unique perception of nature and life. The three of them are descendants of Huang Tingjian, who have been trained by the court since childhood, and have a deep love and persistent pursuit of calligraphy. His calligraphy works are full of individuality and innovation, but also carry deep cultural connotations and historical roots.
Da Kesan is a famous calligrapher in contemporary China, and his calligraphy style is known as the "Wind Erosion Style". This style not only reflects his profound understanding and exquisite skills in traditional calligraphy, but also incorporates his unique insights into nature and life. Da Ke and San are descendants of Huang Tingjian, who have received court training since childhood and have a deep love and persistent pursuit of calligraphy. His calligraphy works are full of personality and innovation, while also carrying profound cultural connotations and historical origins.
Calligraphy style – wind erosion
Calligraphy Style - Wind Erosion Style
"Wind erosion" is a calligraphy style created by Dake Sanren, which has both the charm of traditional calligraphy and the feeling of modern aesthetics. This style is characterized by the dynamics, rhythm and variation of the brushstrokes, as well as the sensitivity and reference to the natural environment in the creative process. Through long-term penance and perception of nature, the three of them have integrated these elements into their brushwork and formed a unique artistic style.
"Wind erosion style" is a calligraphy style created by the three individuals of Dake, which combines the charm of traditional calligraphy with a modern aesthetic feeling. The characteristics of this style lie in the intensity, rhythm, and variation between the strokes, as well as the sensitivity and reference to the natural environment during the creative process. Through long-term hard work and understanding of nature, all three of them have integrated these elements into their writing, forming a unique artistic style.
Innovative consciousness and tradition merge
Innovation consciousness and integration with tradition
Dakeren's calligraphy embodies a strong sense of innovation, but he does not simply subvert or change the tradition, but refines, revises and explores it through in-depth research and understanding of traditional calligraphy. He traced the evolution of different calligraphy styles such as oracle bone inscriptions, pictographs, Wei tablets, and Zhencao seals, and recognized that "the combination of mental images, life and nature" was an important source of calligraphy creation.
The calligraphy of the three individuals reflects a strong sense of innovation, but they are not simply subverting or transforming tradition. Instead, they improve, revise, and explore traditional calligraphy through in-depth research and understanding. He traced the evolution process of different calligraphy styles such as oracle bone script, pictographic characters, Wei stele, and true grass seal script, and recognized that the combination of mind, life, and nature is an important source of calligraphy creation.
Perception of nature
Perception of nature
The three of them like to be alone and enjoy the emotional world of clarity of their minds. He often goes deep into the mountains and forests to get inspiration and inspiration from nature. He believes that every natural landscape can be transformed into elements of calligraphy creation, such as cliffs, deep rocks and ravines, ancient cypress forests, etc., which vividly show the vitality of nature and the beauty of calligraphy in his brush.
The three of them like to be alone and enjoy a clear emotional world. He often walks into deep mountains and forests, seeking inspiration and inspiration from nature. He believes that every natural landscape can be transformed into elements of calligraphy creation, such as cliffs, deep rock ravines, ancient cypress forests, etc. These elements vividly demonstrate the vitality of nature and the beauty of calligraphy in his writing.
The process of creating calligraphy
The process of calligraphy creation
The calligraphy creation of Dake Sanren is not only a technical activity, but also a spiritual experience and emotional expression. In the process of creation, he is able to achieve peace of mind and no distractions, so as to achieve the state of unity with nature. Every stroke of his paintings is full of emotion and vitality, making his calligraphy works not only have a profound cultural heritage, but also have a strong atmosphere of the times.
The calligraphy creation of the three individuals is not only a technical activity, but also a spiritual experience and emotional expression. During the creative process, he was able to achieve a peaceful state of mind and a mind free from distractions, thus achieving a state of unity with nature. Every stroke and stroke of his calligraphy is filled with emotions and vitality, giving his works both a profound cultural heritage and a strong sense of the times.
