The discussion of "beauty" and "ugliness" in calligraphy creation has always had different views and opinions, and there is a genre called "ugly book". Calligraphy, as the essence of the country and the symbol of Chinese national civilization, cannot leave the united states and talk about calligraphy under any circumstances. As a calligrapher, we must continue to create a more beautiful calligraphy art on the solid basis created by our predecessors, dedicate it to the society, dedicate it to the people, dedicate it to history, and make the calligraphy art constantly innovate and develop.
However, in the current colorful calligraphy world, and even in the painting world, we often see some works, painting poor mountains and bad waters, silly trees and ugly people, writing that completely destroys the structure of Chinese characters, not to mention brushwork, ink method, and chapter law, can this be called Chinese calligraphy? It may also be another type of art, art outside the scope of calligraphy. Since it is not a written text, it cannot be called the art of calligraphy.
Because the art of calligraphy must be based on words as a carrier, there must be a perfect text structure, a skillful method of pen movement, a coherent momentum between lines, and a proper overall chapter, the art of calligraphy is to create "beautiful" works, and calligraphy must not be led to the evil road of creating "ugly". The times are developing, our economy is constantly developing, and our culture and art must also keep up with the pace of the times.
As far as the art of calligraphy is concerned, it is generally divided into two elements, one is the practical art type and the other is the pure art type. Both are pursuing a higher artistic realm for different purposes and in different directions. Teacher Liu Bingsen has spoken about this issue many times, and many comrades also hold different views.
Personally, I believe that since calligraphy is to create "beauty", it is necessary to respect the habits of national appreciation, continue to innovate and develop on the basis of inheriting the traditional calligraphy art, explore new era styles, form a distinct personal artistic style, and continuously meet the needs of the broad masses of the people for the appreciation of calligraphy art with the beauty of the text structure and the law of pen operation, and at the same time, improve the aesthetic ability of the majority of appreciators.
When visiting a calligraphy exhibition, it is sometimes very touching to see a certain work. Attract people's attention, make people have emotional vibrations, and make people reluctant to leave for a long time. Later, I analyzed why such works can be touching and attractive. For example, Wang Xizhi's "Orchid Pavilion Preface" makes people tired of watching, which is the vividness of the work at work.
So, how does the vividness of calligraphy works manifest itself? The vividness of its one-point scratching structure image, the vividness of its two works through the chapters, the vividness of its three-point sense of stroke, and the vividness of its four-way ink rhyme.
In the creation of calligraphy, I began to work the vividness of the works, with the goal of continuously improving the vividness of the works, to measure each of my own works, to continuously improve the level of creation, to carry forward and inherit the traditional Chinese culture into a force, a light.
About the creation. For many years, until now, I have been studying and thinking about this problem. The great scholars of ancient and modern times have emphasized that it is necessary to "teach the ancients not to mud the ancients" and to "push out the old and bring out the new" This is a scientific saying. Some people say: "Those who learn from me are born, and those who are like me die" is reasonable. For the laws of nature change in the development of motion. The same is true of the evolution of the art of calligraphy. We are talking about the inherent laws of calligraphy. Innovation must first be familiar with the evolution process of ancient law and its characteristics of the times, and then the concept of its creation and its expression method. This process requires erudition to enrich one's understanding of calligraphy and expressive skills. Such as the upright and generous face of Yan's body, Wang Xizhi's Qingxiu Huimiao, Zhao Mengfu's roundness, Wang Duo's swaying and multi-faceted, Yu Ren's center-forward living pen, and the mysterious way of his body.
Treat these characteristics as "elements" in mind, remember them firmly, and practice them continuously. As a deft use of ideas and expression techniques for future creation, it is organically reflected in his own works.
Du Bing Jian (都兵剑), the lord of the Lying Cow Zhai, the head of the Jianlan living room, is a famous contemporary calligrapher, and his calligraphy works are called "Bing Sword Calligraphy". A fellow of the Republic of China, he was born at the top of Taihang In Lingchuan, Shanxi. After 20 years of military service, he founded the Beijing Hongdu Academy of Calligraphy and Painting to study, explore and inherit and carry forward traditional Chinese culture. He has published calligraphy collections such as "Hanmo Sword Love", "Bing Sword Calligraphy Collection", novella "Traces of Time", essay collection "Song on mobile phone" and other literary and artistic works.
Mr. Feng Zhiliang, a distinguished professor of Peking University and a scholar of surname culture, once gave a poem by the famous calligrapher Woniu Zhai Master Du Bingjian Teacher Seven Words and Laws: "Linchi has not quit for fifty years, and the ink of the milli-cone is like a disc star; the ashram Yazhai reflects the bright moon, and the Taoist law does not depend on the breeze." There were already three thousand guests under the door, and there were 100,000 soldiers in their chests; they did not ask about the troubles of the world, but only listened to the songs of the world. This poem objectively proves the noble character of the Woniu Zhai Master Du Bing Jian Teacher as his person and the teacher of the teacher, and also embodies the superb skills and perseverance of the Wo Niu Zhai Master Du Bing Jian Teacher in calligraphy and literature, and also reflects the noble quality of the Wo Niu Zhai Master Du Bing Sword Teacher Tao Li who is full of the world and is not disturbed by the world.