China Calligraphy Daily, No. 364, 7th edition, 365th edition 4th edition
Judges talk▼
Dai Wu: Young Feng Qing yu Lao Fengsheng
The Ninth Exhibition of New Works by Newcomers in the Chinese Book Circle has greatly improved its artistic standards and aesthetic height compared with previous editions. After years of system construction, the exhibition review of the Chinese Calligraphers Association is rigorous and meticulous, the planning is scientific, and the judges, supervisors and academic observers perform their duties and dedicate themselves to their work. The exhibition of new works by newcomers in the Chinese book world has an increasingly extensive influence and the continuous spread of artistic appeal, which has promoted the improvement of the level of creation and played an extremely important role in promoting the development and artistic exchange of calligraphy and seal engraving. The Chinese Calligraphers Association put forward the creative concept of "rooted in tradition, encouraging innovation, both art and literature, diversity and inclusiveness", encouraging the majority of calligraphy lovers to recount traditions and carry forward positive energy.
Seal carving and seal book creation have played a fixed role in guiding the development of seal carving and seal book in terms of returning to classics and improving cultural quality with the concept of excellent tradition. The diversity of forms and styles of new works of newcomers presents more wonderful creative modes than before, visual energy impact, great thought shock, and important spiritual enlightenment. It reflects the different learning and creative directions of the majority of authors. Although the level is uneven, it shows the strength of unlimited efforts to open up.
Song Lefeng (Xinjiang)
In the current edition of the seal book review, some works do not seem to have far-reaching knowledge, printed word by word in connection with the original interpretation, found a lot of basic problems, in the seal, some authors will be the seal book side and structure arbitrarily transferred, borrow pen to save pen, subjective assumptions, does not conform to the ancient character of the knot seal law. In his creation, he prefers to use strange and strange characters with unique glyphs. It is recommended that the author must choose carefully when using ancient characters, otherwise it will cause ambiguity in the reader's understanding and even lead to the elimination of the work. Blindly seeking a variety of side text, the printing screen inscription is not good, the inscription is too large, there is not much cultural and historical information, and the "jianghu flavor" is strong, which is essentially caused by the shortcomings of the technique and the exhaustion of the aesthetic, which impacts the pattern and theme of the printing surface, and objectively reduces the overall efficiency of the work.
Of course, we also need to strengthen the overall emphasis and improvement of text cultivation in the application and creation of seal carving and seal book, find the traditional road of tranquility and far-reaching, broaden the scope of materials, and pursue the ancient and new artistic style for the author to be an eternal insistence. During the judging, the pure and authentic seals, the chisel seals of the Southern and Northern Dynasties, the mud seals of the Han Seal, the Seal of the Generals and the seals of the literati genre were active, and the artistic conception was opened up. The seal book system has a new generation of people, reflecting the big pattern in the plot, reflecting a wide field of vision in creation, and reflecting high quality in the effect. Looking at the seal carvings and seal book works, in fact, it is a reproduction of the author's comprehensive artistic accomplishment, among which the main body is the work itself, and only if the work is excellent can it withstand professional criticism and review. In the future, what needs to be done is to work hard to cultivate oneself, transcend the status quo, and reach the ideal.
Zhou Xuejiang (Guizhou)
Yu Xiaoyong: The method is diverse and creative
There are more than 6,000 manuscripts in the Ninth Exhibition of New Talents and New Works, which show a variety of rich characteristics in terms of the methods taken by the submitted authors. The submitted authors not only paid attention to the classic sects such as "Zhong" and "Wang" Xiaokai, "Longmen Statue", Zhiyong, Ouyang Qian, Yu Shinan, Chu Suiliang, Yan Zhenqing, Zhao Mengfu, Wen Zhengming, etc., but also involved the Jin people's scripture writing and folk book carving, which is a good phenomenon, indicating that the scholars' vision of the calligraphy is gradually changing. How should the artistry of calligraphy be expanded? Taking the method is a prerequisite. If the reader is too narrow in his approach, does not know how to be flexible, does not know tolerance, and does not know to think newly on the basis of tradition, then it is undoubtedly difficult to improve the artistry of calligraphy.
