Liu Wenhua on the National Exhibition: The number of people is too small!!! Works 2 seconds to determine fate?

Mr. Liu Wenhua spoke quickly, and when he talked about calligraphy, the whole person was excited, and even his eyes and brain flashed with wisdom.

The number of people entering the national exhibition is too small

Liu Wenhua, who has witnessed the development of Chinese calligraphy for more than 20 years, said that in terms of the number of exhibitors and the number of works, it has been at its peak in recent years. That's a great thing. It reflects the deep popularity of the national exhibition and the vigorous development of the current calligraphy team. However, due to the small number of people entering the exhibition, the competition was extremely fierce. Therefore, Mr. Liu called for an increase in the scale of the exhibition.

Liu Wenhua said that there were about 20,000 works exhibited in the sixth yang joint exhibition, more than 17,000 works in the second youth exhibition, and the number of entries in the exhibition was only more than 400 pieces, and the proportion was too small, which not only seriously affected the enthusiasm of calligraphy enthusiasts, but also affected the scientific and objective fairness of the review. According to Mr. Liu, due to the huge number, it is difficult for many people to check and re-check many people in the preliminary evaluation stage of many national exhibitions, most of which are decided by one person, and the fate of each work is determined in 2 seconds. If the scale of the exhibition is appropriately increased, it will reduce some regrets as much as possible for the national exhibition.

Talking about the selection of the just-concluded second youth exhibition, Mr. Liu revealed a lot of "inside information", I believe that it will have reference significance for those who actively participate in the national exhibition. If you lose, you may understand where you lost? If you're on the show, you probably know where you're winning.

For the first time, the youth exhibition review introduced an academic mechanism

The so-called academic mechanism, that is, after the review of a stage, the judges should conduct academic discussions, summarize and make corrections according to the work and problems encountered in the previous stage, and lead the review to depth. The introduction of the academic mechanism has maximized the guiding role of the judges, and effectively played a supervisory role for the judges, so that the individual voice is more and more subordinate to the direction of the team.

The introduction of this academic mechanism has made the judges' discussion very active, even to the extent of intensity. Mainly focused on the following aspects:

First, the simple horizontal taker, kill.

Regarding the horizontal style of students who are eager to make quick achievements (simply put, it is to learn the judges), the unanimous opinion of the jury of this youth exhibition is: kill. According to Liu Wenhua, Lishu is like Liu Wenhua and Zhang Jizhi, kill; Xingcao is like Nie Chengwen, kill; Seal Shu is like Wang Youyi, also killed. Of course, how to grasp the degree of this image, the judges have their own standards. For Lishu like Liu Wenhua, Mr. Liu clearly stated: Lishu learns from me, is this not not good to learn? I don't even know what I'm writing, and I'm constantly adjusting and changing. According to Liu Wenhua, the results of the youth exhibition were very miserable, and only one work won the award. And the seal book is bye.

If you don't change your brain, you change people. Liu Wenhua said that curbing the simple horizontal taking of the law is not the decision of one person, but the decision of the jury collective. I believe it will be beneficial to the contemporary book style of the future.

Second, spell out the sticky flower big sister works, take it.

Now the works participating in the national exhibition are not in the minority of works that fight and stick to the wind, and there are not a few works of flower big sister style. Appropriate beautification is fine, but overemphasizing form is wrong. Liu Wenhua said that some works are extremely capable of production, one is more than one flower. What's more, even the cursive strokes in the calligraphy content are stitched together. Liu Wenhua said that his judging position is that "the work should be sunny, have a clear atmosphere, clear and clear feeling", and "art is naturally revealed, not made." ”

Third, the question of modernism is the most fiercely debated.

Regarding the works with a modernist style, the judges debated the most fiercely, with two distinct schools of thought and very different views. One faction believes that since it is a youth exhibition, bold innovation should be encouraged. The other school believes that it is precisely because it is a youth exhibition that it is more important to seriously study the tradition. And in response to the use of the law and folk inferior products, excessive pursuit of fun, line modeling, frequent white ink, showing the image of ruin, we should resolutely suppress.