Social Impact and Evaluation
Social impact and evaluation
The calligraphy works of the three people have received wide attention and praise. His "wind erosion" has not only had a profound impact at home, but has also won international recognition. His works have not only been exhibited in art exhibitions, but have also been used in areas such as trademark design, showing that his calligraphy has not only a high artistic value, but also a wide range of practical value.
The calligraphy works of Da Ke and San have received widespread attention and praise. His "wind erosion body" has not only had a profound impact domestically, but also gained recognition internationally. His works are not only exhibited in art exhibitions, but also used in fields such as trademark design, demonstrating that his calligraphy not only has high artistic value but also extensive practical value.
Da Ke Sanren is an artist with outstanding achievements and insights in the field of calligraphy. His "Wind Erosion" is not only the embodiment of his personal artistic pursuit, but also an innovation and development of traditional Chinese culture.
Da Kesan is an artist with outstanding achievements and profound insights in the field of calligraphy. His "wind erosion body" is not only a reflection of his personal artistic pursuit, but also an innovation and development of traditional Chinese culture.
Wonder is natural, and the pen moves at will
Miao Wu's natural pen moves freely
The rules written by "Tian Kai" are sought after by the public, but also attract a lot of criticism, and the wild writing of "roaring books" has been criticized, and it has also broadened the public's aesthetic vision. Two styles of writing, two worlds, aroused a variety of thoughts, among which the most concerned topic is: "Can a balance be found? Can a new possibility emerge?" With the public's expectations for many years, approaching the calligraphy of Dake Sanren and his artistic life, it is eye-catching. (Since seal carving and calligraphy are arts that can complement each other, here, just take his calligraphy as an example.) ）
The rules written by "Tian Kai" have been highly sought after by the public, but have also attracted a lot of criticism. The wild writing of "Hou Shu" has been criticized and has also broadened the public's aesthetic perspective. Two writing styles, two worlds, have sparked various thoughts, among which the most concerning topic is: "Can we find a balance? Can a new possibility emerge?" With years of public anticipation, approaching Da Ke's calligraphy and his artistic life, it is refreshing. (Due to the fact that seal cutting and calligraphy are mutually reinforcing arts, here we will only take his calligraphy as an example.)
Innovation is the driving force of cultural development, innovation is the soul of human wisdom, and the calligraphy of the three people also reflects a sense of innovation, but it is not subversive, change, or pushed to start over, but in the traditional calligraphy, to improve, revise, and deepen the formation of an innovative style.
Innovation is the driving force of cultural development, and innovation is the soul of human wisdom. The calligraphy of Da Ke and San Ren also reflects a sense of innovation. However, it is not subversion, change, nor a comeback, but rather an innovative style formed through improvement, correction, and deepening in traditional calligraphy.
Where did the oracle bone inscription come from? Where did the pictographs originate? The historical background of the Wei stele? The evolution process of the Zhencao seal? Tracing back to the roots, although there are many causes, the most important thing that cannot be ignored is "the combination of mental imagery, life and nature". Dake three like to be alone, like to face the heart, enjoy the clear emotional world, he has walked into the deep mountains, forests many times, every time he is in the magic of nature, the elegant reverie always can't help it, spontaneously, the trend of the cliffs, the volume of the deep rock ravine, the Huazi of the ancient cypress forest, the vigor of the trunk and roots...... , all in the blend of emotions, burst out of the imagination of the wonderful feeling, "the mottled trunk and the thousand-year-old weathering of the seal carving, a bit like a god";" The angular boulder conversion surface and the inscription of the Wei stele have the same magic";" Interspersed with scattered tree roots and vigorous cursive script, it is convincing";" The fluttering and fluttering of leaves, like jumping notes, is beautiful and harmonious";" The waterfall and the flowing spring are also performing a high-pitched melody"...... In the wonderful understanding of nature, the three of them confirmed the description of traditional calligraphy such as "the point is like a peak falling stone, the horizontal is like a thousand miles of clouds, and the vertical is like a long live withered vine". Especially in the face of nature, he considers the meaning of life, the color of life and the connotation of life again and again, he thinks a lot and goes far.