The selected works also show us the creative potential of the contributors. We should not only guide scholars to take root in tradition, but also encourage them to actively explore, dare to innovate, and explore their own creativity. In this exhibition of new talents and new works, some authors' grasp of style and form of thinking are worthy of attention. For example, in previous exhibitions, the style of "Cuan Baozi" usually appeared in large characters, and in this exhibition, some authors expressed it in the middle of the book, which is a good phenomenon and reflects the author's thinking on the art form. For such works with both traditional skills and creativity, we should actively pay attention to them and carry out academic discussions.
Bai Kun (Henan) (Partial)
Wang Yaya: "Three More" and "Three Less" of the Ninth "Newcomer Exhibition"
By participating in this review work, my experience can be summarized by "three more" and "three less":
"Three more": First, the number of submissions is large. At present, the mainland vigorously promotes the education and construction of traditional culture, calligraphy art is also an important part of it, the number of nearly 30,000 submissions is a side reflection of the educational achievements, which also saw many authors in their 80s, which shows that the new "calligraphy fever" has been opened; second, there are many good works. These authors have paid close attention to the excavation and perception of the foundation of tradition, and their understanding of the art of calligraphy has been greatly improved, the perspective of study is multidimensional, the amount of information is quite rich, and many works are quite wonderful. Due to the limited number of exhibitions, there are not a few who can bear to cut love; third, from the perspective of book style, there are many calligraphy and grass. The number of submissions of xiaokai and seal engraving works has increased significantly compared with the past, and the quantity and quality are also proportional, which is the performance of Chengxin calmness. Chairman Sun Xiaoyun also stressed at the preparatory meeting of the review that it is necessary to learn to think and meditate on creation as the leading direction of this exhibition.
"Three less": First, there are few "jianghu qi" works. This is obviously a gratifying manifestation of the improvement of the aesthetic awareness of the masses; the second is excessive splicing and less production. The number of full-color paper works has been greatly improved, which also better presents the author's creative skills; third, from the perspective of book body, there are few seal books and lishu. There are even fewer high-quality seal and calligraphy works. Therefore, I advocate that everyone work more on the seal, which is both the foundation and the service of other books.
Zhu Guotao (Shandong) (Partial)
Qiu Gaochi: The teaching method is pure, and the skills outside the word are strengthened
The gratifying phenomenon of this "Exhibition of New Talents and New Works" is that the overall creative level of the submitted authors has improved compared with previous editions. In addition, the authors of the submitted articles generally take the method of purity, reflecting everyone's correct understanding of the model inscription. As a "newcomer new work exhibition", it should be different from the "Lanting Award" and "National Exhibition", and the judges pay more attention to whether the author's teaching method is pure. Because whether or not to take the classic of the Fa determines whether the creation can go further. If you deviate from the classics, purity, and tradition at the initial stage, you are bound to struggle in the future path of calligraphy learning. Of course, judging from the submitted works of the "Newcomers and New Works Exhibition", the author's grasp of the method is still relatively rational, and the overall level and potential of creation are worth affirming and looking forward to. As for the shortcomings, I feel that because I am a "newcomer", I still need to improve the accumulation of culture, especially in the orthography of seal books. The creation of the seal book not only relies on techniques, but also needs the support of the seal law, which is the most basic requirement for the author. Everyone should pay attention to academic reserves and temper their skills outside the word, especially the study of philology and other disciplines closely related to the creation of seal books. Therefore, if the creation of seal books wants to go further and create good works, it should first ensure the correctness of the seal law. It is recommended that you spend more energy outside of techniques to strengthen the study of philology, which will certainly be of great benefit to the future path of seal writing.
Li Boyang (Liaoning)
Zhang Jiancai: There is breadth and depth in the method of taking
In the Ninth Exhibition of New Works by Newcomers in the Chinese Book World, the enthusiasm of the authors to submit articles is beyond our imagination. The popularity of this manual method in the whole country has not only not faded in the environment of rapid development of modern science and technology, but has shown a vigorous development trend. I think this is undoubtedly a good thing for Chinese calligraphy art, the embodiment of the charm of traditional culture and art, and the performance of the inheritance and development of excellent culture.
