If you want to write good calligraphy, generally speaking, there are three aspects of the elements, these three aspects are indispensable, throughout the generations of calligraphers, their fame and family business are because of these three aspects.
The first aspect is the enthusiasm for learning calligraphy, for any art, it is difficult for you to completely adhere to it without enough enthusiasm, with enthusiasm, you can have persistent progress and learning.
The second is the learning method, many people have practiced calligraphy for decades, still do not get started, it is because the learning method is not correct, the best teacher to learn calligraphy is the ancient classic post, to carefully ponder.
Wang Duoxing's cursive book "Luozhou Xiangshan Zuo"
The third is artistic talent, no artistic talent, no matter how hard you try, it is only a second-rate level, so people must thoroughly understand where their talent is.
This is especially true for calligraphy, in the history of calligraphy there is such a poor peasant born, he began to copy Wang Xizhi from the age of 7, and later fell in love with wild grass, he is talented, the copied calligraphy can be familiar with the heart, the calligraphy he has read can also be recited, and later he passed the entrance examination, and the highest achieved the Rebbe Shangshu, which is equivalent to today's provincial official Minister of Culture!
He is Wang Duo.
If you say that for the calligraphy industry in recent years, the most in-depth and extensive research in the field of cursive writing, it must be Wang Duo. Theoretical writings on Wang Duo have emerged in an endless stream in recent years and have become an obvious discipline in the field of calligraphy.
But friends who did not understand cursive enough did not realize how far-reaching Wang Duo had on the history of Chinese cursive. Judging from the record of an auction transaction 4 years ago, it is enough to establish Wang Duo's historical status. He wrote a letter to a friend, "Luozhou Xiangshan Zuo", which was eventually auctioned for 35.5 million yuan, which is more than enough to buy a house in Beijing.
This naturally does not mean that whoeverse works are expensive, the artistic value is high, which reflects the great influence of Wang Duo's calligraphy in contemporary times.
There have been three awakenings in the history of Chinese cursive writing, the first time was that Wang Xizhi broke through the single-word shackles of Zhangcao since the seal and became a kind of cursive with a circle of momentum, the second time was Wang Xianzhi broke the barrier between words and formed a kind of word group innovation, the third awakening was represented by Wang Duo, Xu Wei, Ni Yuanlu and others to break the shackles between the lines and lines of calligraphy, and Wang Duo's unique "ink raising method" raised the aesthetic paradigm of calligraphy by one dimension.
Wang Duo's contribution is great, and it is no wonder that after Wang Duo's calligraphy spread to Japan, it triggered some people to say that "the later king won the first king".
We can simply look at Wang Duo's "Luozhou Xiangshan Works" to see the profundity of his artistic attainments.
If you do not have a deep understanding of Wang Xizhi's "Cabinet", if you do not have a clear understanding of the three-dimensional concept of calligraphy aesthetics, if you do not know much about the cursive character group and the "axis concatenation" technique, you may not have a comprehensive understanding of Wang Duo's artistic achievements.
In the inheritance of calligraphy, Wang Duo is completely the face of Theit, in the axis connection between words, it is to inherit and develop the method of "side change" of Mi Fu, and at the same time, Wang Duo's original "ink raising method" technique, from the point to the line of the aesthetic paradigm, has been elevated to the category of line and surface, and the aesthetic realm has changed!
This "Luozhou Xiangshan Zuo" has the courage to carry the strong in the lines, and the unpredictable power of the dragon in the contrast of weight and weight. This is a classic dharma that contemporary cursive practitioners cannot miss.
Source: Humanities Time
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