Where does oracle bone script come from? Where do ideograms originate from? What is the historical background of the Wei stele? The evolution process of genuine grass seal script and clerical script? Tracing back to the source, although there are many causes, the most important thing that cannot be ignored is the combination of mind, life, and nature. Da Ke and his three companions enjoy solitude, facing their inner selves, and enjoying a clear emotional world. He has walked into deep mountains and forests multiple times, often immersed in the wonders of nature, and his graceful imagination always arises involuntarily. The trend of the cliffs and steep cliffs, the volume of the deep rock and huge ravines, the beauty of the ancient cypress forest, and the vitality of the tree trunk and roots all burst into a wonderful realization through the fusion of emotions. "The mottled and mottled tree trunk is somewhat similar to the thousand year weathering of seal carving."; The sharp and angular transformation surface of the giant stone and the inscriptions on the Wei stele have a similar effect; The interweaving of scattered tree roots and vigorous cursive script is awe inspiring; The fluttering and dancing of leaves, like jumping notes, are wonderful and harmonious; The flying waterfall and flowing spring are also performing a high melody... In their wonderful understanding of nature, the three of them confirmed the descriptions of traditional calligraphy techniques such as "dots like falling stones from peaks; horizontal like clouds from a thousand miles; vertical like withered vines for eternity". Especially when facing nature, he repeatedly considers the meaning, color, and connotation of life, and he thinks a lot and goes far.
For decades, he has been hoping to interpret a condensed theme through the form of calligraphy - life and calligraphy, this theme has become clearer and clearer over time, and he can't extricate himself. Form and connotation and other calligraphy aesthetic structure, capture the free artistic breath, and then, with the image of the heart as a bridge to undertake the transition between calligraphy and natural life, through the transformation of the foreign teacher's creation to the source of the heart and then to the end of the pen, let the natural life in the eyes of the connotation of calligraphy, calligraphy form, calligraphy aesthetics, and strive to find a new way of expression, he also seems to find his own wonderful-wind erosion.
For decades, he has hoped to interpret a condensed theme - life and calligraphy - through the form of calligraphy. This theme has become increasingly clear over time, and it has also made him unable to extricate himself. As the sun and moon alternate and time passes, the three of them have always carried a stubborn pursuit of calligraphy. They wake up from their dreams and struggle through contemplation time and time again. With a tenacity that ordinary people cannot understand, he captures the free artistic vitality in the aesthetic structure of calligraphy, such as tradition and modernity, form and connotation. Then, using mental images as a bridge, he undertakes the transition between calligraphy and natural life. Through external cultivation, he gains the source of his heart and finally reaches the bottom of his pen. The transformation of Hua integrates the natural life in the eyes into the connotation, form, and aesthetics of calligraphy, striving to find a new way of expression, He also seemed to find his own brilliance - the Wind Erosion Body.
Is there a connotation of a knife and an axe, a story that has been weathered and weathered? Is there a depth that transcends time and space, and there is a fusion of mental journeys? It should all have it, and it should also have a sense of the times that is beyond the earthly world and a breath of life with a turbulent atmosphere.
"Wind erosion body"? This is a name that is fleeting, does it have the connotation of carving with knives, axes, and chisels, and a story that has been weathered by wind and rain? Is there a fusion of depth that transcends time and space, as well as a psychological journey? There should be all of them, and there should also be a sense of modernity and a solemn atmosphere of life.
The "wind erosion body" of the three people is a qualitative change of the length of the casting of a hundred schools, and it is the crystallization of the color of life, the perception of life, and the true meaning of calligraphy.
The "Wind Erosion Body" of the Big Three is a qualitative transformation of the strengths of a hundred schools of thought, as well as a crystallization of the colors of life, insights into life, and the true essence of calligraphy. The "Wind Erosion Body" of the Big Three embodies the vicissitudes of years of hard work, is filled with a carefree and elegant demeanor, and demonstrates a sense of selflessness.
