Takagi Seisei, a famous Japanese calligrapher, a member of the Nikko, an honorary member of the Xiling Printing Society, won the "Nippon Exhibition Member Award", enjoyed a high reputation in the Japanese calligraphy community, and came to China many times to exchange calligraphy. His father was the famous Japanese calligrapher Mr. Takagi Seikoru.
The old ancestors thought that to learn the classics, the words should be able to see the classical things, but Chinese calligraphy is not enough in the inheritance of tradition, so I do not care much about the current Chinese calligraphy. The so-called avant-garde calligraphy, China and South Korea are more involved in this aspect, and there was such an avant-garde calligraphy movement in Japan about thirty or forty years ago, and it has failed at that time, so we return to the classics.
In terms of the general direction, Japan has two parts, one is the Yomiuri Shimbun and the other is the Mainichi Shimbun, which is the calligraphy meeting of two news organizations. The calligraphy of the Daily News will follow the modern route; the Yomiuri school is respectful of the classics, and if you do not feel your traditionality, you will be expelled.
There is also a situation in Japan, for example, you can't write calligraphy at all, but you always perform on TV, and we are very repulsive to this kind of behavior. Although these people are opposed by us, they are of great significance to the development of calligraphy as a whole, because they have also played a certain role in the popularization and publicity of calligraphy.
Of course, the tradition is not limited to Wang Xizhi, nor is it limited to time, and the things that have been discovered or continuously unearthed before, such as epitaphs, Han Jian and Shu Shu, etc., we also think that they are traditional, can be absorbed. For example, people who study Wu Changshuo's calligraphy know that Wu Changshuo has also learned Wang Xizhi, these are classical things, then we will also learn Wang Xizhi, and after learning, we will come to see Wu Changshuo.
No matter what you learn, as long as it is traditional, classical, even if it is newly unearthed, it can be learned. Now some people do not study the classics and completely abandon the classics, which we cannot accept. Japan has such a saying that complete expressionism is not right.
About the difference between the Sino-Japanese calligraphy exhibition. In Japan, your calligraphy status is established by your artistic level, and it is with your calligraphy art that you have your calligraphy status. China is different, what kind of status China has to have what kind of calligraphy.
We used to hold an exhibition of 100 people in China and Japan, and at that time, 100 people in Japan were all professional calligraphers, and in addition to some leaders of the Calligraphers Association in China, there were also some people in the People's Daily, the Economic Daily, the cultural circles, the political circles, and some people in the financial circles... It can be seen from this that Japan's exhibitions in this regard are very professional, while China's is not pure.
The calligraphy of a scholar or a senior monk, although not necessarily well written, is not meaningful, because he has formed his own style through his own learning, and the calligraphy of these people will feel more special, not necessarily professional calligraphy, but he is the calligraphy of scholars. Japanese people often ask whether beautiful calligraphy is better or better than tasteful calligraphy. If Japan holds a large-scale exhibition, when you take the work, you write one, but if you want to write a hundred, five hundred or even a thousand, choose one of them, then it must be the best to write, but whether it has a taste, it is difficult to say.
I love Rice Bowl, which I started teaching when I was teaching in college. Mi Fu is the navel eye of Chinese calligraphy. The upper can be traced back to Wang Xizhi, and the lower can be extended to Dong Qichang, Wang Duo and many others. Yan Zhenqing's cursive writing must be learned.
When I copy mi fu, I will definitely copy it faithfully at first, and then I will come back. When we first went to college, when the teacher taught us, we were asked to write in the meter grid with the facsimile without any mistake, and then use the ruler to measure, and the stroke of the facsimile was about a few centimeters, and the amount of control was almost a little worse, so it was necessary to take it back and rewrite, and now that I think about it, it is a very meaningful experience. After a year of study, the method was learned and a good foundation was laid. There are very few people who copy it like this now.
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