Heavy | write the big book in my chest: Liu Bingsen from high antiquity to elegance

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Heavy | Write the Great Book in My Chest: Liu Bingsen from High Ancient to Elegant

Liu Bingsen wrote "Maintenance of The Remains of the Ming Dynasty Beijing City Wall".

Liu Bingsen (1937-2005) Zi Shu An, Hai Village, as a child, called himself Mr. Liu Wu. In the summer of 1962, he graduated from the Department of Fine Arts of Beijing Academy of Arts with a bachelor's degree in Chinese Painting and Landscape Painting, and in the autumn of the same year, he went to the Palace Museum in Beijing to engage in copying and researching ancient legal paintings. He once served as a researcher of the Palace Museum in Beijing, vice chairman of the Chinese Calligraphers Association, vice chairman of the China Federation of Literary and Art Circles, vice president of the Buddhist Association of China, standing committee member of the National Committee of the Chinese Political Consultative Conference, chairman of the Calligraphy Education Professional Committee of the China Education Association, distinguished professor of the Correspondence University of Calligraphy and Painting of China, consultant of the Japanese White Fan Calligraphy Association, consultant of the Japanese Calligraphy Research Spring Association, and member of the 21st Century Committee of Sino-Japanese Friendship.

Liu Bingsen's calligraphy is known for his affiliation and kai, and he is also known as a long line and a grass.

On the basis of solid traditional skills, Lifa has given full play to its own creativity, using modern aesthetic consciousness and participating in some of the rhythms and tastes of sister arts, coupled with literary literacy, forming a distinct personal style, which is unique in the contemporary Chinese book world, known as "Liu Ti Lishu".

Lishu is based on the Lishu of the Han Dynasty, which is divided into two stages: the Western Han Dynasty and the Eastern Han Dynasty. The style of the Western Han Lishu is simple, the wind god is close to the seal, relatively ancient, "elegant"; the Eastern Han Lishu tends to be neat and beautiful, relatively "customary". Liu Bingsen's book is mainly based on the "Huashan Temple Stele" and "Yi Ying Stele", and the appearance is very similar to the second stele.

For the "Huashan Temple Stele", the comments of predecessors cannot be consistent.

Qing Zhu Yizun in the "Xiyue Huashan Temple Stele" Yun: "There are three kinds of Han steles: one kind of square rectification; one kind of flowing beauty; and one kind of qigu. Only Yan Xi's "Huayue Monument" became a good fit, and there was no jing, and the length of the three should be the first product of Han Li. ”

Liu Xizai said in the "Outline of Art" that "if the "Huashan Temple Stele", the side is thin and lush, and the Liu Li is frustrated, which means that it is especially inexhaustible." ”

Kang Youweiyun: "There are many Han fen good people, if the "Huashan Temple Stele" is really inferior, the ancient qi has been extinguished, and there is not much beauty in the posture." ”

Guo Zongchang said: "Before the seal was cut, the time or flesh won, and the ancient and the present were made for the Sui and Tang dynasties." ”

The "Huashan Temple Stele" we see is wide and flat, the wave painting is clear, the structure is compact, the characters are symmetrical, and the chapters and whites are also extremely even, which is undoubtedly the standard book that completely gets rid of the seal book. Zhu Yizun's so-called "square rectification" and "fluent beauty" are quite capable, while "Qigu" is purely imaginary. Kang Nanhai's "Chungu Qi has been extinguished" is quite pertinent. Therefore, "Huashan Temple Stele" is purely a beautiful and gorgeous Han monument, and it is a representative work of mature Han Li.

Another Han monument that Mr. Liu loves, the Yiying Monument, is similar to the Huashan Temple Monument and is a complement to his style. Although Liu Bingsen also studied other styles of Han stele such as "Zhang Qianbei" and "Ode to Shimen", his absorption was very cautious, and he studied "Zhang Qianbei" only to overcome the floating of "Huashan Temple Stele"; and the study of "Ode to Shimen" was to overcome the restraint of "Zhang Qianbei".

Mr. Liu Bingsen's Yan Body Letter is also praised by the world. Yan Ti Kai shu has always been the calligraphy avenue of the two kings in parallel. It has also been studied for generations and has become a style. Such as Su Shi, Qian Nanyuan, He Shaoji, Hua Shikui, etc., all of them are proud of the current world, and Mr. Liu Bingsen's Yan Ti Kai Shu takes the Fa family, becomes its own style, dignified, majestic, and atmospheric, extraordinarily gorgeous and Huazi, which is pleasing to the eye.

Liu Bingsen's book "Maintenance of the Remains of the Ming Beijing City Wall" is super Qing appreciation

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