Sun Xiaoyun, the new president of the China Book Association, explicitly opposed calligraphy as pure art, causing resentment among calligraphy innovators, who criticized it insinuatedly. If it is a reasonable and targeted constructive criticism, it is naturally understandable, but most of them are viewed with Western art "colored glasses". For example, Zeng Xiang, who is famous for his roaring books, criticized the new chairman Sun Xiaoyun for not knowing how to write.
In a recent video, Zeng Xiang insinuated that Sun Xiaoyun did not understand penmanship, saying: "The new chairman of the Book Association writes with his wrist, and his wrist picks one by one. They are in the form of a seal penmanship, such as a paddle, using the strength of the entire arm. ”
In fact, this is precisely the shortcoming of Zeng Xiang in the field of pen theory, Sun Xiaoyun is transporting his wrist, writing small characters requires his wrist, and he does not need to move his 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 perspective of the actual writing effect, even if Zeng Xiang used the seal brushwork he thought he thought was, he did not write the rhyme that traditional calligraphy should have, which was far from the ancient classic techniques, flow veins, especially aesthetic theory.
Works by Zeng Xiang
Speaking of brushwork, the criticism of innovative calligraphers for calligraphers who adhere to tradition and have made achievements is not constructive for the development of the book world, such as Zeng Xiang, who completely subverted the traditional brushwork, declaring that "writing should be from the tip of the pen to the root of the pen, so that the lines are rich." "Innovative calligraphers are generally proud to write large characters with small pens, and such a subversive and innovative perspective has no theoretical basis for whether the traditional pen movement is reasonable or not.
Sun Xiaoyun
Brushwork is the core of traditional calligraphy, from the perspective of traditional calligraphy, the level of calligraphy depends largely on the mastery of brushwork, and the brushwork has a consistent stability, and does 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 will not change the brushwork to change, since Shen Peng advocated calligraphy innovation, the innovative calligraphers in the system in order to make calligraphy and Western art in line, the name of expanding the expressiveness of the brush, the ancients to abide by the three pen theory completely abandoned, replaced by painting style of painting, erasing, rubbing, from the nib to the pen root, this brute force to smear the written word is at best called fine art characters, they themselves call calligraphy art or art calligraphy, in fact, in painting.
Works by Sun Xiaoyun
Friends who are good at table tennis know that table tennis cannot be played with brute force, and it must be the precise and ingenious friction of the racket and the ball to play the rotation and arc to control the enemy. Sometimes very light strength can also make the opponent difficult to figure out. If you only use brute force, it is easy to be pulled back by the opponent, and naturally you can't play table tennis well.
Similarly, brute force doesn't make much sense in calligraphy techniques.
Traditional calligraphy strictly follows the principle of "three points with a pen", 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, called one pen, two pens, three pens. When writing calligraphy, a pen uses at most a three-point pen. The more up, the more exhausted, only brute force remains, reflecting not pen power, no pen power of the dot stroke floating on the paper, the dot stroke has no thickness at all. The words of innovative books are generally thin, and the lack of thickness is the best proof.
This article is transferred from the network and represents the views of the author of the original text