Zheng Xuankun, name Zheng Lin, character Xuan Kun, number Wen Zhongxuan Lord. Grandson of national hero Lin Zexu VII; vice president of Lin Zexu Research Committee; domestic director of China Association for the Promotion of Peaceful Reunification; international registered artist; member of Beijing Municipal Ge Zhongshan Calligraphy and Painting Society; deputy secretary-general of calligraphy and art research society of China Yuelian Society.
Majored in calligraphy at Tsinghua University, a postgraduate course in calligraphy.
In 2005, Chief Executive Ho Hau Wah of the Macao SAR Government personally awarded the "Honorary Adviser" of the "Macao Lin Zexu Memorial Hall".
In 2012, in order to commemorate the centenary of the birth of the great proletarian revolutionary Xi Zhongxun, he was invited to participate in the xi Zhongxun calligraphy and painting exhibition, and wrote the calligraphy works of the ancestor Lin Gongze Xu Warning" "'The life and death of the country is to avoid misfortune and happiness because of misfortunes and fortunes", and was selected and received the honorary collection certificate.
In 2017, his calligraphy works participated in the Panama World Exposition and won the World Chinese Elite Meritorious Service Award in the art industry.
In 2018, the calligraphy works were selected by the American Postal Group, and the artistic masters on the stamps were printed into the "National Ceremony World Rare Mail" stamp album, which was issued worldwide.
On March 6, 2022, when the two sessions of the National People's Congress were held in Beijing, at the invitation of the Information Office Xinhong.com, the inscription (the name of the Xinhongwang website) at the same time to welcome the 20th National Congress of the Party, was invited to write the ancestral Lin Gongze Xu Quotation Motto (If there is tolerance is great desireless, then gang) the book was given to the deputies of the Two Sessions of the National People's Congress.
Zheng Xuankun's calligraphy style is still vigorous, up to the two Han Dynasties, inheriting Wei and Jin, inheriting ancient laws, innovating calligraphy styles, and changing writing forms, and his works have been recognized and appreciated by well-known enterprises at home and abroad, as well as friends. Zheng Lin's calligraphy works were donated by the China Association for the Promotion of Peaceful Reunification as a gift for overseas and the Unification Association to promote world peace and development and exchange calligraphy. At the same time, on behalf of the Lin Zexu Research Committee, he traveled at home and abroad to write the motto of the national hero Lin Zexu and carry out international cultural exchanges.
If you want to write calligraphy well, you not only need perseverance, but also need to grasp the method, only perseverance has no method, half the work, only the method has no perseverance, it is easy to give up halfway. Learning calligraphy is an artistic practice that needs to be adhered to for a long time. If you can adhere to the following ten principles, your calligraphy will definitely grow a lot.
First, start from the most basic strokes, lay the basic skills firmly, have a comprehensive understanding of calligraphy, and cultivate calligraphy as a hobby to cultivate your own sentiments. Calligraphy is an art, if you want to practice calligraphy to the point of pure fire, you need to invest a lot of time and energy, are you ready?
Second, learn to appreciate calligraphy, if there is no basic aesthetic of calligraphy, there is no need to learn calligraphy. Therefore, in the study of calligraphy, we must be good at pondering the inscriptions recommended by those predecessors, and discern which calligraphy is really good works on the basis of de-falsification and truth. Thus selectively begin to copy the handwriting and enter the basic part of learning.
Third, it is necessary to understand the connotation of fonts and chapters from the posters, as well as their common characteristics. Each calligrapher's font has its own style, as it is often said that "words are like their people". Choose a book style to practice in a targeted manner, gather your own writing habits, use the imagination of strokes, and write your own style, there is no need to follow the rules.
Fourth, combine your own personality characteristics to practice calligraphy and create your own calligraphy style. Calligraphy is an art, the literary and art circles hope that the blue is better than the blue, the same is true of calligraphy, it is best to write, seal, calligraphy, calligraphy and cursive writing, there is a kind of book body can write a high level, to achieve a specialty.
Fifth, to learn calligraphy, we must have a comprehensive understanding of the evolution history of ancient Chinese characters, for example, from what book style the seal book evolved from, and from which book style the seal book evolved. These need to be understood in the process of learning, and only when we understand these common senses can we grasp the correct brushwork and structure from their structure and strokes when copying.
