Qiu Zhenzhong, professor, doctoral supervisor of the Central Academy of Fine Arts and director of the Comparative Research Center for Calligraphy and Painting of the Central Academy of Fine Arts, is an expert who is keen on calligraphy innovation.
Because he worked in the Academy of Fine Arts and was exposed to relatively many Western art theories, his innovations mostly peeled off Western theories in the form of swallowing dates, and then used for calligraphy creation.
Qiu Zhenzhong spent more than three months creating a calligraphy work called "Diary", but there was no other content on it, and the name of "Qiu Zhenzhong" was written. (Pictured below)
He himself said: "This is a work composed of his own daily signatures, and the subtle differences in the daily mentality will be more or less reflected in the daily brushstrokes." "This piece was not done in one go, but took months to accumulate, but many people feel that they have to spit rice after seeing it!"
Qiu Zhenzhong's "Diary"
In this masterpiece, the three words "Qiu Zhenzhong" are written in chronological order, although these names are not arranged in chronological order, but the written time sequence is a logical order, and there is a time under each name.
From the perspective of the form of pen and ink, the brushwork of these signatures is not exquisite, and the relationship between the lines is very simple, and when writing, it is just a random book name.
Qiu Zhenzhong calligraphy
Finally, from the perspective of chapter law, these signatures are the arrangement of the so-called ant formation, one spatial unit concentrates a group of "names", while in another place is another pile of "names", and there is no intrinsic connection between these formal units. From the perspective of the whole work, the composition between the part and the whole is a loose, messy, irregular patchwork, so some experts believe that this "great innovative work" does not have artistic significance, and is therefore not a work of art.
In fact, in modern calligraphy and "ugly books", a considerable number of works are this form of play. Some people deliberately do spatial division, so that a glyph is divided into unrelated forms of units, and then spliced together, there is no intrinsic connection between the forms, so it does not have aesthetic significance. Some people do the game of dismantling Chinese characters, thinking that deconstructing Chinese characters is an avant-garde art with visual impact, and the result becomes a meaningless accumulation of lines.
There are also some people who are keen on deformation modeling, damage, fracture and other form experiments, in the material medium to use their brains, in the technique, means to find a breakthrough, they have been outdated in Western modern art in the techniques rigidly grafted into the form of calligraphy, as a result, due to differences in artistic context, differences in concepts, produced a number of non-donkey and non-horse works, naturally not to mention the value.
Something like Qiu Zhenzhong's "diary" works, if self-amusement and self-amusement are understandable, but now the problem is that they often rely on their positions to confuse many calligraphy enthusiasts in the name of experts, professors, and authorities, making it difficult for the public to distinguish between right and wrong, and this practice will be endlessly harmful!