Zeng Xiang, No. Ichifu, Qutang, Mumutang, and Sanmu Bamboo Durian Zhai.
Born in 1958, a native of Suizhou, Hubei Province, he is a national first-class artist. He is currently a researcher at the National Academy of Painting of China, a tutor of Zeng Xiang's calligraphy studio at the National Academy of Painting of China, and a master tutor of Changxin International Art College of Yunnan University.
Many people saw me shouting quite lively there, in fact, how to write down and how to arrange the words, I already knew it. Intended to be in front of the pen, like two masters dueling, what moves the other party makes, you have long prepared the tricks to deal with him, random hair, writing is the same.
For example, when I gave a lecture to the students, I said that if you go to Beihai Park to row a boat and rock an oar, can you learn something from here? Then you associate this paddling action with the interconnection of Wang Xizhi's pen. If you can find such a connection, your words may be written with ease, naturally; the is shaking, and the feeling of pulling back is that you have to grasp, but when you want to push outward, the hand must be opened, otherwise, the hand will bubble. If you can find some rules of writing in this, your writing will definitely be different.
It is my consistent proposition to "seek thickness in the penmanship of the seal, and seek change in broken knots", of course, it is not recognized before, but it is also summed up through continuous learning and exploration. At the beginning, I was lecturing at the China Book Court, mainly about making characters.
This is actually related to their own stage of learning, people will change, understanding will also change. The ancients said that form and quality are secondary, and divine brilliance is superior. From the perspective of learning, starting from the form, it is easy for students to find the entrance to learning, but it cannot be taken as the ultimate goal. Shape is easy to learn, but in the process of teaching, we often ignore shape and talk about brushwork. Especially if you are just learning calligraphy, if you talk about how to write in the process of teaching, the rules of using pens through the ages, the correctness of the heart, and the spirit of the seal, he may be confused. Starting from the shape, such as width and narrow size, thickness and weight, he will immediately find the docking point. For example, this judgment about words, a word must have an eye, and the word is the internal space of the word. Students will understand right away.
I think that writing to the end of writing to a high realm is the unity of heaven and man; it is what grows out of your heart, not designed. But the structure of the word is originally designed, and it is repeatedly designed to a certain time, and this design can achieve naturalness.
The brilliance of calligraphy may be the ultimate goal of my calligraphy pursuit. The emphasis on the spirit of the seal is felt from the calligraphy works of the past generations. For example, the Qin and Han dynasties and the families below the Second King are all like this. The law of using the pen is unchanging, and if you go beyond this law, or violate this law, your work is likely to be eliminated by history.
If you study the Second King and do not understand the spirit of the seal, you are obviously a layman and cannot enter the door.
What others say about me, I basically don't read, I don't read online reviews, the circle of friends sometimes look at it, I pay attention to what I should do at the moment, how to write the big characters well.
——Text/Zeng Xiang Excerpt from an interview with Hanlin calligraphy and painting
Appreciation of works