I think this question should be viewed rationally, and there are several types of people who say that Tian Kai is not good. Which one do you think is more?
The first type, the troll type
This type of person has some calligraphy foundation, but it is not solid, and it also has a certain aesthetic sense and artistic angle. But they spend too much time commenting on other people's calligraphy, and it is still a follow-up evaluation. Others say good and they say good, others say bad, they will also criticize and even insult, this kind of person exists in every era, do not be surprised.
The second type focuses on theoretical types and some calligraphy practitioners
People who focus on theory have good knowledge of art theory and cultural theory, and they have a lot of research on ancient calligraphy and painting art and even Western aesthetic art, and their evaluation is from the perspective of art, not practicality. The practicality of Tian Kai is beyond doubt, especially in the field of education, and its influence is relatively wide.
People who focus on art theory also have a certain calligraphy foundation, but their calligraphy foundation is to serve theory, and the objective component of evaluation is still relatively large, after all, it is reasonable and well-founded.
There are also some calligraphy teachers, because they are influenced by epigraphy or seal calligraphy, their artistic appreciation ability is also relatively high, and naturally they will not be particularly welcomed to Tian Kai. Of course, the level of calligraphy art cannot be based on the quality of calligraphy, because calligraphy art is a systematic discipline, not a good or bad calligraphy can be represented, it can only be one of the reference conditions.
The third type, profound calligraphy for everyone
This kind of person basically rarely comments on other people's calligraphy, basically looks at it, and makes a psychological number. If you really can't read it, there will be a few words of comments, and there must be comments in place, hitting the point, but few people can understand it.
In addition, after all, they are all insiders, and they will not accuse each other of defects, after all, calligraphy culture and art have connotations as a basis. On the contrary, a certain brother pointed out and criticized other people's calligraphy as ugly books for some purpose, and publicized it. Somehow, I don't understand. And don't ask the other party to have the ability to write a look, more than Nita to say, this word works for the trolls, the experts who practice calligraphy are not good, there are people who write well, the level exceeds theirs, and more than a few, I myself have seen a 29-year-old girl in the Script European body, the level is not lower than their brothers, and there is a little more ancient taste.
Can Nita's calligraphy be passed down like the calligraphy of the ancients?
I personally feel that it cannot be passed down, even if there are so many contemporary calligraphers, there may not be anyone who can pass it down. Whether a person's calligraphy can be passed on requires the following degrees of recognition to be able to circulate.
Social impact
Regarding the social influence of calligraphers, we can give some examples of ancients, such as the Wang Xizhi family, which was one of the four gate valves of the Eastern Jin Dynasty, and the social influence needless to say. Tang Kai pioneers Ouyang Qing, Yu Shinan, Yan Zhenqing, Chu Suiliang which one is not a high-ranking official? Most of the famous scholars of the Song, Yuan, Ming, and Qing dynasties were also officials. It's not that the flat-headed people don't have a master, it's that you don't have a chance to show it. The status of the two teachers in 22 fields is relatively awkward in society, and the crowd who love calligraphy education admires them, which is deserved and correct. However, on the other hand, the art school that advocates innovation does not take the two people seriously, and describes Nita's calligraphy as a printed body, which does not have artistic characteristics. So in terms of influence, there may or may not be. As for the future, it depends on what the art of calligraphy is focused on, if you focus on education, their influence will also arise, and if you focus on art, I am afraid that there will never be a day of emergence.
Contributions to the art of calligraphy
A qualified calligrapher must have a historical contribution to calligraphy, Andada has a certain contribution to the road of calligraphy education, and also has a certain contribution to the promotion of European calligraphy (the standard teaching materials we usually use in calligraphy and the promotion of European calligraphy, both of them have a certain contribution, which cannot be erased). But the degree of contribution is not up to the level of artistic contribution. For example, people like Wang Xizhi Yan Zhenqing, their contributions to calligraphy and the theory of later generations are beyond our reach. It is only natural that their calligraphy can be passed on.