Liu Wenhua revealed that the results of this review have caused some masters to fall. One of the Hebei players, who won the first prize, lost the selection because of too much expression of small personality and play with small interests in the work. Judging from the selection results, there are significantly fewer large-character works with personality in this exhibition, and there are more neutral works, which may be related to the judges' eyesight. The works of the first prize of this youth exhibition are basically all small characters, all in the style of the second king. This makes the overall exhibition works appear slightly flatter, and it cannot be regarded as a small regret.

Regarding daring to break through and learning traditions, Liu Wenhua advocates learning traditions. "Wear the shoes of the ancients, go your own way", "Use the money of the ancients to build your own house". Don't talk about innovation and personality easily. "We must look at the post from the perspective of creation, and look at the creation from the perspective of the post", and study the ancient classics in depth. Change from the ancients to the ancients. Ancient inscriptions are alive and alive. And we are going to re-inject them into the state of life. According to Mr. Liu, this time a work in the style of Writing Chapter Grass in Chinese Cursive was on the top; a work in the style of writing Yan Zhenqing's seat was also on it. Because it's too little. It's also an encouragement.

After Mr. Liu Wenhua read this post, he entrusted the teachers of the China Book Association Training Center "Three Idiots" to make three supplementary explanations to the above content, so as not to be misread:

First, on the issue of "2 seconds of preliminary evaluation of the national exhibition review".

Teacher Liu Wenhua (including many national exhibition judges have talked about it) said that the initial evaluation of a work is also "2 seconds", this "2 seconds" is not absolute, but an average speed for all preliminary evaluation works: for some works that are very rudimentary, have a poor calligraphy foundation, and do not know what calligraphy creation is (such as "Jianghu characters" and "blind writing"), the judges can "know at a glance" when judging, this speed may be "1 second" (the so-called one second, generally refers to fast, do not "time" a second) For some good works with a good level of creation, the judges can also "know at a glance", and this speed is only a second; and for some works that have a certain creative ability and some "defects", no one will say "up" or "down" to such works, but after discussion, and even cause controversy, the evaluation process for such works may be as short as "three or five seconds", or as long as "three or fifty seconds".

Second, on the issue of "one person has the final say".

Brother Muyun's phrase "one person has the final say" is easy to misunderstand. The so-called "one person has the final say" means that when the national exhibition review is in the preliminary evaluation, for some works that can be up and down, a group of judges, as long as any one of the judges agrees, can pass the preliminary evaluation, so as to smoothly enter the re-evaluation. This is precisely to ensure the "good killing of good works" and to give more entrants a "chance to enter the exhibition" judging method. Therefore, in this regard, book friends must not mistakenly think that "one person has the final say" means that one person who fails to choose the work has the final say. Instead, in the preliminary evaluation, any judge can enter the re-evaluation with the consent of any judge, which is "protective" and "relaxed" for the author. Not a "bad thing".

Third, on the issue of "horizontal method of general killing".

Teacher Liu Wenhua said that the evaluation committee of the Second Youth Exhibition proposed not to treat "the works of contemporary people" well. The so-called "killing" in this regard is not absolute, but for some so-called works that obviously have no creative ideas of their own, obviously copy and even copy the so-called works of contemporary masters, and obviously have "speculative behavior", they are treated with "no mercy". Because in order to truly guide the vast number of calligraphy writers towards the correct and future path of learning books with a certain height of their own, to truly promote and prosper the creation of contemporary calligraphy, it is also necessary to "take the law from the top" as the best policy, strive to learn from the ancients, and after having certain experiences and ideas, it is completely possible to learn from and learn from contemporary people; conversely, it is completely possible to study and analyze how successful contemporary calligraphers learn from the ancients and use their methods to trace the "ancient classics". However, it is firmly discouraged from just blindly copying "contemporary bookmakers". Therefore, the so-called "general killing" is the former of the cloud.