When it comes to modern Shanghai calligraphers, Mr. Zhao Lengyue is one who can't get around anyway. Zhao Lengyue (1915-2002) was famous for her calligraphy and served as vice chairman and advisor to the Shanghai Calligraphy Association.
Although he and his calligraphy are highly respected today, they were also criticized at the time. Even, after Zhao Lengyue's death, a calligrapher revealed: Mr. Zhao Lengyue was angry with the voice of criticism.
Here's the thing: On the afternoon of October 13, 1995, the "Zhao Lengyue Calligraphy Symposium" was held in the creation studio of Shanghai Oriental Academy, and more than 30 famous calligraphers attended and spoke.
At that time, Mr. Zhao Lengyue did not show much ideological fluctuations, but it is said that he watched the seminar video at least 150 times after the meeting.
Mr. Zhao Lengyue's calligraphy was indeed ahead of its time in Shanghai at that time, and it was also exploratory. In the face of the incomprehension and condemnation of teachers and friends, the depression in my heart can be imagined.
Throughout her life, Zhao Lengyue has always been fond of the research and creation of Chinese calligraphy. He connected the Han and Wei monuments with the Erwang system and Tang calligraphy, forming a style of brush and ink that perfected the environment.
Putting the pursuit of Mr. unconfined and full of natural interest in the current world of books to observe, this kind of unique aesthetic exploration can show special significance. Specifically, the author analyzes his artistic practice and style exploration from the following aspects:
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First, Zhao Lengyue's traditional calligraphy skills are very profound
He studied calligraphy very hard since he was a child, and wrote seals, subordinates, lines, grass, and regular scripts. Accumulation of knowledge, rich cultivation, calligraphy skills to the deepest.
In the tradition of learning books, he has widely participated in and learned, integrating Yan Zhenqing's calligraphy with the tablet of the Six Dynasties, including the stele and the post, all-encompassing, taking the natural, straightforward, dignified, simple, and ancient road, abandoning the standardized beauty and uniform beauty of Tang Kai, and seeking the beauty of natural simplicity, which embodies the spirit of Lao Zhuang in cultural psychology.
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Second, Zhao Lengyue's grasp of calligraphy skills is also second to none
He took the law of the Northern Wei Dynasty and changed the adventures of the Six Dynasties into the grandeur of the two Han Dynasty, which was simple and clumsy, and full of ancient meaning. The dotted lines fade away from the lead, vast and thick, jerky and spicy, and strive to inject an inner strength and latent tension;
The pen is heavy but not greasy, light but not floating, the size of the knot is on the right side, and the ups and downs are strange, and he is good at using the dry and wet shade of ink to enhance the contrast relationship, so as to achieve the effect of strengthening the overall sense of the work.
He not only worked the Han Li and the North Monument, but also involved in the seal, so his book was just soft in the middle, and had the bone of the tablet, the rhyme of the post, and penetrated with the meaning of the seal.
He is so familiar with the evolution of Chinese characters as a whole that it is difficult to find highly repetitive glyph structures in his works.
The way each word is written is based on the need to obey the layout of the rules and regulations. This is due to his profound learning and accurate grasp of calligraphy skills.
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Third, in innovation and self-seeking, the formation of a distinctive personality
Re-examine and understand traditions, and boldly abandon some of the established languages of their predecessors in search of their own vocabulary.
Tracing the source, building the foundation with the Wei and Jin dynasties, integrating the Qin and Han dynasties, and opening up a realm that no one has ever had. In addition to learning from the ancients, they can also learn from the law. We will make every effort to pursue the charm of sparse and simple, elegant and noble.
Mr. Zhao's calligraphy, whether it is dot painting, knotting or chapter method, combines the strengths of post learning and stele learning, and finally transforms into his own style. These pioneering inheritances and innovations have become models for contemporary scholars.
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Fourth, Zhao Lengyue's calligraphy character and realm are also unique
He believes that there is no certain standard for the art of calligraphy, and that the so-called concept of common beauty is just an illusion concocted by the so-called principles of law and law, which does not exist at all, and that the deliberate pursuit will only limit and affect the expression of true feelings.
Truth is the soul of art, and the integration of emotion and skill reflects Mr. Wang's extremely high artistic realm.
He believes that the difficulty of calligraphy lies in its impossibility. He created a unique style that was different from the ancients and contemporaries, and although it was quite controversial at the time, it did not stop him from moving forward, but devoted himself to exploring and trying to make breakthroughs. His spirit of exploration, of negation, creation, re-negation, and re-creation is commendable.
Fu Shanyan: "The word is expensive in Tianni, there is no arrangement and other meanings, and it is easy to go, and it is a heavenly opportunity." Fu Shan is deeply disgusted with "flattery", "vulgarity" and "cleverness", and its corresponding place is to flattery, vulgarity, and cleverness.
Zhao Lengyue is a practitioner of this calligraphy theory with his understanding to the realm of returning to the truth, and his style of writing is reflected in flattery, vulgarity, and coincidence.