In 1991, the selection of the first Chinese Book Newcomer Exhibition was held in Luoyang, Henan. At that time, I was involved in the judging work as a staff member. Compared with this year's "New Talents and New Works Exhibition", both the number of submissions and the quality of the works, the breadth and depth of the works have been significantly improved. This shows that the majority of calligraphy authors have made great efforts and made a lot of efforts in the study of calligraphy, which has played a positive role in the sustainable development of Chinese culture and Chinese calligraphy. The exhibition of new works of chinese book newcomers is not only a place for "newcomers" in the book world to show their talents, but also enables the majority of calligraphy lovers to get inspiration and inspiration through the new exhibition, so as to establish their own correct concept of learning books and establish the correct direction of learning books. This undoubtedly plays a good role in promoting the prosperity of Chinese calligraphy, and has important reference significance and guiding significance for the majority of calligraphy enthusiasts and calligraphy workers.
Wang Hongbo (Jiangxi) (Partial)
Chen Xinchang: Calligraphy needs an examination room and a square
Our criticism of calligraphy points to the pure art that has gone to the exhibition hall after departing from practicality, calling for the return of traditional calligraphy culture; pointing to both technique and temperament, and calling for the reconstruction of the aesthetics of the era from a philosophical perspective.
For thousands of years, writing has maintained a stable form of pen and ink, and when Chinese culture is transformed or even fissioned, no obvious response has been made, making traditional writing far from the core of contemporary culture and lacking a new form of nourishment from contemporary culture. In their own cultivation, knowledge structure and many other factors and the ancients have a significant gap, it is difficult to find their own positioning in the tradition, and the modern exhibition hall has become our habitat. During this period, thousands of calligraphy enthusiasts, in the examination room, copying, creating, submitting and facing strict judging, together with the exhibition work, played a vital role in promoting the development of calligraphy.
The style of calligraphy in the exhibition hall can be more mature by constantly accepting the test of the real society, nourished in real life, and completed the leap from the combination of self-expression beyond life and the real environment. It is necessary to go back to real life, to go to the masses, which is the way out of calligraphy today.
Yao Deliang (Chongqing) (Partial)
The higher the art of calligraphy goes, the more it needs a correct concept of creation to guide, which is intended to be the concept of creation, such as pen first, Cheng Huai Guan Dao, and palmistry, to turn the bamboo in the eye into a bamboo in the chest and a bamboo in the hand. The focus of learning should shift from the improvement of the hand to the sublimation of the heart, focusing on establishing one's own value judgments and the pursuit of meaning.
Cai Yongshudan's "Xiping Stone Classic", the audience in the streets and alleys watched him engrave, rubbing shoulders, and the grandeur was extreme. However, the bird and insect seal advocated by Cai Yong has not been handed down. This kind of social aesthetic consciousness and aesthetic consciousness is not determined by any one person, but the result of mass aesthetics, the result of high-level mass aesthetics.
For the ideal of calligraphy, we cannot always stay in the imagination of classical glory, think about how the form of contemporary calligraphy forms a connection with the architecture and public space of the times, and goes to the broadest and broadest possibility of society, becoming part of the main body of contemporary aesthetic education, and ultimately making calligraphy a culture shared by the public and the elite.
Selected works in the exhibition▼
Chen Daguang (Guangxi)
Creative Notes:
My original intention was twofold: First, to take the old as the new. Worship the miracles of the predecessors, steal the whims of the self, use the pen for many years, the heart and hands are smooth, and it is achieved in one fell swoop. Second, "pen and ink should be contemporary". In calligraphy creation, I prefer self-composed poems with feelings to the simply transcribing Tang poems or Song poems or famous passages of the sages. The Ninth Exhibition of New Works by Newcomers in the Chinese Book Circle coincided with the 100th anniversary of the founding of the Party, so I composed my own poem "Nian Nu Jiao, Centenary of the Founding of the Party" with surging passion, and I naturally had a different feeling when I wrote it.