In fact, the "wind erosion body" of the three people is the sublimation of the pen in the face of all natural life, and the state of this sublimation of the brush is the practice of the artistic ontology of "calligraphy and painting homology" - derived from nature, but this kind of brush sublimation can only be understood by high-level painters, and calligraphers are either limited by their perception or limited by their pen skills, and they can't reach it or use it to exhaust it, so they can only be discouraged, or rather, this kind of "from nature" and return to the "same origin of calligraphy and painting" In the process of sublimation of the bottom of the pen, only a very small number of top-level calligraphers use it in the chapter layout, so that its calligraphy has reached the wonderful realm of "calligraphy picturesque", such as Shen Peng and Li Duo, but few calligraphers use it in the frame structure of the font, because this requires super talent, especially the "calligraphy picturesque" from nature is used in the combination of the font frame structure and the chapter layout, which is even rarer. It is the three of them who skillfully integrate the situation, mental image, and brushwork to form a wonderful trend of mutual growth, and it is the reasonable use of the "calligraphy picturesque" "from nature" in the frame structure, in the chapter layout, and between the chapter layout and the font frame structure, forming a unique artistic charm, in order to deduce the style of "wind erosion". From the middle, it reflects the cleverness of the three people.
In fact, the "wind erosion body" of the three individuals is the sublimation of the brush base facing all natural life. This sublimation of the brush base is precisely a practice of the artistic essence of "calligraphy and painting share the same origin" - originating from nature, but only high-level painters can understand its flavor. However, calligraphers are either limited by their understanding or the skill of the brush base, unable to achieve what they want or use it to the fullest. Therefore, they can only be deterred, or in other words, this sublimation process of the brush base that "originates from nature" and belongs to "calligraphy and painting share the same origin", only a few top-notch calligraphers are involved in the layout of their calligraphy, making their calligraphy reach the level of "calligraphy is like calligraphy". The wonderful realm of "painting", such as Shen Peng and Li Duo, is rarely incorporated into the framework structure of fonts by calligraphers, as this requires extraordinary talent, especially in the depiction of "calligraphy originating from nature" as "picturesque" The combination of font spacing structure and layout is even more rare. It is precisely through the clever integration of context, mental imagery, and brushstrokes that the three of Da Ke cleverly create a wonderful trend of mutual growth. It is precisely through the reasonable use of the "calligraphy like painting" that "originates from nature" in the framework structure, the use of the structure layout, and the formation of a unique artistic charm between the structure layout and the font framework structure, that the style of the "wind eroded body" is portrayed. The middle section reflects the brilliance of the three individuals.
In the deep mountains and old forests, the essence of heaven and earth, the three of Dake got the infiltration of their souls, however, in order to get more washed by the wind and waves, the three of them were still in the bazaar, in the endless crowd, dancing, singing, playing Tai Chi, Written with a dance-like mind, the flying lines are accompanied by Zhan Fa's spiritual heart, he is calm, noisy, gradually getting better, in chaos, things and I forget, calligraphy and scene interaction, he is born from the heart, the heart turns at will, between the lines of the words reveal the joy of the wandering skeleton, reveal the excitement of the heartbeat, reveal the comfort of contentment...... , all emotions are flowing at the end of the pen, silently, and emotions fly with the wind god. In the midst of the busy traffic, the three of them enjoyed their spiritual solitude without distractions, refining the picturesque elements that originated from life and nature, and served calligraphy, is this in line with the brilliance of calligraphy masters such as Zhong Xuan, Zhang Xu, and Huai Su? The answer is yes. Of course, some people will say "so mysterious", but if you don't have a few brushes, where does it come from? Back then, Zhong Xuan "talked about the book", Zhang Xu "first heard that the princess and the bearer were fighting for the way and got the penmanship, and then watched the princess and the princess danced the sword and entered the wonderful", and Huaisu "suddenly screamed three or five times, and the wall was full of tens of millions of words", and he must have encountered such and such doubts, and the result was that the old man gave an objective criterion.
