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Source l Network
Written by l Yu Mingquan
The original title l says "exhibition" style
分享 l 书艺公社（ID：shufaorg）
The exhibition gave birth to calligraphers and painters, who imitated the skin and boasted.
The lines are like tahini, and the dots are vaguely plastic flowers.
Once the "good" is almost good, the exhibition will not be much of an eye-catcher, and it seems that there is not much need to continue.
At present, there has been an increasingly mature "exhibition style" in the book world, which is not pretentious and sensational.
What kind of style of calligraphy is the "body" of the "exhibition body"? What are its characteristics? Let us describe it together: the size must be large; the number of words must be more, even if the large character couplets are written, the payment must not be poor, the words must be many, to be small, and to be densely packed; the grass must be based on the two kings, at most mixed with Sun Guoting, Mi Fu and Zhao, Dong, even Su Dongpo, Huang Tingjian and Wang Duo, who was popular in the past few years, seems to be very rare, and the line dot painting must be bright, delicate, round, Seal is bound to be top-heavy, like a fat-headed doll, the thread must be hairy and trivial, the chapter must be intermittent, as if Adu sings, what you want is the feeling of being out of breath; whether it is seal, official or regular script, the payment must be in the place where the most should not be dropped, the word should be small and more, and it is best not to use black ink but to use cinnabar or other color pigments, like colorful psoriasis. In other words, the so-called calligraphy art creation is gradually evolving into "labor-intensive" and "technology-intensive" crafts, which are being mass-produced and produced.
The formation of the "exhibition style" of cursive writing is caused by the defense spirit of mistaking the calligraphy of the ancients as the ultimate artistic pursuit, and under the repeated guidance of the "correct orientation" of "reverence for tradition", "returning to the classics", and even "recreating the classics" in recent years, the road has become narrower and narrower, and it has been "squeezed" together; or perhaps it is due to the fact that the understanding of tradition is becoming more and more "deep" and artistic creation is becoming more and more "pure".
What I don't understand is why we should be "afraid" of "traditions"? "Classics" are a series of static, solidified, and concrete specimens of works of art, how can we return to them? What makes me even more impressed is that we have to "recreate", who makes them? Who is so capable of teaching us to "create" classics together? Forgive me for being stupid, I really can't figure it out. Qian Zhongshu once had a passage criticizing the poetry of the Song people, which is very wonderful, and may inspire the "retro" phenomenon in calligraphy creation today. The old gentleman said: "It is the great fortune of the Song people to have Tang poetry as an example, and it is also the great misfortune of the Song people." Seeing this good example, the poets of the Song Dynasty learned to be obedient and would strive for perfection in technique and language, and at the same time, with this good example, they also became lazy and indulged in the inertia of imitation and dependence. Taiwanese thinker Yin Haiguang (1919-1969) believed that culture has a "model" compulsion, that is, it requires people's thoughts and behaviors to conform to established standards and norms. In particular, he gave the example of calligraphy: "Chinese writing must be written in the post, and if it is realistic in the post of a famous person, it is 'charming', or if a certain stroke is like so-and-so, it is appreciated by the 'insider'."
If a person writes with ingenuity and self-style, it is difficult to get much praise. …… If there is to be innovation, then only small efforts should be made according to the traditions of the original factions. Driven by such a value orientation of 'only the ancient is the law', the spiritual activities of literature and art are largely restricted by the criterion of 'concocted by the ancients'. In this way, writers and artists are pinched by a 'mold' hand, how much creative freedom can they have?" (Prospects for Chinese Culture, Shanghai Joint Publishing House, 2009 edition, p. 88) Could it be that the above-mentioned "'labor-intensive' and 'technology-intensive' handicrafts" and "mass production and production" are the fate that calligraphy art creation can never escape?
A few years ago, a friend also proposed to "activate Tang Kai", but I really can't think of what kind of "activation" method is. Thinking about more than 1,000 years after the Tang Dynasty, the Song, Yuan, Ming and Qing dynasties until the Republic of China, how many masters and geniuses have been produced, except for Zhao Mengfu, who else dares to compare with the Tang people in regular script? That is, Lao Zhao, although he said it together with Yan, Liu, and Ou, but from the perspective of penmanship, it is not the same thing at all. Is this "exciting" activity? In fact, it is just "circling" life. Therefore, I advocate "surrounding" Tang Kai. I sincerely hope that someone can theoretically and systematically enrich and develop on the basis of my immature viewpoint, such as researching and studying a series of major topics such as "Winding the Two Kings", "Winding the Han Li", "Winding the Qin Seal" and "Winding the Classics" and "Wrapping the Tradition". I vaguely remember which national exhibition it was, and there was a four-strip screen that imitated Yan Zhenqing's self-confession and won the award, which made everyone's eyes shine, and it was indeed Tang Kai's appearance, I don't know if this is an activation of Tang Kai. Anyway, the regular script I saw later basically ran into the content of the next paragraph of this article.