Sixth, it is necessary to correctly understand the difference between the font of the stele and the font of the post. The inscription is the ancient calligrapher rubbing, after the engraver carved on the stone stele font, it is generally difficult to grasp the strength of the writing at that time and the operation of the pen, so it is good to find the flesh and soul of the font from the stele.
Seventh, we must be good at understanding the artistic conception of the whole work created at that time from the rules of the book style. For example, Ouyang Qian's "JiuchengGong Liquan Inscription" was created in what context. There is also what was the environment and background of Wang Xizhi's "Orchid Pavilion Preface" created at that time. If we find the origin of the story from these long-standing inscriptions, it will be of great benefit to us to appreciate and copy the work.
Eighth, we must often practice those difficult strokes, skillfully control the complex structure of the font, write a font that meets the aesthetics of the public, do not be innovative, put the cart before the horse, that will go astray, and finally write out of the font away from the origin of calligraphy.
Nine, we must practice the charm of the book, not the same stroke and painting. Only the form can be, if you can write about both the divine form, it is another realm.
X. We must attach importance to the rules and regulations, and write well but do not pay attention to the rules, just like the scattered soldiers. The chapter method is the highest form of expression of the calligraphy knot, and only by comparing the written font in a relatively complete chapter can the overall power of calligraphy be seen.
For those who study calligraphy, in the process of making a post, there are many situations that hinder our way forward and should be taboo. It is mainly manifested as the following six points.
First avoid assembly line operations. This is the most often encountered in the process of practicing words, and Mr. Deng Sanmu once jokingly called it "cold and fever". When you are happy, you can write a thousand words a day without tiredness, and when you are unhappy, you can put your pen on the pen and close for ten and a half days without thinking. Such a "three days to fish, two days to dry the net" practice, the results can be imagined. Song Mifu's "Haiyue Mingyan" "One day without writing, I feel astringent, thinking that the ancients did not try to eat waste books." Mi Fu still "thinks about it for a day without writing", let alone us? To learn calligraphy, we must first be able to withstand loneliness and have a spirit of perseverance. If you can insist on practicing words every day, fine water and long flow, you will definitely learn something.
Of course, with the faster and faster pace of people's lives, book readers often encounter situations where they are too nervous to post normally due to work or study. Is it impossible to learn calligraphy well? In my personal experience, it is important to learn calligraphy and read the post, and it is also very important to read the post, and there is no time to read the post. As long as you regard calligraphy as your closest lover, thinking about her and thinking about her every day, will you be far from success?
The second taboo is "one exposure and ten cold". Some scholars choose a copy of the poster and bury their heads in the study page by page until they are finished. When I was writing, I did not observe carefully at all, and I did not analyze and compare after writing. The words that come out of "Pro", whether they are written with pens or knots, are thousands of miles away from the words on the post. This kind of practice can only be called "copying". Sun Guoting's "Book Genealogy" Yun: "Those who observe it are still refined, and those who imitate it are similar." Therefore, we should be on the same page every day, and we must not be greedy. After more than a dozen times, I am more familiar with the original post, and then I can change a page. Before posting, you should read the post first (for the knowledge of reading the post, there have been many articles in the Chinese Pen Calligraphy, which can be referred to). At the time of the post, the mind is calm, the mind is concentrated, and strives to draw every bit from the original post, that is, to achieve a state of "forgetting oneself". After the post, when compared with the ancient post, figure out the gains and losses, and find the reason. If there are individual words that are always not well written, you can also put them forward for special writing until you are satisfied. Only in this way can we avoid the "copying" style of wrong posting method and make real progress.
Three taboos are "seeing different thoughts". Some people learn calligraphy, learn Yan today, learn Liu tomorrow, and change Zhao the day after tomorrow. So change back and forth, the post is a lot of pro, but often nothing. The post must be concentrated, and there must be no visible thoughts and half-heartedness. Of course, you can buy all the posts of the family (for example, Yan Zhenqing's Legal Posts are: "Oriental Shuo Portrait Praise", "Multi-Pagoda Induction Monument", "Magushan Immortal Altar", "Yan Qinli Monument", "Yan Family Temple Stele", "Self-Written Confession Post", etc.), with one post as the mainstay, learning from others, and insisting on it for a long time until "eating through", when there is success.