Gathering the essence of heaven and earth in the deep mountains and forests, Dake three people have been infiltrated by their souls. However, in order to get more wind and waves, Dake three people are still in the market. In the endless flow of people, they dance, sing, play Tai Chi, and write dance like minds. Flying lines are accompanied by exquisite spiritual heart. He is calm, noisy, getting into a better situation. In chaos, things and I forget. The interaction between calligraphy and the scene, he is living from the heart, the heart turns at will, and the lines reveal the carefree of the wild, and the exciting feeling, showing the contentment of the heart...... All emotions flow in the pen, silently, and emotions fly with the wind and spirit. Amidst the hustle and bustle of traffic, Da Ke and his three companions are indulging in their spiritual solitude without any distractions, extracting elements that originate from life, nature, and serve the picturesque nature of calligraphy. Does this align with the brilliance of calligraphy masters such as Zhong Yao, Zhang Xu, and Huai Su? The answer is yes. Of course, some people may say "making things mysterious", but with only a few brushes, why do they become "mysterious"? I'm not satisfied, could you please give it a try. Looking back on those days, Zhong Yao "talked extensively about writing," Zhang Xu "first heard about the princess and her husband's struggle with the Tao and learned how to write, and later watched Gongsun and his wife dance swords and enter the realm of wonder." Huai Su "suddenly stopped shouting three or five times, and wrote tens of millions of words on the wall." He must have encountered such doubts, what was the result? The Time Elder provided an objective criterion for evaluation.
He is also in the night lights, from the traditional culture, looking for answers, for example, he from Tai Chi, to explore a balanced power, rigid and soft, dynamic and static, virtual and real, he draws nourishment, spit out the spirit.
In the deep mountains and forests, Da Ke and his three companions yearn for the world and explore the various forms of the human world amidst the bustling crowds. He also searches for answers from traditional culture under the clear lights of the night. For example, he explores a power of balance in Tai Chi, where strength and softness, movement and stillness, and emptiness and reality nourish and nourish the spirit.
On the road to success, we must not stop where our predecessors stopped, and we must bravely open up the land and find the undiscovered field, even if we go astray, it also condenses the wisdom of life. The three of them adhered to the traditional path of the right line, constantly absorbed various elements from the natural state of life and from life into their own art, endured the loneliness and loneliness of the high-rise building, gained the experience of "endless and inexhaustible", and appreciated the wonder of "infinite scenery in the dangerous peak".
There is no shortcut to any path of success, and one must be down-to-earth. On the road to success, one must not stop at the place where predecessors have stopped. Instead, one must bravely explore and search for undiscovered areas. Even if one goes astray, it condenses the wisdom of life. The three of them adhere to the traditional path of righteousness, constantly drawing various elements from natural life and life to integrate into their own art, enduring the loneliness and desolation of climbing tall buildings alone, gaining endless experiences and experiencing the brilliance of "infinite scenery on dangerous peaks".
If traditional culture and calligraphy skills are the foundation of the art of the three people, and life, nature, life and spirit are the artistic sources of the three people, then how to deduce the elegance of the pen is the foundation of the three people. With all kinds of critical eyes, he examined the "wind erosion body" of the three of them.
If traditional culture and calligraphy skills are the artistic foundation of Da Ke San, and life, nature, life, and spirit are the artistic sources of Da Ke San, then how to interpret the elegance of brushwork is the foundation of Da Ke San's foundation. With all kinds of picky eyes, examine the "wind erosion body" of the three of them.
