Biography of a calligrapher
Wang Jieping, character Zhong Ling, number Zen stone, Shanghai Hongkou District Duolun Road "Mu Xian Ju" lord. Born in 1957 in Nanjing, Jiangsu Province. He graduated from the Department of History of Nanjing University in 1984 and has long been engaged in the restoration of ancient calligraphy and painting, the creation and teaching and research of Ink Treasure and Chinese Han li calligraphy. She studied under Xiao Xian, a famous female calligraphy master in mainland China (her disciple), and is now a member of the Chinese Calligraphers Association, the Jiangsu Calligraphers Association, and a professional calligrapher at the Palace Museum in Nanjing. His good hanli calligraphy comes from Han Wei Zhujian, with a flowing posture, Gu Panshenghui, in the subtleties or through the line, calligraphy charm, on the basis of the Han li inscription has been innovated and sublimated. The ingenious font layout and pen and ink have formed an artistic style of constantly perfecting themselves, winning the silver medal in The "Chunlan Cup" competition in China and the silver medal in the second, third and fourth national calligraphy grand prix of CCTV.
Always have a research attitude towards calligraphy
——Remembering the famous calligrapher Wang Jieping
Wang Jieping is unique in the contemporary calligraphy world! For example, "Li's Family Training", "Wind and Moon A Court for Good Friends", "A Leaf Of Xinxiang", "Buried Room Ming", etc., the calligraphy weather shown is not impetuous, the pursuit of stele kung fu is very solid, the things written are high and simple, and there is the spirit of traditional literati calligraphy. The muddy waters of jianghu calligraphy have never flowed, and the lively and flashy places are not much to go, and there is a cultivation pattern in which gentlemen are willing to live in fact, not in their glory. To take one or the other is the cultivation concentration of his immersion in art.
Cultivation comes from the influence of family learning, but also from the experience of professionalism. He graduated from the History Department of Nanjing University in his early years, and then engaged in the restoration of ancient calligraphy and painting for many years, and has been engaged in the teaching and research of Hanli calligraphy. From his cultural experience, he probably understands why calligraphy has the connotation of being extremely quiet. "Contemplating the World, Laughing at Life" and "Ancient Sages are Lonely" books are like his people, the atmosphere of the books in his experience and cultivation is the mirror image of his calligraphy, and it is reasonable to write jin yun tang fa song meaning!
Wang Jieping's calligraphy is very delicate and round expression. If you look at the unity of the letters only from the exquisite requirements, it is also possible to know the original of the hundred days. However, on the basis of refinement, it is quite difficult to make a vivid impression of pen and ink. Wang Jieping copied the scriptures with a letter of letters, everywhere there is a clear mind, the heart is not hindered by the expression of the General Ruo, this is the vivid and round charm of his words, writing with a pen, and then writing with his heart, the heart and the pen are combined, it is said that the kaijing method is detailed, especially for the real!
He copied the scriptures with his writings and collected them, which became the merit of Fabushi. Lightly unfolding a volume is not only a convenient method for near Zen refuge, but the Heart Sutra, the Great Compassion Mantra, and the Diamond Sutra have become the guidance for not stopping the sound and smell of the Dharma to practice almsgiving. Regarding the practice of writing, Wang Jieping took the path of taking the second king of the Fa, and the Linlan Pavilion sequence took the Dingwu Ben as the reference, which was very windy, and also figured out the silk reflection belt of Feng Ben, wrote out the spirit of the inscription, and melted the charm of the post characters. This style of calligraphy that is rigid and soft is also common knowledge in his grass, such as "Furong Lou Sends Xin Gradually" Iron Stroke Silver Hook and Lonely Peng Self-Vibration Contrast, Calligraphy Aesthetics The Image of Everything Follows Back and Forth, Very Attractive!
Because he has long been engaged in the research and teaching of the integration of Lishu, the main body of his pen and ink points to the all-round research and creation of Lishu. Now he has studied and pondered all the models of Lishu that he can see, and his field of vision is beyond the ordinary, and there is no remnant of the book, the simple book, and the inscription, or not to mention the specialized scholars. Moreover, his study of Lishu is not only limited to excavating the techniques hidden in various Lishu calligraphy books, but also extensively dabbles in the cultural, literary, and historical information in the Faben, truly making the study of Lishu a comprehensive science, and devoted himself to writing "The Four Screens of Lishu", using every stele and every paragraph to reproduce the integrity of history and the clarity of cultural context! This allowed him to have a lot of resources on the podium of Lishu culture, and he could use his rich knowledge of calligraphy to complete the responsibility of preaching and teaching karma.
He has always had a research attitude towards calligraphy. As a master of contemporary Lishu calligraphy, in addition to having a superhuman bookish nature and the persistence of being willing to fight for it all his life, he is also fortunate to receive the infinite teachings of the two Lishu masters. He was a closed disciple of Master Xiao Xian, and he was once a colleague of Liu Bingsen, and of course, he had the opportunity to teach the Fa by the teacher and teach it by hand, which also strengthened his belief that he spared no effort in studying the Lishu, and finally made his Lishu stand out and become a model that did not live up to the teacher. His calligraphy works have the dual charm of the soft beauty of the south stele and the boldness of the north stele, the golden book of the pen, the beginning of the pen, the posture of the writing is flowing, and the Gu Pansheng is brilliant, which is really a god grade of aesthetics and collection! Qi Tongshu wrote "GuanCang Sea" as a "Great River East to the End of the Waves", which shows that the book is endlessly painstaking, and the stele has the crystallization of the road and diligence. In the journey of calligraphy research, Wang Jieping has been making efforts to "not want to win, but to cover up and become new"...
Famous calligraphy and painting critic Shi Feng
April 30, 2022 Book at Lan Yi Zhai
Appreciation of works