The 3rd National Exhibition of Calligraphy Works for the Elderly, Li Minshan Collection Commentary
2024 No. 10 "Calligraphy Newspaper - Calligraphy and Painting World"
★ Li Minshan's works in the exhibition
Li Minshan, Fujian, excerpt from Liu Xizai's "Art Overview, Literary Overview" in the middle hall
★ Li Minshan: Notes on Creation
I used larger characters to create this work on a six-foot sheet, and the brushwork is mainly based on Yan Zhenqing's calligraphy, and the shadow of He Shaoji. In terms of chapter ink, I use a combination of large and small ink blocks to make the work look slightly balanced. In addition, I also designed another version, that is, to write small characters, splicing with three screens, but I felt that the effect was not very good, and the weather was not as good as the whole paper, so I gave up.
Before creating the work, I spent more than a month concentrating on the post, such as Yan Zhenqing's "Fighting for a Seat", etc., from the original size to the exhibition size of about 30 centimeters, the whole process is interesting and effective. I find it most difficult to create a work that takes into account the rules, such as size, density, weight, and ink color.
★ Judges' comments on Li Minshan
Liang Nengwei (member of the Professional Ethics and Conduct Construction Committee of the China Calligraphy Association, vice chairman of the Inner Mongolia Calligraphy Association): This work is rooted in tradition, immersed in classic law books such as Wang Yishao and Yan Lugong. Although there is little connection between the words, the rhyme is vivid and smooth, rational and straightforward, the dot painting pitches freely, looks forward to the posture, and the talent is full of paper, there are both introverted and subtle displays, and there are passionate expressions, between lines and lines, between words and words, relying on each other, and they are integrated. Although the length is short, the artistic conception is profound and rich, and the author is obviously an assertive and thoughtful calligrapher. Sticking to tradition and learning the classics is the root and soul of calligraphy creation. The author is well versed in the principle of "punching in with the greatest skill and punching out with the greatest courage", has his own understanding and feelings about the tradition and the style of writing of the times, and integrates himself on the basis of continuing the tradition, and writes a new feeling and new look. However, the author's excessive emphasis on the writing technique is to press and turn, although it strengthens the spirit and shape of the work, but it is easy to cause the triviality of the picture of the work, which seems to be thick and insufficient.
Zhu Min (member of the Calligraphy Committee of the China Calligraphy Association, Executive Chairman of the Nanjing Calligraphy Association): Mr. Li Minshan's calligraphy Qing Liu Xizai's "Book Overview" large-character works, the method is mainly derived from Yan Zhenqing's calligraphy, which integrates the interest of the Erwang Codex and his own understanding of calligraphy. The writing is rhymed, and the lines have a high sense of strength and purity. It does not deliberately use thick and thick lines to simply express the spirit of the face, but stretches out the posture and extends it moderately to the lower right, and at the same time dilutes the qi, forming a pattern of staggered size, ocean and ocean, and integration in the chapter. The author does not follow the ancients in the treatment of body and potential, but a new theory and abnormal state, which intends to take my god. As Liu Xizai said: "Books are precious to God, and God is different from my god and his god." He who enters other gods becomes an ancient person, and those who enter my gods become an ancient person. It also raises the question of what to do with calligraphy. Of course, the work also has shortcomings, first, the momentum of the whole work is not enough, and it has not entered the realm of heartiness; second, the treatment of the last stroke of the second "line" in the seventh line is relatively blunt, and it is somewhat similar to the vertical of the third line "new"; third, the fourth and fifth lines "Yan Lu Chengshu, or from the North Monument "Gao Zhi Epitaph" and Mu Zirong's ......" are a whole sentence, so the "North Tablet" should not be followed by a new line, and the broken line should be in the broken sentence. Then there is too much difference between the breath of the paragraph and the text, which seems tense and thin. Text review, compared with the first line of the original text of "Six Books of the Ancient Tong Book House of Tongzhi in the Qing Dynasty", is: "Yan Lu Gongshu characters from the Wei and Jin dynasties and the early Tang Dynasty" The author wrote "The early Tang Dynasty Zhujia", and the text review should be done carefully after the work is created. There is still a certain difference between the concept of "early Tang Dynasty" and "early Tang Dynasty". The view of one hole, for reference only.
★ Academic Review: Li Minshan
Liu Guoliang (member of the Calligraphy Review and Cultural Communication Committee of the China Calligraphy Association, deputy dean, professor and master's tutor of the Academy of Fine Arts of Jianghan University): This large-character line grass work is sparse and natural, with the pen strong and flying, the knot is not lacking in novelty, the line of grass is intermittent, and the meaning of "Lu Gong's three drafts" has been obtained. The whole text is based on white paper, with strong contrast and magnificent momentum, but it is even more obvious and slightly rough. If the method of small characters is not refined, between the small characters as words, then the style is slightly inferior, the left and right are interspersed with each other, if the arrangement is not fine, then there is a bad line of grass should have the line of qi, it can be said that "for the people to do, people are also flawless, is to say with people for disciples." Those who become and compare with the ancients are disciples". Therefore, in the future, when studying Lu Gong, the god will "house leakage" and "fold hairpin shares" of the ancient method, and also learn the axis of Wang Juesi and Fu Qingzhu, and learn the method of Wang's small characters to expand the big, and imitate the meaning of Fu's coiling vertical and horizontal, so that the heart can be combined, and the wonderful reason of the grass can be obtained.
Gu Gong (member of the Academic Committee of the Chinese Calligraphy Association): The work reflects a strong skill, and the overall effect is good. Many glyphs come from Wang Xizhi and Yan Zhenqing's calligraphy, and at the same time, they have been integrated and processed to organize Wang Xizhi's ups and downs vividly and Yan Zhenqing's thick and dense together. This method is more clever than the collection of characters in a professional school, and it will help you improve your writing skills. The quality of the lines is good, and the gestures and details of the dot painting are basically in place. The author is good at glyph design, and the words "Yan" and "tomb" are quite exciting. The sides of some of the glyphs also add to the vividness of the work. The regret lies in the relationship between the characters, one is that the word spacing is too large, resulting in the independence of a single word and it is not easy to be coherent up and down; the other is that it is not written in groups according to the rhythm of dipping ink, such as the relationship between "self" and the upper and lower characters in the first line of "Shu from the Wei and Jin Dynasties" is a little embarrassing. At the end of the text, "this is all close" is a little sloppy, and the end should be especially noted.