Four taboos are blindly pursuing "nature". Su Dongpo Shiyun "Poetry does not seek workmanship is not strange, innocence is my teacher", which is about the natural beauty of calligraphy. It is true that works rich in natural beauty, which look bland and simple, actually contain profound truth and beauty. Some scholars who have a certain foundation know that there is a so-called "nature" principle, so they blindly pursue "nature" and create works? It does not talk about the use of the pen, nor does it talk about the knot, it is all the author's "casual words", and there is no law to speak of. Mr. Zhu Yongfang once said in the 542nd issue of "Youth Calligraphy Newspaper" "Yanbian Travels": "Many people often blindly follow the word nature when they first learn books, and they do not know that they cannot do it at all. "Their understanding of nature is one-sided and ignorant. They do not know that behind the natural beauty, there is great power, skill and meaning.
Naturally, it must be based on a very traditional skill, with a very solid foundation of pro-post kung fu. Mi Fu's career in ancient characters lasted for forty years, and only after that did he form his own "naïve and messy" brush style. Wang Duo "forty years ago, the characters were vigorously fabricated, and forty years later, they had no intention of co-production, so they became everyone" (Fu Shan," "Frost Red Niche Collection"). It can be seen that the realm of nature should come from the fabrication, the rules. When we study calligraphy, we should first calm down, earnestly approach the post, meditate on thinking, and may as well have a little more "artificiality" and a little less "nature".
Five taboos are new. In the Dictionary of Chinese Idioms, it means "to show oneself, deliberately make another set", and Yu calligraphy refers to the deliberate pursuit of a "new, strange, and strange" thing. At present, there are frequent book contests of various titles on the mainland, but some contests have too much moisture. The "judges" of such a competition often do not know how to pretend to understand, and regard some so-called "masterpieces" that have no traditional skills but are very "strange" as "innovation", which also leads some scholars to not go on the right track. They selected the posters, and all the well-behaved models were not in line, and they specially selected the cold, damaged, and even strange glyphs of the inscriptions as models for studying books. They want to get "innovation" from these aspects in order to win "awards". This method of learning books, which refuses to start from a formal basis, will never have good results. Mr. Zhang Xuguang emphasized that learning calligraphy must first be in place, and then taste. Xi Gu should not be afraid of not being innovative enough, not modern enough, in fact, the more traditional, the more modern.
Six taboos retreated from the difficulty. In the process of practicing calligraphy, we will encounter the same situation, that is, when we first start practicing calligraphy, we will always make rapid progress. I will be very happy to see the continuous progress, and the more I write, the more energetic I am. But after a period of time, you will find that your writing is getting worse and worse, and even "regressing". This phenomenon is the most common phenomenon in the process of studying books, and some people liken it to a "plateau phenomenon". Many people were pessimistic and disappointed because of their "regression", and later simply "retreated despite difficulties" and put aside their pens and closed their hands to wash their hands.
If you want to break through the "plateau", you must first know the reasons for its occurrence. Practicing calligraphy is a combination of hand and eye, when I first started posting, the level of appreciation was not high, and the progress under my hands was very fast, so I felt that I had improved. However, with the passage of time, the level of appreciation will quickly increase, and the progress under the hand will always fail to keep up with the eyes, which is often said to be "the eye is high and the hand is low". The so-called "regression" is only that the eyes have been able to further see some of the characteristics of the post, and the hand is not skilled enough to grasp these characteristics, which is a very natural phenomenon, and there is no need to be discouraged at all, or even stop learning.
So, how to break through the "plateau"? The most important thing is to strengthen confidence, no matter whether it is progress or regression, we can grit our teeth and persist, and believe that if we pass this hurdle, we will definitely be in the dark. On this basis, the following methods can also be taken:
1, the side of the law. That is, you can put away the model you are facing, and then find a handwritten post similar to its style to write, after a period of time, and then change the original post, there will be new discoveries and experiences.
2, reading. When you can't continue to write, you can put away your paper and pen and read some calligraphy theory books instead, especially some books about the inscriptions you are facing, so as to enrich your knowledge and broaden your horizons, so that you can study further in the future.
3, rest method. If you encounter a time when you really can't write, simply put away the pen and ink and the writing post, do not want to write, put it aside for a week or two, and then continue to write, I believe there will be a new realm in front of you.