Sense of innovation
Nita has very little sense of innovation, and very little other contemporary calligrapher can achieve this (so there is no need to disparage the two of them on this issue, all calligraphers are similar). Zhang Zhi, Zhong Xuan, Wang Xizhi, Wang Xianzhi, Zhang Xu, Kai Shu si and Song Sijia Their works can be widely circulated and accepted, which is absolutely inseparable from innovation. Without their innovative theories, techniques and creative methods, where did the calligraphy art of later generations contend? Regarding the sense of innovation, it is also a question that contemporary calligraphers and enthusiasts should think about, and it is imperative not to be imprisoned by traditional laws, and it is imperative to abandon the original post and create with a personalized spirit under the framework of the basic law.
Personal mindfulness
This is the most important hard indicator for calligraphers, and the mind can reach the path of creation. It was precisely because the ancients were influenced by the philosophical views of Confucianism and Taoism that they were able to better possess this spirit. And our modern society is far from the spirit of Confucianism and Taoism, so how can we create works of art with a personality spirit? I don't know nita's personality, and it's not convenient to comment on right and wrong, so let's leave it to future generations to comment.
Is Nita's calligraphy an advance or a regression?
At a book lovers' exchange meeting last week, a young man wrote me a question, he said: Is the calligraphy of Nita today an improvement or a regression? At that time, I was a little confused when I heard this question, after all, the calligraphy controversy against Ertian is relatively large now, and everyone's opinions are different, and it is like water and fire. Later, I thought about it and gave him some opinions of his own.
First of all, Nita's letter represents neither progress nor has anything to do with regression. The contributions of the two are obvious to all and cannot be buried. The basic skills of the two of them are excellent, although there are competitors, but there will not be too many. Of course their characters can be called calligraphy, absolute standard calligraphy. It can be promoted for educational purposes. But it cannot become the art of calligraphy. It cannot be promoted as a hair art. It can only be said that their words have just formed the basis of the art of calligraphy. This is a problem that many people do not understand, people always think that beautiful words, fine strokes are the art that everyone praises. In fact, this is only the most basic element, the deeper artistic expression is that each artistic image must appear in a specific perceptual form, the external form and internal characteristics of people, events, scenes and things in life are truly expressed through the fusion of strokes and temperament, there is flesh and blood, sound and color, so that people have a vivid sense of reality. Take a good look at the "Orchid Pavilion Preface", and you will know the distance between Ertian's calligraphy and artistic expression.
The Nita brothers were diligent in the inheritance of calligraphy and made great contributions to the popularization of calligraphy. I often appreciate their words when I am fine, and their words are very well structured. All the calligraphers who appeared in this era had their own meaning and value, and the existence of Nita calligraphy belonged to their meaning within the purpose of calligraphy. Their presence has also set an example for us, so to say that it is a little naïve to comment on whether to make progress or regression at their level of writing.
Of course, I also advise those who deliberately insult each other, there is no benefit in attacking and degrading each other, only to concentrate on learning calligraphy, is what we need to do, who progresses, who goes backwards, that is their own problem, we can look at the problem, we can analyze, but the ultimate purpose is to make themselves better appreciate the art of calligraphy, right?
Many people worship and learn their characters, which is not a bad thing, but rather Nita's contribution to calligraphy. Getting started with their words, immediately switching learning objects and catching up with the ancients is the right way, and Nita's task and contribution are guidance and indispensable. It's just that as lovers of culture and art, we must have enough rational analytical ability to learn, not to follow the trend of who is good to learn who, others praise, you also praise, others scold, you also scold. Only by understanding more about the aesthetic knowledge of art can we deeply understand the connotation of the beauty of calligraphy art.
In this era, it is really knowledge that is the hard indicator. If they don't have it, they can either just shout at others, or they are unreasonable and insulting. The lack of self-awareness is terrible. It is respectable to study hard and strive for improvement.