From the layout of the chapter, look at the calligraphy of the three people, such as poetry, picturesque artistic atmosphere makes the viewer spontaneously feel the mood of the autumn water, refreshing and intoxicating. The nib of the pen walks on the rice paper, full of visual tension, the ink is like a spring, there is the meaning of Zhang Xu; varied, there is a product of Huaisu; abundant and smooth, there is the posture of Su Shi; the deployment is free, there is the appearance of Mi Fu...... , pleasing to the eye, high quality. Between the lines, there is affection, scenery, refreshing, generous, chapter layout, there is yin and yang, philosophy, life, this is the way of Confucius and Mencius, the spirit of Lao Zhuang, which is also the refraction of mood, character and cultivation.
From the layout of the composition, the calligraphy of the three characters, such as Da Ke, exudes an artistic atmosphere of poetry and painting, which naturally evokes a mood of autumn water viewing the bottom, refreshing and intoxicating. The pen tip walks upstream of rice paper, full of visual tension, and the ink is like a spring, with the meaning of Zhang Xu; Diverse and versatile, with a nostalgic quality; Abundant and fluent, with the demeanor of Su Shi; Easy to adjust, with the appearance of Mi Fu... pleasing to the eye and of high quality. Between the lines, there is emotion and scenery, refreshing and cheerful, broad and square, and a systematic layout that includes yin and yang, philosophy, and life. This is the way of Confucius and Mencius, the spirit of Laozi and Zhuangzi, and it is also a reflection of one's mood, character, and cultivation.
Through the layout of the chapters, every word is savored, there are gorgeous and outstanding, such as my fair lady, there are those who are radiant, such as a humble gentleman, and there are those who are naïve, such as a childish child...... Even if the fonts of each form are composed of a creation, the three of them can also adapt measures to local conditions, and the layout is appropriate, not cramped, not jumping, not delicate, not pretentious, easy to use, targeted.
Through the layout of the rules and regulations, each word is meticulously crafted, creating a magnificent and outstanding style, like a graceful and graceful lady; A person with a graceful demeanor, like a humble gentleman; Some are adorable, such as Tiaoshao and childish, each with its own emphasis and style. Even if different forms of fonts are combined to create a piece, the three of them can still adapt to local conditions, layout appropriately, and not be cramped, jumping, delicate, or artificial, with ease and ease.
From the intershelf structure of the "wind erosion body", it can be found that the characteristics of the three people of Dake can cast many people, such as the essence of the fusion of the stele and post, such as the temperament of the "two kings" rhyme, such as Huang Tingjian's opening and closing, such as Zhao Mengfu's wind god, and Fu Qingzhu's majesty, although they are not intentional, they can be seen everywhere, which shows that the "wind erosion body" of the three people of Dake originates from profound traditional skills. However, the "wind erosion body" of the three of Dake is by no means rigid and rigid in sticking to the family, but touching the bypass, which is wonderful. On the basis of tradition, he relied on his skillful writing skills, set all the strengths, put the pen at the bottom of his hand, and then relied on the unique talent of calligraphy, strengthen the flexibility of the penmanship, so that the font appears very vivid, very impactful, and even very exaggerated, at first glance, as if subverting the tradition, and as if changing the tradition, this is not the case, but in the tradition of digging deep, in the traditional common aesthetics, digging out a personality of calligraphy art style, with energy, with penetration. For example, by bringing the characteristics of traditional calligraphy masters to the heart, he makes the nib of the pen press, power, and direction change with the change of mind, opening, pause, turning, hooking, drawing, and side, and is full of rich meaning, so as to maximize the visual tension of the specific strokes of traditional calligraphy, so as to strengthen the artistic expression of the structure between the fonts, and make calligraphy a real art and a touching visual enjoyment. There is no doubt that the calligraphy style of the three people with their personality - wind erosion body, each stroke comes from tradition, the difference is that he strengthened the beauty of traditional strokes, and this beauty in the way of refinement, solidified in his own calligraphy style, and then, in the decades of gradual, gradual enlightenment, gradual change, to achieve transformation.
