Gao Yuan, a female historian of Licheng, Shandong, is currently working at Shandong University of Finance and Economics. Hui Zhi Lan Xin, the wind posture is exquisite, and the view has the posture of dust. Under the guidance of his father, Linchi did not quit, and from the Two Kings and Chu, Yan and other Tang scholars, his training institutes and the famous masters of the Song, Yuan, Ming, and Qing dynasties, practiced kung fu regardless of cold and summer, and has been nearly thirty years. Then enter the room and get a glimpse of the three masters of calligraphy, especially Xiao Kai. Looking at his books, we can see his profound traditional skills, but also his personal temperament and the atmosphere of the times expressed on the basis of inheriting traditions; However, what is particularly valuable is that while practicing traditional techniques, it pays attention to cultivating its own theoretical and cultural connotations. Reading to the doctor, it is even more unique to make it read a group of books, and then integrate harmony, and feel passionate, the book is silk, you can see the book full of paper.
The Tao Te Ching Yun: "The Tao is a thing, but a trance." There are elephants in it, there are elephants in it, there are things in it. There is a fine in it. (Tao Te Ching, Chapter 21) This passage of the theory that all things begin and come into being without knowing why they are so, is also the realm pursued by the art of Chinese calligraphy. It can be seen that Chinese calligraphy not only expresses its feelings, but also expresses the image of natural changes. The young calligrapher Gao Yuan is the one who has this realm.
The Chinese characters written by Chinese are the only ones in the world that can be written in the form of writing as works of art. The reason for this is roughly twofold: one reason is that Chinese characters are hieroglyphs. "Explanation of Words and Phrases. Prologue Yun: "The king of the ancient Ku Xi clan, Tianxia Ye, looked up at the heavens, looked down at the law on the earth, looked at the birds and beasts and the appropriateness of the earth, took the near body, took the things from afar, so he began to write the "Yi" Gossip, in order to hang the image... The Yellow Emperor's Shi Cangjie saw the traces of birds and beasts' hooves, and knew that the division of reason could be different, and the first book deed was created. "Cangjie's first book, Gaiyi pictograms, so it is called a text; It is followed by the sound of sound, that is, the zigzag. "Writing" the ancients called the book, the book writer "such as", the word is written out should be "such as" the reader's mind to grasp and understand the object, that is, to grasp the interrelationship between the object and the object, such as the length, size, density, greeting, interspersing, etc. the law and structure, at the same time reflect the writer's emotional response in the writing process. In this way, the words of the love and the love of the text will also be sublimated to the artistic realm, and also have artistic value; The second is Chinese writing with a brush. "Book", shape sound, from Nie, Nie is the pen. There is a brush when it comes to Yin Shang; It is said that the Qin people created a brush with zhongshan rabbits. The magic of the brush is that it is extremely elastic, so it can be wide and narrow, and the variation is endless. Therefore, chinese characters based on the writing of hieroglyphs with a brush as a tool and calligraphy as an art will not exist unexpectedly.
On this basis, it is also possible to examine the pen, structure, and chapter method used in the study of calligraphy from an aesthetic point of view.
The so-called use of the pen, generally speaking, there are differences between the center, the flank, the Hidden front, the reverse front, the square pen, the round pen, etc., all of which are used to draw their changes by using simple dots, and then express the rich emotions and natural images in the heart of the writer. Zhang Yanyuan said in the "Records of Famous Paintings of Past Dynasties, Volume II on Gu Lu Zhang Wu's Pen":
Or ask Yu Yigu, Lu, Zhang, and Wu how to use their pens? Right: 'Gu Kaizhi's traces are tightly linked. The cycle is super abrupt and easy, the wind tends to be electrical, the intention is to save the pen first, and the painting is full of intention, so the full spirit is also. In the past, Zhang Zhi learned the method of Cui Yu and Du Du cursive writing, so it was changed to become the current cursive posture, which was formed in one stroke, and the qi pulse was connected and interlaced continuously. Only the prince respected his deep purpose, so the first word of the line often followed his path, and the world called it a pen. ’“
When Zhang Yanyuan discussed the use of brushes in calligraphy and painting, he deliberately emphasized that "one stroke is made, and the qi pulse is consistent", which already contains the factors that express the appeal of calligraphy art such as bone, flesh, tendons, and blood with the pen, which shows that Chinese calligraphers and painters have created a unique and rich artistic image of China with this "one stroke" dot painting, which can be described as great; The knot of the book, also known as cloth white. Because the characters are interspersed by dot paintings in the writing process, and the blank space between the dot paintings is also part of it, it is born of virtual reality, vivid and vivid, and can also get a complete work of art; Yuanren Zhang Shen said in his "General Interpretation of the Book of Law": "Ancient writing is like writing. There are literals, there are rules, there are chapters. The structure of the final chapter, the beginning and the end corresponding. Therefore, Xi Zhi can be a book, called "Zen Order" from the word "Yong" to the word "Wen", the pen is gu panning, facing upwards, yin and yang ups and downs, the pen is continuous, people can not also. This treatise uses the Orchid Pavilion Preface as an example to illustrate the three ambiguities of calligraphy. The chapters of excellent calligraphy works are white, the front and back are managed, the responses are connected, there are themes, there are changes, the whole chapter method, the branch cloth white, the book does not dare to move slightly, so that there is a perfect aesthetic significance of the calligraphy works with pens, knots, and chapters.
Guan Gaoyuan's calligraphy works, especially her Xiaokai works, show her strength in her exploration of the origins of Chinese calligraphy and the study of the internal artistic laws of calligraphy. His books are consistent with his pen, looking forward to it, and it is written in one go, endlessly; Her calligraphy is rigorous, plain and strange, and the combination of flesh and blood complement each other perfectly, just right; Zhang FaBu Bai can manage the collar before and after, looking forward to each other from beginning to end, with both themes and changes, which can be described as the three ambiguities of the Chinese calligraphy realm. As Wang Xizhi's "Pen Array" said: "Those who want to write, first dry the ink, concentrate on meditation, anticipate the size of the book, lean forward and straighten, vibrate to connect the veins, intend to be in front of the pen, and then write." This seems to be a metaphor for the state of gaoyuan's creation.
Biography
Gao Yuan, female, Ph.D. in Fine Arts Calligraphy, Associate Professor of school of art of Shandong University of Finance and Economics, director of the Theoretical Teaching and Research Department of the Department of Fine Arts. He is a member of the Shandong Youth Federation, a member of the Chinese Calligraphers Association, a member of the Education Committee of the Shandong Calligraphers Association, the deputy secretary-general of the Shandong Young Calligraphers Association, a special lecturer of the Confucius Institute of the Confucius Foundation of China, and a member of the first young and middle-aged literary and artistic backbone training class of the Shandong Provincial Federation of Literature and Art. The book won the 11th "Taishan Literature and Art Award" and was included in the 12th National Calligraphy and Seal Engraving Exhibition; The book has been published in journals such as Chinese Calligraphy, Art Observation, China Calligraphy and Painting, and Calligraphy Newspaper, and has participated in and presided over 4 national and provincial projects.
(Author: Niu Xiaojie, Ph.D., Creative Research Direction, Shanghai Academy of Fine Arts, Postdoctoral Fellow in Philosophy, Tongji University)