Liu Xiangrong, male, born on October 5, 1947 in Laiwu City, Shandong Province, is a member of the Chinese Calligraphers Association, a member of the National Public Security Federation of Literature and Art, and a contracted calligrapher of the Oriental Art Museum in Beijing.
Since childhood, he has loved calligraphy, repeatedly copied calligraphy, Yan, Liu, Zhao and the stele Linchi are not embellished, on the basis of absorbing the artistic nutrition of the predecessors, they have formed a rigorous and beautiful calligraphy style, and have met Mr. Qi Gong many times to meet Mr. Qi Gong, a contemporary calligraphy master, listen to Mr. Qi's teachings, and in September 2002, he was specially invited to participate in the calligraphy and painting exhibition of Mr. Qi Gong at the Beijing Oriental Art Museum.
Group photo with Teacher Qi Gong, Chairman of the China Book Association
Calligraphy Creativity and "Alpine Flowing Water"
As a high-level artistic creation, calligraphy is the natural expression of the essence of man and the free personality of man.
Here I would like to talk about the "creative connection": one refers to the artist's deep possession of the classical Chinese cultural tradition based on Chinese characters; the other refers to the "rediscovery" of the ancient Chinese character tradition by the individual as an artist from different cultural backgrounds under the stimulation of contemporary thought, and through his own creation, creatively transforms the philosophical and aesthetic inspiration in classical Chinese painting, literature and calligraphy, so that it can be effectively related to the current life situation. The classical Chinese tradition is a very perfect system, and in my opinion, the basis that makes up this system is Chinese characters. Chinese poetry, calligraphy, painting, music, architecture and all other forms of literature and art can be traced back to the Chinese characters, "Chinese characters" for the Chinese way of thinking restrictions, "Chinese characters" to provide aesthetic and philosophical concepts, to the entire Chinese cultural system to provide a foundation, and in various art forms, calligraphy as the art of Chinese character writing, is the most direct and perfect embodiment of the spiritual connotation of classical Chinese culture. We not only accumulate calligraphy traditions from thousands of years to explore a nation's will to survive, way of thinking and aesthetic ideas, but more importantly, calligraphy is a direct expression of the soul and personality, which makes China's ancient cultural traditions enduring and can still constitute ideological enlightenment for today's world.
When I created "Alpine Flowing Water", I constantly thought about the charm of Chinese characters in the creative process, and strived to "rediscover" in the creative connection of calligraphy, and constantly carried out bold creative ideas in the brewing of creative ideas, but I also emphasized balance and stability in the knot shape, and the creation of "Alpine Flowing Water" works is strictly speaking, although it is a calligraphy work. But it is not just a calligraphy work, but more of a "freehand work" where books and paintings are mixed together. In terms of appreciation, it gives people a strong visual impact and imagination space, so that people can feel refreshed by this work. In traditional calligraphy and painting works, the distinction is strict, although there are similarities and connections in the calligraphy and brushwork, but it is more of a connection, and there is not much interspersing. The creation of "Alpine Flowing Water" is a destruction and bold attempt to established aesthetic norms. Under the traditional foundation, we continue to dig deeper and discover, so that the calligraphy and painting under the tradition can be boldly "rediscovered", so that the artistic expression space of the work has more creative elements. Through the combination of books and paintings, and from the creation of the painting to clearly distinguish the relationship with the portrait of classical calligraphy through the concept of calligraphy as a "big art", through their own creation, creatively made a new interpretation of the "current source of calligraphy and painting", boldly introduced the brushwork and freehand of painting in calligraphy, so that calligraphy entered a new realm of creation, so that the theme of the work is more profound and distinct, and to achieve "painting in the word, there is a word in the painting", so that calligraphy as a "visual art" has a richer Express spatial and visual aesthetic factors. Classical Chinese calligraphy regards "moderation", "introvertedness" and "elegance" as the highest realm, boldly rubbing in some new elements in traditional calligraphy creation, making new explorations, adding new creative fulcrums, and trying to "rediscover" in creation Naturally encounter painting in calligraphy creation, and this encounter further enriches the expressive space and visual aesthetic space of calligraphy.
Du Fu's poems are four
Su Dongpo Chibi Nostalgia
Climb Chongqing Loquat Mountain at night
Su Dongpo water tune song head
Yang Wanli Xiao went out of the Jingci Temple to send Lin Zifang
Verses
Chairman's Speech Qinyuan Chun Changsha
Gong Zizhen Jihai miscellaneous poems
Self-improvement and virtue carrier
Wanderer groan
Cao Zijian Luoshenfu
Li Bai Wanglushan Waterfall
Li Bai early white emperor city
Tezzo Shinki
Su Shi Title Xi Lin Bi
Zhu Xi Chunri
Ten Thousand Volumes , One Window Link
Li Bai Huang Helou sent Meng Haoran to guangling
Zhang Ji Fengqiao night berth
Du Mu Mountain Trip
Su Shi's drinking lake on the first sunny after the rain
Heart Sutra
Song people small poems
Mr. Qi Gong sentence