Ancient and modern careers, university inquirers, do not go through three realms: "Last night the west wind withered the green tree." Go up to the tall building alone and look at the end of the world. "This first realm also." The belt gradually widened and finally did not regret it, and was haggard for the people of Ishwa. "This second realm also." The crowd looked for him a thousand times, and looked back, but the man was in the middle of the light. "This third realm also. These three realms are the three sentences of the late Qing Dynasty scholar Wang Guowei's "Words and Sayings on Earth". Here he quotes the words of the ancients, vividly breaking the three realms that "becoming a great cause and a university inquirer" must go through, and it can also be said that it is a trilogy of artistic creation. Calligraphy art creation is similar to this.
The realm of calligraphy creation can also be described as three:
First, seek to find, deliberately seek truth
After immersing themselves in the study of the artistic experience of the former sages and extensively studying and exploring the exposition, the calligrapher is most concerned and most distressed by the search for a calligraphic language that expresses his imagery disposition. He wants to create ideal calligraphy works, often seeking his own way out between the gaps of various styles of ancient excellent calligraphy works, looking for styles and techniques to express his temperament. Taking the creation of the Kaishu as an example, he wanted to create a work that expressed the solemn and upright content, at this time, Yan Zhenqing's "Oriental Shuo Portrait Praise" and "Yan Family Temple Stele" and other works may have been first shown in his brain. This may follow with works such as the Northern Qi "Manjushri BanruoJing Stele" and "Lü Wangbiao". The works of Su Dongpo in the Song Dynasty, Yelü Chucai in the Yuan Dynasty, He Zizhen, Qian Nanyuan, Weng Tonggong and others in the Qing Dynasty will naturally pour into the screen of his image thinking. These various calligraphy works of art under the majestic and solemn banner are inspiring, enlightening, and drumming his calligraphy inspiration, inducing the pen in his hand to pursue a majestic and thick style. The works produced at this time may be brand new calligraphy works based on Yan Lugong's artistic style. Such a work is neither Yan nor a large platter of Yan body, but another branch of the Yanshu genre. If he wanted to create a fresh and beautiful and uninhibited calligraphy work, he might be able to swim between the artistic styles of Wang Xizhi, Wang Xianzhi, Zhiyong, Yu Shinan, Ouyang Qian, Chu Suiliang, and Pei Shouzhen. The works of Zhao Tuo, Li Jianzhong, Zhang Jizhi, Zhao Mengfu and others will also have a beneficial impact on him. When he wielded the Han Dynasty, he might not know the Jin tang, regardless of the Song and Yuan dynasties.
In this realm, on the one hand, the creator carries a heavy traditional burden, strives to pursue the posthumous meaning, the ancient meaning, and pursues the pen and brush with a history, and the pen is not vain; on the other hand, he constantly analyzes, synthesizes, selects, and captures the ancient law, looks for his own book, and looks for the self in the gesture and rhyme. It's a painful and long process. In the first realm, many calligraphers should be said to be more in the search for themselves in calligraphy techniques. They are confused, confused, and confused, trying to get out of their way. Sometimes they are enlightened and confident; sometimes they are confused, discouraged, and overwhelmed. The difficulty of this realm lies in this. Most of the great scholars of the ancient mainland have found a way out in this realm. Mi Fu's "Linzi" and "Jizi" are examples of entering the first realm. The formation of He Zizhen's Yan body style of writing in the Qing Dynasty was also in this realm. Mr. Yu Youren, a master of modern calligraphy art, "went to the stone door inscription and wrote twenty pieces of calligraphy." The poem "Night and Night Tears Wet Pillow" is a portrayal of the hardships of his entry into the first realm of calligraphy creation. His extremely personal calligraphy works are the milestones of his calligraphy art creation entering the first realm.
Second, break through tradition and constantly deny yourself
The traditional laws and procedures not only give the writer an example of beauty, but also limit the expression of the book's personality. The sigh of the wise scholar "All the ancients, where am I" (Mr. Liu Zizhuo's words to Mr. He Bozhen) naturally arose. Therefore, the new process and new realm of finding oneself, perfecting oneself, and breaking through the ancients began. This is the most arduous realm in calligraphy creation.
