Gu Xiang, born in November 1977 in Xiangcheng, Henan, is an associate professor at the School of Calligraphy of Zhengzhou University, a master tutor, deputy director of the Institute of Seal Engraving, and deputy director of the editorial department of University Calligraphy Magazine. He is a member of the Chinese Calligraphers Association, a director of the Henan Calligraphers Association, a deputy director and secretary general of the Seal Committee of the Henan Provincial Book Association, a member of the Henan Youth Federation, a vice chairman of the Henan Young Calligraphers Association, a member of the Henan Printing Society Council Committee, and the president of Xu Shenyin.
Calligraphy and seal engraving works won the third prize of the 2nd Chinese Calligraphy "Lanting Award", the highest prize of the 4th National Zhengshu Exhibition, the nominated works of the judges of the 3rd National Seal Book Exhibition, the gold medal of the "XuShen Cup" National Calligraphy Exhibition, the May Fourth Literary and Art Gold Award of Henan Province, the silver medal of the 2nd "Shangding Cup" of Henan Province, the first prize of the 2nd Seal Engraving Exhibition of Henan Province, and was selected for the 1st Chinese Calligraphy Lanting Award, the 8th and 9th National Calligraphy and Seal Engraving Works Exhibition, the First National Youth Calligraphy and Seal Engraving Works Exhibition, the Contemporary Seal Engraving Art Exhibition, the 2nd National Big Character Exhibition, The 3rd National Exhibition of Authentic Calligraphy, the 4th and 5th National Exhibition of Calligraphy, the 2nd National Fan Calligraphy Exhibition, the 2nd National Seal Book Exhibition, the 4th National Seal Engraving Exhibition, the National 1000 Calligraphy Exhibition, the System Project of Contemporary Book Masters - National 500 Calligraphy Masterpieces Exhibition, the "Status Quo and Ideals--- Current Academic Criticism Exhibition of Calligraphy Creation, the Nomination Exhibition of Chinese Contemporary Seal Calligraphers and other exhibition activities.
Deputy editor of the local textbook "Calligraphy Practice Guide" of Henan Province, he published "Epitaph of Yan Xizhuang of Dayan", "Gu Xiang Volume, Representative Figure of Central Plains Calligraphy Style", and "Collection of Gu Xiang Calligraphy and Seal Engraving Works". Participated in the compilation of the "Twelfth Five-Year Plan" textbook "New Compilation of Art History" (calligraphy part), Henan Province's local textbooks "Calligraphy Art", "Chinese Character Code", "Source Hui Printing Spectrum". More than ten papers, such as "Qin Taowen's View of Qin Wen's Change and Qin's "Book with Text"" and "Yang Weizhen's "Heavy Temperament" and "Orthodox" View of Literature and Art", have been published in academic journals such as "Chinese Calligraphy" and "Hundred Schools of Art". His works are collected by many institutions such as the Olympic Village and the Chinese Character Museum.
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Mellow and simple, peaceful and simple
——I read Gu Xiang's calligraphy
⊙ advanced
He was associated with Gu Xiang's brother in seal carving.
At that time, graduate students had just entered the school and studied seal engraving with their mentor, Mr. Yun Zhigong. Brother Liu Liming, who was in the same door, told me that Gu Xiang in their dormitory was a master of this and could communicate with him more. So I ran up to the fourteenth floor with a carving knife and a stone, and then I became a regular visitor to their dormitory. Slowly, I found that there were many people who came to ask Brother Gu for advice, both the same window as me, as well as the second and third grades and doctoral students. As my learning area expanded, the number of points of attention increased, and the more places I asked Brother Gu for advice. From seal carving to seal book, to Li Shu, Xing Shu, and the formal composition of the work, Gu Brother always knows everything and says everything. Brother Gu not only has keen observation and profound insights, but also can clearly explain complex and difficult problems in one sentence and in a few sentences. For example, when it comes to the brokenness of seals, from the perspective of the natural law of the broken ancient seals, the thin edges are broken, and the corners are broken. Treated in this way, without pretense. Talking about the similarities and differences of Han Li, horizontal and vertical, and the relative balance of spatial division are its common foundations, and the retouching strokes such as silkworm head and swallowtail are the main means of constituting different styles. This theory is then used for xingshu to analyze the similarities and differences between the mi fu and the eight major xingshu and the wang xizhi xingshu, and demonstrates how to write the rice character wang wei and how to write the wang character into the eight major characters under the condition that the knot body is unchanged. Unfortunately, at that time, I had just come into contact with xingshu and could not understand it very well; now I want to listen to it again, but I have long been "separated from the two places", and I can only occasionally harass it through WeChat!