Li Weiwei (Tibet)
Creative Notes:
In Tibet, I love the great rivers and mountains of the motherland, love the excellent traditional culture of the motherland, and work especially the study of Chinese calligraphy and painting. Due to the character of a soldier, I like the heroic and majestic Han Monument. This work is a transcription of Kang Youwei's "Treatise on Books", with the Han Dynasty's "Zhang Qianbei" as the main tone, and the reference to the "Good King Monument" writing, and strives to be simple and humble. The penmanship pursues natural writing without hesitation. The knot seeks the natural realm of great ingenuity and great wisdom, and strives to enrich the changes, but does not deliberately exaggerate and deform, and strives to unify and harmonize the whole text.
Zhang Qingjiang (Anhui)
Creative Notes:
I worked hardest in Xiao Kai the longest and was relatively good at it, so I chose Xiao Kai as the submission style. Xiao Kai's creation is easy to stylize, form a dull appearance, and get close to others, so it is not easy to make the work have a high degree of recognition. After repeated thinking, combined with the experience of learning cursive writing in recent years, and the understanding of the stele, I tried to apply these elements to Xiao Kai. In the creation of intentional integration, strive to be changeable, avoid the wind of the times, and strive to achieve small in the big, flexible and colorful, with a simple form, in the overall presentation of a plain and elegant appearance.
Fang Qing Award (Fujian)
Creative Notes:
Try to create with self-written couplets, large character chapter grass and small characters. Self-written Yang Lian chose calligraphy and music-related allusions for conceiving, and the style of the work was based on "Ping Fu Ti", in order to reflect the breadth and thickness of the large-character calligraphy, give full play to his seal skills, and at the same time draw on Wang Yu's chang calligraphy style and elements such as Jian Mu and cursive writing. However, through continuous polishing and adjustment, including chapters, knots, shapes, ink methods, overall coordination, etc., the artistic language of the work is enriched as much as possible.
Liu Zhiyu (Hebei)
Creative Notes:
This work transcribes Yi Nian Zeng's seven words, taking the brushwork and penmanship of "Ode Pot" and "Mao Gongding", and the center forward uses the pen and is supplemented by twisting, in order to seek the breath of the seal and the solemnity and simplicity of the lines. Lock in the style of purity, elegance and simplicity; in order to ensure that the works have both the shadow of the predecessors and the personal understanding and interpretation of Jin Wen. The chapter method strives to be concise, the size is not too large, the seal is embellished with a famous seal, and the small characters of the falling paragraph are based on the style of the Yan body and the book, which plays a role in assisting the main body style.
Yan Chunya (Jiangsu)
Creative Notes:
This work is mainly based on writing, mixed with a small amount of cursive writing for blending, the whole use of 15 small pieces, Sun Guoting said: "A point into a word of the rule, a word is the final part of the quasi." When writing, you can't "bury your head in hard work", and the lines and faces should coordinate with each other, echo each other, and complete it in one go. I think calligraphy and painting are closely linked, and the points, lines, and surfaces of Chinese painting can also be applied to calligraphy, such as: where the block surface is placed, where there should be virtual reality, and the whole work should be treated as a large chapter, and each face has a small chapter.
Gao Qing (Guangdong)
Creative Notes:
I started with Han Li, and in the early days, I especially used "Cao Quan" to work hard, and also studied classic inscriptions such as "Ritual Instruments" and "Ode to the Stone Gate" to absorb nutrition and broaden my horizons. In recent years, he began to study Han Jian and was deeply attracted by Han Jian's "dashing and free, uninhibited indulgence and love of freedom". Participating in the Ninth Newcomer New Works Exhibition is a work created with the intention of "Wuwei Hanjian", and the creative ideas do not care about craftsmanship, and strive to pursue the open-minded nature of "out of the sharp edge, generous and majestic". After several polishing adjustments, it is sent before the deadline.
