Calligraphy is a unique Chinese skill, with its own long history and systematic theories. However, Shen Peng, an art editor and art critic, insisted that the art theory, which is actually Western art theory, be put on the head of calligraphy. Established the calligraphy development concept of "promoting originality, respecting individuality, inside and outside the book, and advancing with art". The establishment of innovative ideas paved the way for the Western art of calligraphy. As Shen Peng's successor, although Zhang Hai is not far from tradition, he has also been creating and practicing Western art theory.
His new works clearly use the "rhythm" of Western art theory. Looking at his new work, it is written that the seven laws of the great man are "To Shaoshan": "Don't dream of faintly cursing the passing river, the old garden thirty-two years ago." The red flag rolled up the serf's halberd, and the black hand hung high over the overlord whip. In order to have the courage to sacrifice more, dare to teach the sun and the moon for a new day. Happy to see the rice and the thousand heavy waves, heroes everywhere under the sunset smoke. "The content does not need to be said, just talking about calligraphy, the whole work does not feel good, full of dryness. This is a drawback caused by using pen and ink to focus only on visual changes. In fact, another obvious feature of his work is that the ink color change is very rhythmic.
Look at the thick and light rhythm of this picture: thick thick thick light Isn't it very rhythmic and rhythmic? At the same time, it is also very regular, and the law is actually a taboo in calligraphy and art. This arrangement is decorated with arts and crafts, and there is a sense of order beauty. This is also one of the reasons why many people say that Zhang Hai's characters are fine art characters, and this work just shows that Zhang Hai is indeed guiding calligraphy creation with the concept of arts and crafts.
Why arts and crafts concepts? Rhythm was originally a musical term, referring to the combination of notes of varying lengths in music. Specific to Western art works, it is a combination of contrasting factors. In Western classical art, rhythm and rhythm are hidden in the concrete image, and it is not so obvious visually. At the stage of arts and crafts, it is more obvious and regular, and there are even special composition training courses to simplify the image of Western classical painting, pay more attention to the rhythm itself, and the craftsmanship and decoration are more prominent.
Western classical oil painting
Compared with pure art schools such as the Central Academy of Fine Arts and the China Academy of Fine Arts, which often hide the rhythm behind the image, the design schools such as the Central Academy of Arts and Crafts are more rough and simple, and the rhythm rhythm is further quantified and regularized, which can be simply understood as an art template, and this part of the content belongs to the plane composition. It can be used in posters, decorative paintings, murals, and industrial designs, and can obtain the beauty of industry and order, but it does not have the power to move people's hearts and lasting appeal.
It is safe to say that there is no shortage of such things in classic calligraphy works, such as Yan Zhenqing's "Liu Zhong's Envoys", and the change in the thickness of the dot painting is very obvious, but the difference is that there is no law to follow, and it is not deliberately pursued. The main reason why the ancients did not take the initiative to pursue these things was that man-made design violated the principle of "Taoist nature". If this kind of thing appears in calligraphy, it is classified as craftsmanship by traditional calligraphers. Something that belongs to the craftsman, aesthetic but not high-class.
Yan Zhenqing's "Liu Zhong's Envoy"
That is to say, this is not Zhang Hai's originality, this arrangement is very common in jianghu calligraphy, but their rhythm is not used in thickness, but more in the thickness of the dot painting, visually also presents a thick rhythm. Like Zhang Hai's works, the regularity is too obvious, the lack of natural arbitrariness, the feeling is also decorative, the pattern is obvious, and the lack of an excellent calligraphy work has a vitality change.
This is incompatible with the true spirit of calligraphy, traditional calligraphy is often regarded as a living body, the Qing Dynasty calligrapher Kang Nanhai said in the "Guangyi Zhou Shuangyi": If the book is human, it must be prepared with muscles and bones, thick bones and old bones, muscles and flesh, coupled with a strange posture, it can be described as beautiful. The beauty of calligraphy and Western art, and even the industrial and decorative beauty of arts and crafts, are not a thing, but embody a kind of life beauty.
Kannanhai
Blindly seeking innovation, a large number of introduction of the concept of Western art, so that Zhang Hai's words look very beautiful, but not resistant to thinking, similar to beautiful industrial products, lack of life beauty, saying that he is an art word in fact did not wrongfully accuse him.
Original works, private reprints, splicing must be investigated ·
Different perspectives, different views / Promoting traditional culture for the sake of continuing to learn / If it is reasonable, please pay attention to, praise, and forward