From the shelf structure of "Wind Erosion Body", we can see that the three of them have forged many characteristics, such as the essence of the integration of tablets and stickers, the temperament of "Two Kings" with rhymes, the opening and closing of Huang Tingjian, the wind spirit of Zhao Mengfu, and the majesty of Fu Qingzhu. Although they did not intend to do it, they can be seen everywhere, which shows that the "Wind Erosion Body" of the three of them is derived from profound traditional skills. However, the "wind erosion body" of the three individuals is not rigidly and rigidly adhering to the unity of the family, but rather imitating each other and shining brilliantly. On the basis of tradition, he relied on his proficient writing skills, gathered the strengths and weaknesses of various schools, and placed his pen in his hand. Then, relying on his unique talent for calligraphy, he strengthened the flexibility of his brushwork, making the font appear very vivid, impactful, and even exaggerated. At first glance, it seems like he is subverting tradition, but also changing it. In fact, this is not the case. Instead, he dug deep into tradition, and in the common aesthetic of tradition, he excavated a unique calligraphy art style with energy and penetration. For example, he combines the characteristics of traditional calligraphy masters who are like exploring objects with his mind, allowing the lifting and pressing of the pen tip, power, and direction to change with the change of mind. He opens, pauses, turns, hooks, pulls, and flips freely, full of rich imagery. This maximizes the visual tension of specific strokes in traditional calligraphy, strengthens the artistic expression of the font shelf structure, and makes calligraphy a true art, becoming a touching visual enjoyment. Undoubtedly, the three of them have their own unique calligraphy style - the Wind Erosion Style, each stroke originating from tradition. What sets them apart is that they enhance the beauty of traditional strokes and solidify this beauty in their own calligraphy style through refinement. Then, through decades of gradual, gradual, and gradual changes, they achieve transformation.
Looking at the lines of "Wind Erosion", the brushstrokes are continuous, rhythmic, tenacious and flexible, rhythmic, light and slow, urgent and late, fast and slow, and the pinching is in place, just right. The ups and downs of the lines, as if flying, and very orderly, like thunder, but also filled with a strong sense of visual beauty, the combination of softness and rigidity, in the opposite, maintain harmony, the brilliance of the square and the circle, in the richness, and show the distinctive, the complementarity of the positive and oblique, you can see the wild, but without losing the law, the echo of stillness and movement, you can see chic, and unintentionally, the true power is revealed. The pen is written with the heart, full of emotion, the pen is intentional, and the connoisseur is affectionate.
Looking at the lines of the "wind erosion body" again, the brushwork is continuous, rhythmic, strong and flexible, rhythmic, light and slow, urgent and late, fast and slow, well grasped, just right. The ups and downs of the lines, like flying, yet very orderly, like thunder, yet exuding a strong visual beauty. The combination of softness and hardness, in opposition, maintains harmony; The radiance of the square and the circle, amidst their richness, highlights their distinctiveness; The complementarity between positive and oblique can be seen as wild, but without losing the law; The echo of stillness and movement can be seen as graceful, yet inadvertently revealing true skills. The pen follows the heart, the emotions are full, the brushstrokes are intentional, and the reader generates emotions.