Zhang Wujie (Gansu)
Creative Notes:
This work takes Ouyang Qing's "Jiucheng Palace" as the main tone of modesty and rigidity, and takes the agility and elegance of Chu Suiliang and Zhiyong Zen masters. Li Mi's "Chen Qing Table" of the Western Jin Dynasty was selected as the writing content and presented in the form of four screens. The pursuit of comfortable, elegant, quiet atmosphere. In the creation, try to achieve clean lines, strong fonts, neat dot paintings, moderate size, easy to retract, and properly dense.
Li Lighting (Qinghai)
Creative Notes:
This work takes the knot body of Yan Zhenqing's "Scramble for Seats" of the Tang Dynasty, and integrates it into the penmanship of Huairen's "Sacred Order of Collecting Wang Xi", and finds the direction on the Yan body seal, vigor and beauty. The "Former Sage Commenting on Yan Lugong" was selected as the writing content, and the form became a long scroll into a banner, which was naturally revealed in one go and naturally during the creative process.
Wei Xingli (Shanxi)
Creative Notes:
The content of this work is three Tang poems, the main text of which is "Xianyu Huangbei" as the main brushwork, adding other Han stele elements, and the three lines of the small line book take the meaning of rice. The thickness of the lines and the space they divide out form a strong contrast between black and white, light and heavy, giving people a distinct sense of rhythm and achieving a clumsy artistic conception.
Huang Xiangbin (Hubei)
Creative Notes:
My usual posts are mainly based on the Fa Ti of Mi Fu and Wang Xian. This creation also takes the Great Order of the King and the Minang Palace, draws nourishment from the tradition, and tries to express the accumulation of his usual postings and his own understanding in the creation. In terms of style, the pursuit of peace and purity, warm and soothing, not exciting, the mood is also quite peaceful. Writing in large letters on a six-foot piece of paper is a challenge to yourself and an exercise.
Duan Xuechan (Hunan)
Creative Notes:
This work takes the knot of the Faxi Zhou inscription "Mao Gongding", integrates into the Spring and Autumn Warring States Chu script, and pursues the atmosphere of modesty, elegance, elegance and purity. I chose my favorite Li Bai poem "Midnight Wu Ge" as the writing content, so it has a pleasant and relaxed state in the creative process. Avoid the common gold writing format and write in a four-screen format. When creating, it is first repeatedly polished and deliberated, and finally it is completed in one breath.
Sun Yiyong (Beijing)
Creative Notes:
I think that the content is particularly important in the process of seal engraving, and reasonable content can not only enrich the connotation of the work, in a sense, but also the pursuit and embodiment of the author's inner spirit. Of course, skillful knife techniques are indispensable in the creation of seal engraving, and I strive to be bright, uniform, and fine in the seal of Zhu Wen all the way, as well as the sense of strength of the line; make it harmonious with the content and form of the seal, in order to seek harmony and unity.
Hao Youpeng (Zhejiang)
Creative Notes:
This work is a mixture of the characteristics of the pen and knot characters of Mi Fu and Wu Ju, and also refers to the meaning of the "Ge Ti", and strives to make the work close to the ancients in terms of pen and chapter. In the choice of paper, I use old paper or old paper to create. "When the ancients were not obedient, the present is not the same", I think that learning calligraphy should be based on ancient classics, the wind can be borrowed from but can not be relied on too much, the process of entering and posting is an expression of natural emotions.
You Ziyu (Liaoning)
Creative Notes:
Inheriting the traditional Han Li style, this work integrates classics such as "Cao Quan Stele", "Yi Ying Stele", "Zhang Qian Stele", etc., pursues quality, strength and thickness of the line, and adopts the method of "one day to post, one day to create", in order to seek peace of mind, natural writing, and the accumulation of the state of the book into the creation.
Lu Zongsheng (Shanghai)
Creative Notes:
My seal engraving is inspired by daily life and experience, such as a song, a sentence or a small thing in life by chance, and the same is true of "intellectual youth", "people on the journey" and "intentional pen essays" in the printed screen works included in this exhibition. The overall printing style of this work is relatively uniform, and the printing screen production strives to be simple and elegant.
Producer: Yang Chao, Zhu Zhongyuan
Editor: Wang Peiran