Gu Brother's study began with home learning, debut early, talent and high, only weak crown, is already the winner of the "Lanting Award" (24 years old into the first Lanting Exhibition, 29 years old won the third prize of the second Lanting Award). Young and famous, the scenery is unique. In various competitions across the country, the six bodies (counting the seal carving) have been won. The comprehensiveness of skills is rare in contemporary bookworms. Nowadays, just after the age of confusion, he has long stopped participating in various exhibitions and competitions, but has been teaching, studying, thinking, exploring more quietly, and constantly improving his artistic language. In 2013, Gu Brother went to the Institute of Calligraphy and Culture of the First Normal University to study, as a working graduate student, while working, while taking care of the family, while studying, but the fineness of his class notes and the quality of after-class homework, even our full-time students should be ashamed of it. From this, we can also understand the "cause of the beauty of Success" of Brother Gu.
Commentary: Four poems of Ding Buddha
Brother Gu is also a teacher and friend to me, and because I often ask Brother Gu for advice, I have some understanding of his works and the road to learning art. Although Brother Gu works part-time, he mostly shows people with seal books. Today, I would like to talk about my superficial understanding of its seal book. Gu Brother Xihuan started from huang Binhong's seal book, or related to his undergraduate study of painting and pursuit of freehand spirit; or because of his youthful temperament. Later, it involved the Qin Zhao version, Chu Jian, guxi script, etc. (the second prize work of the second lanting award was a couplet written in the ancient seal script). They are all free, full of life, and naïve.
In the past five or six years, much effort has been made to the Inscription of the Western Zhou Dynasty. The works of the first two years are dashing and unrestrained, with unbridled brushes, rounded and thick lines and bright rhythms, supplemented by the contrast of ink-colored thick wet and dry, giving people a sense of ease and relaxation. Its rhythm is quite similar to Zhang Changshi's "Four Ancient Poems", which is very interesting. It can be seen that Brother Gu has worked hard in "Scattered Discs" and has a precise grasp of the spirit of freehand writing. Of course, it is also thanks to his profound cursive knowledge.
In the past two years, the appearance of his works has changed again, and he has returned to peace. It is a choice from sensibility to rationality, or a more tenacious and calm performance of Gu Brother's state of mind. Its pen is more subtle and dignified, when obtained in the harmony and tranquility of the lines of "Wall Plate"; the knot body is more simple and introverted, and it is deeply rooted in the method of "Mao Gongding" knotted words in silence. The breath of ancient clumsiness came over the face.
Nowadays, everyone is pursuing the uniqueness of the face and the stereotype of the style. Gu Xiang brother did not deliberately pursue the shell of style, but has been exploring, trying, and changing. Perhaps this statement is not accurate, he has indeed been changing, but it is not the result of deliberate pursuit. Not even a deliberate attempt to explore and try. Instead, it is natural to go with the flow of nature, free to be spontaneous. As Liu Xizai said: Books, such as also, such as its learning, such as its talents, such as its zhi, in short, just like its people. When people grow and change, their feelings, their aspirations, their thoughts, and their aesthetics will also change.
How can the style of the crust, the single appearance, fit with a living life? This is Gu Xiang brother's real calligraphy pursuit.
As he once said in a chat: the process of learning calligraphy is like making wine, and grains can only be fermented after enough time in their natural state to make real wine! Therefore, even the same raw materials, the same process, different years of Maotai will have different tastes. I also look forward to Gu Xiang brother in the years to come, often brewed or mellow cotton soft, or strong and spicy, or light and refreshing, or ... Various flavors of "fine wine" come. (Xin Ugly Twilight Spring Journey advanced in Hongtang)
Interpretation: Sikong Tu", "Twenty-Four Poems and Elegance"
Interpretation: LonghongShanren on the printing of twelve poems
Interpretation: Tian Shenxiu's "Dengfan Jingshan Peak Ridge"
Commentary: Two poems by Ding Fu
Interpretation: Li Bai's "Marching from the Army"
Interpretation: Zhou Pi Period Dun Ming
Interpretation: Tianfeng Descending Cloud Xi Emperor Painting Gua LingGui out of Luowen Wang Chen Shou
Commentary: Kingdom Uighur words and phrases
Commentary: The beauty of the round show