Since Sun Xiaoyun, chairman of the China Book Association, explicitly opposed calligraphy as a pure art, it has blocked the way for some people to artize calligraphy and Western art, causing dissatisfaction among the calligraphy innovation school.
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They not only continued to adhere to the fine art of calligraphy and Western art, but also aimed their spearhead at Chairman Sun Xiaoyun, who adhered to tradition, and constantly had so-called book circles criticize him insinuatedly. If some of the criticisms are justified, in fact, most of them are biased by scholars who uphold the concept of Western art. For example, Zeng Xiang, who is famous for his roaring books, criticized Sun Xiaoyun for not knowing how to write.
In a video, Zeng Xiang insinuated that Sun Xiaoyun did not understand the penmanship, saying that the chairman of the book association wrote with his wrist and picked one wrist after another. And they are seal brushwork, such as swinging paddles, using the strength of the whole arm. In fact, this is a wrong understanding of the penmanship, Sun Xiaoyun is transporting the wrist, writing small characters needs to transport the wrist, do not need to move the entire arm.
The lucky wrist or the lucky arm completely depends on the actual needs of writing, not the lucky arm is the so-called seal penmanship, and the lucky wrist is one level lower. Moreover, from the actual writing effect, even if Zeng Xiang used the seal brushwork he thought he thought, he did not write the charm of traditional calligraphy at all. In practice, I do not use it myself, but only as a means of demeaning others, and there is no point in playing with such a concept.
Speaking of brushwork, innovative calligraphy is the least qualified to criticize the calligraphers who adhere to tradition, especially the innovative calligraphers represented by Zeng Xiang and Wang Yong, who have completely subverted the traditional brushwork, declaring that writing should be used from the tip of the pen to the root of the pen, so that the lines are rich.
Obviously, he completely abandoned the traditional brushwork, but criticized others for not understanding the penmanship, which is very ridiculous in itself. Innovative scholars have one count, and they are proud to write large characters in small pens, which is one of the signs of no entry in the eyes of traditional calligraphers. The penmanship is not beginner, but also to talk hard about the penmanship, to criticize the traditional writers like Sun Xiaoyun is purely a joke.
Brushwork is one of the cores of traditional calligraphy, and if you are a calligrapher who adheres to tradition, penmanship can be said to be a core problem in the creation of calligraphy. It can be said that the level of calligraphy depends largely on the mastery of brushwork, and the brushwork has a consistent stability, and will not change with the changes of the times.
The factors of traditional calligraphy change and change have long been discussed by the ancients, and the Yuan Dynasty calligrapher Zhao Mengfu wrote in his "Thirteen Treks of Lanting": "Calligraphy is based on the use of the pen, and the knot character also needs to work hard, and the knot word is passed down from time to time, and it is not easy to use the pen for eternity."
If the unchanging is changed, it will shake the foundation of calligraphy. In fact, innovative calligraphy has changed the brushwork that should not be changed, since Shen Peng advocated calligraphy innovation, the innovative calligraphers in the system in order to make calligraphy in line with Western art, in the name of expanding the expressiveness of the brush, completely abandoned the three-point pen theory that the ancients adhered to, and replaced it with painting-style painting, erasing, rubbing, from the tip of the pen to the root of the pen, and also claimed to have played the advantages of the brush. The words written in this way are at best called fine art characters, and they themselves call calligraphy art or art calligraphy, which is actually painting.
Traditional calligraphy strictly follows the principle of using up to three pens, the so-called three pens, refers to the brush pen is divided into three parts of the pen root, the pen belly, the nib, from the nib to the pen belly is divided into three parts, in turn called one pen, two pens, three pens.
When writing calligraphy, a pen uses at most a three-point pen. Calligraphy into the door knows that if you use the pen root further up, it will scatter, it is impossible to write the power of the pen. The dot stroke without pen power floats on the paper, and the dot stroke has no thickness at all, so that you can't practice kung fu for a lifetime. The words of innovative books are generally thin, and the lack of thickness is the best proof.
Schematic diagram of a three-pointer
As the chairman of the Book Association, Sun Xiaoyun's main job is to ensure that the development of calligraphy does not deviate from tradition and become a branch of Western art. At least during her tenure, we should pay more attention to how she led calligraphy back to the traditional track, rather than criticizing her calligraphy.
Of course, what you said is also excusable, the problem is that these people who are engaged in innovative calligraphy do not understand the penmanship at all, and the criticism of others is naturally unconvincing, but exposes the shortcomings of their traditional kung fu.
Dear book friends, do you think Zeng Xiang or Sun Xiaoyun knows more about penmanship?