[ This article totals 1760 words · recommended reading for 3 minutes ]
Text / Dong Shuirong
Recently, the Nanjing Museum launched a Qing Dynasty Yang Group Exhibition, and many professional calligraphers think that the level of writing is very average, and even a little disappointed. After I went to see it, it was not this feeling, and I felt that the aesthetic of contemporary calligraphy was not advanced, but superficial.
The externalization of aesthetic standards indicates the neglect of the inner expression of calligraphy. I vaguely feel that a deep aesthetic vision needs to be accumulated, and it also needs inner understanding. In this Qing Dynasty's Yang Lian exhibition, I saw that this batch of great Confucians was not complicated from the level of writing techniques, but it was indeed possible to see the spirit of people, and there was always a kind of demeanor in the writing temperament.
Contemporary calligraphy separates the technique, the technique seems to have improved, the form seems to be enriched, but the technique and form are divorced from human demeanor. This group of calligraphers who have not seen their temperament has become the mainstream of the contemporary book world. We often feel complacent that the technical level surpasses the Ming and Qing dynasties, but we are still far from the previous sages in truly understanding the relationship between calligraphy and human expression. Either the drum is hard, or the small movements of the pen are more.
"Junyi Calligraphy, Brilliant Words- Nanjing Museum Collection of Qing Dynasty Couplet Special Exhibition" exhibits
Zeng Guofan (1811-1872) on paper
Interpretation: The next house is singing in the courtyard, and the flowers are small and small.
Looking at the Qing Dynasty Yang Group Exhibition, the simple and simple writing reveals calmness, naturalness and self-confidence. When you are calm, the temperament of the person can be written. Contemporary writers devote all their energy to penmanship, orthography, and chapterwork; glyphs, lines, and forms are seemingly pragmatic, but in fact they are just imitations of the classical inanimate specimens. Once the technique and form are independent, they are cut off from the inner spirit.
How strong the vitality of a calligrapher's work is, many times reflected by the spirit of high standards and the refined writing language. Since the 1990s, "humanities faded out, technology was highlighted", calligraphy creation further subdivided and quantified the study of classics, and the "technical flow" of wave of calligraphy surged up, seemingly lively book world, but calligraphy creation became more and more to the surface of technique. The influence of contemporary calligraphy has declined, which has a lot to do with the gradual loss of humanistic spirit of contemporary calligraphy.
Therefore, the technique of writing is a double-edged sword, which can make the analysis of the traditional classic writing technique more in place, but it may also lose the spiritual and aesthetic expression. Writing is a professional character, but it cannot be at the expense of aesthetic and spiritual dwarfing.
Zhao Zhichen (1781-1852) on paper
Interpretation: Donglu Yayan Poetry Book Ceremony, Xijing Mingzhao Filial Piety Li Tian.
For many years, the world of books has not talked much about spirit and thought, as if calligraphy is an independent existence, which can be explained by only the technique of writing. For a time, not only did calligraphers despise the tone of culture, but calligraphy academia also tired of empty discussions about the humanities of calligraphy. The "lightness" of calligraphy is becoming a trend of the times.
Calligraphy is the spiritual mirror image of an era, and the capture of it in the shape can reflect the spiritual outlook of an era. This perception of appearance brings opportunities for calligraphy to intervene in social reality, and the cultural landscape formed is the same as other arts such as literature and music.
The Jin system of theology, with Wang Xizhi as its source, continued to generate many personal styles, but did not evolve Wang Xizhi's writing into a public writing technique. So, true calligraphy is difficult to falsify for the spirit unless you only think of calligraphy as a technical and public schema that can be copied. Or you are well versed in the expression of the language of calligraphy, pointing through the language of writing, and entering the situation of weaving, of course, that is not the norm of the calligrapher's own temperament after all.
Xu Sangeng (1826-1890) On paper
Interpretation: Fish swim in the abyss and write music, birds stop trees to sing in time.
A good calligraphy work must leave a true scale in front of itself. This kind of truth must be fully trained in writing in order to be freely and accurately expressed. Simple and rough writing techniques, erratic pens, and loose postures cannot achieve this expression, such as slurred speech, and how to speak the truth.
Contemporary calligraphers can easily only see their own positives and think that their creations are the most valuable creations in the world, and they cannot treat others and history with a fair eye, and such creations are difficult to persuade readers spiritually.
Because there is no complete sense of history and no way to see the world with a broad vision, the spirit of the calligrapher is easily narrow, stubborn, and difficult to have a warm heart. Unable to enter the overall reference and reflection of the present, will not invest in the warmth and respect for the creation of others, but just treat calligraphy as a sports competition, in order to compare who is the first in the world.
Exhibition site
With sincere reflection, at least there is no extreme nihilism toward others. Calligraphers should reflect and criticize life, but also have warmth and respect, so that they can have a fair understanding of people and the world's position.
However, the negative factors of selfishness, fame and fortune, and darkness have always had a big market among calligraphers, so many calligraphers generally reduce calligraphy creation to a single technical indicator and desire scene, or copy themselves, copy the ancients, copy others in the creation, where is the truth? The so-called style is also only used as a "trademark" of the calligraphy market.
Calligraphers and calligraphic works do not have a power to make humanity stand up, the path of creation becomes narrower and narrower, and the face of the soul becomes more and more gloomy. Slowly, calligraphy loses its positive power to influence people's hearts.
▼▼
■ END ■
/
Producer | Shi Han
Editor-in-Chief | Li Miaoyan, editor-in-charge of | Zhao Guolin Wang Jing
This article is reproduced from Rice Art, if there is any infringement, please contact to delete
▼
Find the artistic fulcrum of the ordinary world