Mr. Li Luogong once said: "As a person, you cannot cross the river and tear down the bridge, and you must cross the river and demolish the bridge to engage in art." "Only by 'crossing the river and demolishing the bridge' can we create a new epoch-making work of art." Crossing the river and demolishing the bridge" is the process of denying the ancients and breaking through the ancients. The creative calligraphy masters of ancient times were all good at "crossing the river and demolishing the bridge". Wang Xizhi's writing and cursive writing have got rid of the rules of lishu and calligraphy since the Wei and Jin dynasties, and the writing is flowing and continuous, and the air and calmness are exuded between the dots and lines, which is actually a "crossing the river and demolishing the bridge" of the previous generation of calligraphy. Wang Xizhi was a master of calligraphy innovation in the Eastern Jin Dynasty. After the Song Dynasty's "Linzi" and "Jizi", He tried his best to "brush the characters", and his works such as "Duojinglou Poems" are the artistic achievements of him breaking through the barriers of the ancients, finding himself and perfecting himself. Zheng Banqiao's "Six and a Half Books" of the Qing Dynasty is also the product of breaking down traditional theories and pursuing self. In the late Ming and early Qing dynasties, such as Ni Yuanlu, Zodiac Zhou, Fu Qingzhuo, Wang Juesi, Zhu Yun and other masters, they also pursued the embodiment of self-calligraphy consciousness. It should be acknowledged that they have found themselves different from those of the ancients and have worked hard to perfect it.
That is to say, in this realm, the scribe must not only break through and deny the ancients, but also constantly deny the self, deny the self that carries the burden of inheritance. Mr. Yu Youren's early calligraphy has the brushwork of Zhao Mengfu and the gestures and gestures of Zheng Banqiao, which can be seen that he is looking for his own calligraphy language. After that, he looked for a way out in the Wei Monument and continued to find his own calligraphic language. Until the emergence of works such as "Right Ren Ink Edge", it should be said that he found the language of his own writing, and found a broad, strong, and masculine beauty of his self. But after all, he is a master of calligraphy who is constantly improving, and he is looking for his own way out and his own language in cursive. After screening a large number of ancient cursive works based on the criteria of "accuracy", "beauty", "easy to read", and "easy to write", he first found a calligraphic language that was common to the ancients. Then he continued to refine and sublimate in the aspects of cursive gesture beauty, character posture beauty, and qi rhyme beauty, and finally formed his own unique cursive style around the age of 60, which was praised by calligraphers at home and abroad as "Grass Sage of the Kuang Dynasty".
The experience of calligraphy masters of successive generations tells us that the rise of a generation of calligraphers must not only dare to break through the tradition after inheriting the tradition, but also have the courage to constantly deny and break through the self, and improve the new self on the new basis. To this end, there must be the spirit pointed out by Wang Guowei: "The belt is gradually widened and there is no regret in the end, and the people of Yi are haggard." ”
Third, where love is concerned, I forget everything
"Zhang Xu's three cups of grass holy legend, taking off his hat and revealing his head to the prince, waving the paper like a cloud of smoke." Zhang Xu entered the best realm of calligraphy creation, "the change of all things in heaven and earth, gratifying and shocking, a dwelling in a book". It is precisely because of this that his calligraphy has reached the highest realm of "changing ghosts and gods, and it is impossible to see". When it is sprinkled with a little dye, it really reaches the point where the heart forgets the hand and the hand forgets the law, which is purely innocent and natural. "Book for heart" is only at this time the most perfect embodiment. Huai Su also entered this realm, he "powder wall corridor dozens of rooms, xing lai small open chest in the middle." Suddenly, there were three or five shouts, and the walls were full of tens of millions of words." "Rushing to the line, the full seat lost its voice and could not see it." He entered the role of selflessness. "The pen only looks at the current, and the word is only afraid of the dragon." "Drunk letter two or three lines, but when you wake up, you can't read books." "The palmist is strange, and the strange shape is appropriate. Everyone wanted to ask about this, but Huai Su said that he didn't know it at first." It is not said in the "Self-Narrative Post" that Huai Su is really drunk to write a book, but he depicts Huai Su's drunken mood when he writes and ink, which is the best realm of creation, the best creative realm of forgetting the traditional method and forgetting himself.
When you are obsessed with calligraphy, the third realm is conceived under your pen. When you enter the third realm, "where you love, I forget everything", you may not understand what you are doing, let alone realize that you have entered the best state of artistic creation. Isn't this how book saints, book fairies, book demons, book freaks, book monsters, and bookworms arise? Just as Sun Xingren finally came to fruition after 9981 difficulties, he still thought that he was still a monkey of Huaguo Mountain. Monkeys become Buddhas, and the truth of artistic creation is about the same.
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