郭鑫｜Guo Xin
Zi Yao, born in 1995
A native of Taiyuan, Shanxi, calligraphy was enlightened by the original Xiuqing teacher. Graduated from Shanxi Datong University in 2017
In 2019, he was admitted to the Academy of Fine Arts of Bohai University to pursue a master's degree in calligraphy, and his supervisor was Associate Professor Zhang Ming
At the same time, he studied under Chen Guocheng, Wang Zheli, Zhang Fengbo and other teachers.
Participation experience "Yanmen Mountain" Cup National Calligraphy seal engraving grand prix First prize First prize of the first "Huiyuan Cup" calligraphy and painting works exhibition First prize of the reading cup along the Huangjiu Provincial District "Nursery" Calligraphy and Painting Competition Bronze AwardThe second national "Silk Road Style Cup" and the 100th Anniversary of the Founding of the Communist Party of China Calligraphy and Seal Engraving Exhibition Won the Prize Commemoration of the 30th Anniversary of the Founding of Nanchang High-tech Zone Calligraphy and Painting Competition Into the Exhibition Celebrating the 100th Anniversary of the Founding of the Communist Party of China Calligraphy Exhibition - Wind and Rain Cast Brilliant Liaoning Chapter Into the Exhibition "Traced the Source asked" The 18th Shanxi Provincial Calligraphy Copy exhibition into the exhibition "Learning Party History • Bao Chu Xin" The National College Students Calligraphy seal engraving creation exhibition was exhibited...
The first acquaintance with Zi Yao, during the undergraduate period, day and night, rotten as a palm. He is kind to people, frank in dealing with the world, diligent and enterprising, and loves Hanmo. Often accompanied by books, familiar with calligraphy. Every day Linchi did not quit, Xi Chu Suiliang and Yang Yisun calligraphy, studied it to the extreme, but they could not understand it, and it did not become a series. During the postgraduate study, I was fortunate to be taught by various teachers, tao dyeing it, and I saw the bones of the book deeply, and I practiced both art and literature, and my skills and taoism went hand in hand. In particular, Zhang Cao worked hard and deeply, all over the stele, and was fond of the style of Wei and Jin, so he took the "Moon Yi Ti" as the mother book, and wrote the elegance of the Tang Dynasty's cursive writing, looked at the present, and gradually became a system. Looking at Ziyao calligraphy, it is not easy to take Zhangcao as the foundation of creation and become a self-style. Its brush is cool and natural without carving, and the knot is dignified and elegant, which is deeply rooted in the spirit of the Wei and Jin dynasties. The pursuit of simplicity and subtlety, the beauty of pure energy and elegance, the degree of allegory in the right mood, the law is also there, in order to be interesting, as if the empty valley Zen rhyme. The ancients clouded "books, such as also, such as their learning, such as their talents, such as their aspirations, in short, just like their people." I often talk about the art of calligraphy with him, quite a lot of gains, feel that the original intention of diligence has not changed, and now that I have achieved success in book art, it is gratifying. The way to learn books is obstructed and long, and it is necessary to persevere and do not quit. Only the original intention is permanent, not exciting, and the long-term vision is achieved, and finally the Dacheng is also encouraged by the king. Xin Ugly Twilight Autumn, Junxuan Ji
Chapter Grass Study Course
In the first tasting period, the first touch chapter grass, first understand its development history, evolved from the Lishu, retained the shape of the Lishu, the characters are independent, and there is no connection between the upper and lower characters. There are relics in the Wei and Jin dynasties, such as the Shen Wu Fu, the Theory of The Ming Dynasty, the Yongyuan Weapon Book, and the Dunhuang Scriptures. Based on Emperor Wu's "Anxious Chapter", Yu read the basic calligraphy of Zhangcao and identified the evolution of early Zhangcao. The second time suo Jing's "Moon Yi Ti" was pursued by Wei jin, he deeply used the Wei and Jin penmanship, and later learned Lu Ji's "Ping Fu Ti", in which the breath was more coherent, integrated into the relationship between the present grass, and the upper and lower character groups undertook to achieve a dense combination, and the ranks swung, which was the process of the gradual transition from Zhang Cao to the present grass. Zhangcao in the Yuan and Ming dynasties was also studied, and Deng Wenyuan, Kang Lizishan and others also studied Zhangcao, which weakened compared with the ancient meaning of the previous generation. In the early stage, it is mainly to enrich the cognition of Zhangcao, and finally can recognize its diverse postures.
02 Progress period
After going through the stage of understanding, we begin to establish our own style. Yu is based on the combination of ancient and modern, based on the classic ancient thesis, and when combined, Ren Zhangcao created a style. Learn glyph processing, make the flat shape change longitudinal stretch, borrow the change of the glyph to adjust the upper and lower breath. At first, medium-sized chapter grass was the main target, and later it was changed to about 2 centimeters of small chapter grass for creation. The first attempt, the pen is relatively simple and rough, the line is weak, unable to reach the strength of the round, lack of ancient meaning. The font posture is only taken to the lower right and is extremely thin. After understanding the problem, he returned to the seal line in Han Jian, and after training, the quality of the line was gradually strengthened, tending to be thick and simple, and the ancient meaning appeared. However, the collection of characters is created, the breath is weakened, the words are independent, the overall atmosphere is lacking, and there is no sense of order. The rest of the above and lower characters from the pen to close the pen as a treatment method, but biased towards the present grass situation, the ancient meaning is insufficient, after referring to the way of the present people, although the upper and lower do not connect, but according to the word group, row and column swing, glyph transformation, closing pen echo and other ways, so that the overall chapter is harmonious. Although the distance between the upper and lower words is widened, the qi is still consistent, which is actually its superb point, which is worth learning from the law.
03 Stabilization period
Many aspects of the method of integration, and finally take the Meaning of Wei and Jin, the glyph is changed to flattened to long, the character posture breaks the monotony, avoids the state of only the right and lower oblique, and enriches the overall appearance of the work. However, the problem appears, that is, due to the poor style of other books, other advantages cannot be used, the longer the writing time, the more habits, the less ancient meaning, and the monotony of nutrients. It is difficult to reach a higher level, which is the follow-up to solve the problem. This was followed by the development of other writing styles to enrich the chapters.
Nian Yi Caotang is dedicated to painting, calligraphy, seal carving, folklore, poetry, photography, Qin opera research, appreciation, appraisal and calligraphy seal engraving art history knowledge terms. For the majority of calligraphy and painting friends and young calligraphy and painting seal engravers to provide a push platform, welcome everyone to give manuscripts. If you have suggestions, you are welcome to criticize and guide.
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