It must be noted that the three of Dake, the descendants of the calligrapher Huang Tingjian of the Northern Song Dynasty, have a long history of traditional culture flowing in the blood, and in the memory of the three of them, their grandfather and father are very advocating traditional culture. Living in a family full of rich cultural atmosphere, in their youth, the three of them slowly polished the art of calligraphy in the teachings of their father and uncle, and when they were older, they successively followed their uncle and calligrapher Yue Qinglong to learn calligraphy. Dake three people start from Yan Ti, Tong Zigong originated from Yan, Ou, Liu, Zhao, dabbling in Weng, Cheng, Liu, Tie Zhujia, and traced back to Seal, Wei Bei, Jing Su, Huang, Mi, Cai and other calligraphy masters, deeply understood Zhang Xu, Huaisu and other cursive power, widely obtained, selected and refined, and in Shu Tong, Qi Gong's font, with a very strong affection, hard work, finally, he settled in the "wind erosion body". In terms of learning traditions, grinding through the iron inkstone to read the post, read the post with a strong memory, the three of them are the same as many contemporary accomplished calligraphers, the difference is that the three of them are not like many calligraphers, how many tablets and how many stickers to read, to show their diligence, but the three of them in the post, read the post, insist on understanding with their hearts, seriously and attentively dialogue, not seeking more, but seeking refinement, which is the same as those "death posts" At the same time, he focuses more on listening to the sounds around him, capturing the elements of life, such as dancing, singing, playing Tai Chi, such as recuperating in the mountains and forests, such as calming down in the city, from which he summarizes and refines the artistic elements of "wind erosion", all of which have no rules to be found, and there is no reference from the previous teacher, so he can only study by himself. However, every confusion is the cornerstone of his progress, because confusion can prompt him to walk into the tradition over and over again, trace the ancient law, the master of God, answer questions and solve doubts, and every pain is also his close to success. Confusion is accompanied by hope, pain is accompanied by epiphany, he persevered, persevered, and finally found a sudden opening of the scenery when the willows were bright.
It must be noted that the three of them, descendants of the calligrapher Huang Tingjian of the Northern Song Dynasty, have a long history of traditional culture flowing through their bloodline. In the memories of the three of them, their grandfather and father both highly value traditional culture. Living in a family filled with a strong cultural atmosphere, during their youth, Da Ke and his three companions gradually immersed themselves in the art of calligraphy under the guidance of their father and uncle. As they grew older, they followed their uncle and calligrapher Yue Qinglong to systematically learn calligraphy. Da Ke and his three companions started with Yan Ti. Tong Zi Gong originated from Yan, Ou, Liu, and Zhao, and delved into various families such as Weng, Cheng, Liu, and Tie. They also traced back to the seal script, Li, and Wei inscriptions, and meticulously studied the cursive script masters of Su, Huang, Mi, Cai, and others. They deeply understood the cursive script abilities of Zhang Xu, Huai Su, and others, and extensively studied and refined them. In addition, in the fonts of Shu Tong and Qi Gong, they used their emotions and worked hard. Finally, they finally settled in the "wind erosion style". In terms of learning tradition, the three of them, like many contemporary calligraphers who have achieved great success, grind through their iron inkstones to imitate calligraphy and read extensively. The difference is that unlike many calligraphers, the three of them demonstrate their diligence by observing and reading as many inscriptions and stickers as possible. In their practice of copying and reading calligraphy, the three of them insist on understanding with their hearts, engaging in dialogue with their hearts, not seeking too much, but striving for excellence. This is the most essential difference from those calligraphers who die in copying calligraphy. At the same time, they focus more on listening to the voices around them, capturing elements of life, such as dancing, singing, practicing Tai Chi, and so on. Resting in the mountains and forests, like calming down in the bustling city, he summarized and refined the artistic elements of "wind erosion" from them. There were no patterns to follow, nor were there any references from his predecessors, so he could only study on his own. During this period, the three of them often had unbreakable confusion and perplexing pain. However, each confusion was the cornerstone of his progress, as it could prompt him to repeatedly enter the tradition, trace the origin of ancient methods, master of divination, answer questions and solve doubts. Each pain was also a leap towards success. Because of pain, he was able to repeatedly visit modern and contemporary masters, shake hands with wisdom, and make up for his shortcomings. Confusion accompanied by hope, pain accompanied by enlightenment. He persevered and persevered, finally discovering the suddenly bright scenery in the dark willows and bright flowers.
Through profound writing skills and innate calligraphy talents, the three of them purify all life in the natural world, and integrate the essence of purification with traditional culture, life perception, philosophy and other elements, so as to present a unique personal characteristics of the "wind erosion", shining and shining.
The three Dake people purified all life in nature through their profound writing skills and natural calligraphy talents, and integrated the purified essence with traditional culture, life perception, life philosophy and other elements, thus presenting a unique "wind erosion body", shining and shining.
(Text/Sanggan)
(Text/Sanggan)