The predecessor of the "exhibition body" of the seal official script was the "popular book style" that was scolded a few years ago, and it has since changed. As the saying goes, the eighteen changes of the female university, the more it changes, the better it looks, and the popular style of calligraphy of the year is naturally becoming more and more "good-looking" today: the dot painting is fine, the knot is straight, the chapter is harmonious, in a word, the technical content has generally improved. It is not that dot painting is completely uninteresting, but that the interest is completely under the control of reason. The strokes of "stretching out your arms and kicking your legs" and the knots that "resemble piles of rotten wood" have been eliminated, but the "strange brushes" and "wonderful paintings" that appear unexpectedly, cannot be reproduced, and even make people look amazing when they think about it, are also rare. The "freehand" is painted as a "gongbi", at first glance it looks black, the visual effect is very good, and if you look closely, it looks like it has been castrated, and every sweat pore of the dotted line is full of caution and trembling. In the exhibition hall, there are often people who talk about whether the current exhibition is good or not, but it is tiring to watch, but it is not enjoyable. Well, I'm still tired of looking at it, but it's not enjoyable, what kind of "good" is this "good"? Why?
Although the popular style of calligraphy at that time was immature and even uneven, it can still be seen that it was trying to find a little "fun" and "meaning" beyond writing from the point and horizontal skimming, and the "exhibition body" was "technology-intensive" even though it was "labor-intensive" But I'm just immersed in the skills and techniques, and I'm working hard to write, and I don't have time to care about the outside world of Chinese character brush writing.
Calligraphy and calligraphy, "law" can not be ignored, there is nothing wrong with attaching importance to the law, the mistake is only to pay attention to the law and not see anything else. Knowing only that there is a "law" but not knowing what the "law" is used for is the most conspicuous problem at present. "Fa" is not used to express, but to "express" something. What exactly does it represent? Then you have to look for it outside of the "brush head". What does a lyric say? The outside world is very exciting, how can we hold it under the tip of a small brush? Our ancients often laughed at themselves for writing and painting as a "small skill of carving insects," and they saw it very clearly, and they must always be vigilant against this; if it is only limited to the technical level of painting, it will inevitably make this matter "small" like an carving insect. So it's good to be able to see something else beyond the little bit of the painting. The ancients did not explicitly tell you how many steps to take and what kind of training to take, but emphasized that "the source of the heart is obtained in the creation of foreign teachers", "reading thousands of books and traveling thousands of miles", "working outside the poems" and so on, and asked you to gradually cultivate enlightenment by yourself.
Therefore, Wang Xizhi, Yan Zhenqing, and Su Dongpo look no different from us, but they are just a group of masters of writing, but the reason why people are tall and shining is precisely because they can not only write. In the hearts of many people who write today, Wang Xizhi and Yan Zhenqing are probably similar to ourselves, practicing pen skills every day, or getting together to hold seminars, plan exhibitions, and even publish one or two collections every few years. Fortunately, people are not, either busy with national affairs like Yan Zhenqing, or busy looking for troubles like Wang Xizhi, when the heart grows crazy to the point of insolence, it will drip into the line dot painting under the brush. Some people will say, who will not have ideas in life? In fact, not necessarily, people are not without ideas in many cases, but obediently dare not have ideas. If you take it as an example, it is a stack of champion scrolls in all dynasties, except for trembling writing, of course, there can be no other, then it is called "pavilion style", "Ganlu character", specifically this kind of words as a technical analysis and practice is Huang Ziyuan.
In fact, whether it is to learn the tradition, to learn the classics, or to learn from the ancients, there are at least three levels: learning the techniques of the ancients or the classics, learning or understanding the ideas of the ancients, and learning and learning from the methods of the ancients to learn from their predecessors. These three levels are both interrelated and progressive, and it is not possible to simplifyingly see only the level of "technique". In addition, some people often say: "After the Tang Dynasty, you can't learn, and if you learn it, you will be vulgar; after the Qing Dynasty, you can't look at it, and if you look at it, your eyes will be dirty." "I want to learn the best and highest techniques in history in the original way, such as the brushwork of the Jin people, the brushwork of the two kings, etc., but the problem is that the wheel of history cannot be reclocked back a thousand years ago. The four families of the Song Dynasty, the four families of the Ming Dynasty, Xu Wei, the Eight Masters, Fu Shan, Wang Duo, He Shaoji, as well as Yu Youren and Lin Sanzhi, were clearly placed there, standing there clearly, walking towards us step by step, each coquettishly teasing us. Even if you set up the archway of chastity that does not look at or listen, holds the two kings, and ends with the beginning, what should it be? Song Sijia, Ming Sijia, Xu Wei, Bada, Fu Shan, Wang Duo, He Shaoji, Yu Youren, Lin Sanzhi At that time, they were also everywhere Chastity archway, and they all "lost" for the ancients one by one. It seems that history is like this, and if we all want to maintain the original flavor and not "lose our bodies", history cannot constitute history.
Calligraphy fever, exhibition fever, a fever for more than 30 years, no one expected that finally a "exhibition body" was hot, and it blossomed everywhere. What is the exhibition to be exhibited? It is nothing more than the "differences" and "differences" between the styles of the works to be exhibited and the styles of creative genres, and this should be the basic original intention and minimum significance of the exhibition. When the exhibited works are more or less in these respects, when the exhibitors are crowded in the same so-called "correct" and "good" direction, even if it is really good, once the "good" is almost the same, the exhibition is no longer very interesting, and it seems that there is not much need to continue.
And with the title of "Mourning Exhibition Body", a song is oiled, which is embellished at the end of the article, and the right is "decomposed":
The exhibition gave birth to calligraphers and painters, who imitated the skin and boasted.
The lines are like tahini, and the dots are vaguely plastic flowers.
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