Whispers
Xu Yan
♦ Calligraphy with a pen, when drunk like a drunk, relaxed and casual, leisurely and loose, natural and not rigid; when the pen is dropped, if it is too rational, the charm is asquerous. Drunkenness is made of wine; tao qian's poem has wine at the beginning, and Li Taibai writes a thousand words after a thousand words to rely on Marco. Wine is a thing, and once combined with art, it gives birth to aura. After drinking, writing is often unexpectedly interesting, naïve, and unreachable when sober. The vividness and nature of calligraphy does not have to be sought after drinking, but its meaning is natural, and it is sought from time to time.
♦ In nature, a grass and a tree, a stream and a river, a mountain and a hill, all are curves, because of their nature, so vivid. The same should be true of the structure of calligraphic lines. The ancients were so heavy house leak marks, because of its natural pattern also. Where is calligraphy seeking high antiquity? Pure natural ears. Cursive writing is still the same, if the knot is flat and stable, it seems to drink boiled water and tasteless, Wang Juesi line grass, often crooked from east to west, but resistant to chewing, such as the taste of alcohol, gradually approaching the natural reason.
♦ The creation of calligraphy and the creation of literature are a real way, which can not be born of emotion and imagination. Ruthless for poetry, it can not move, calligraphy creation without passion, just like usual writing, bland and tasteless. The so-called words have feelings, as if flowing out of the pen, whether it is leisurely feelings, sad and indignant meanings, can be twisted and turned, and the party is a high book. Sentient beings can then be able to imagine, literature and music calligraphy are not like this, if there is no imagination, it is inevitable to draw a tiger according to the cat, and the spirit is vibrant.
♦ There are many similarities between calligraphy and music and poetry, and Chopin's "Fantasy Improvisation" is flexible and lively, like an angel flapping its wings across the lake, ethereal and long. Li Taibai's "Shu Dao Difficulty" is like a fantasy, twisting and turning, singing three sighs. The calligraphy is also similar, sometimes it is smooth, sometimes it is brisk, sometimes it is solemn, there is rhythm, emotion, there is a similarity, there is a combination of beginning and end, and the music and poetry are secretly communicated, and the Lord is also sexual and spiritual.
♦ If the bookworm does not read, he cannot progress. Writing and reading, when parallel, are indispensable. If you do not read, your vision is cramped, and you will not be able to appreciate the wonders of the ancients, such as the subtlety and introvertedness of the seal, the calm elegance of the book, and the endless flow of the present grass, all of which must have unique eyes, otherwise they will only see their shape, do not know their gods, only know the skills, do not understand the connotation, and eventually become a layman. To explore the beads, to read. Only reading can open people's eyes and stimulate imagination, and under the pen of shape, can it open up and have weather.
♦ Where does the nourishment of calligraphy come from? Learning the ancients is an important way. A good scholar should abandon the defects of the ancients, take the essence of the ancients, and in other words, take the longest part of the ancients. For example, Wang Xizhi's pen is charming and vivid, Mi Yuanzhang's use of the front eight sides to attack, Wang Juesi's line is thick and tight, and Zhao Zhiqian's body is calm and broad, all of which can be used by me. However, it is only to attack the appearance of the ancients, take the essence of the ancients, turn them into my flesh and blood, and write my temperament and personality, so as to be good at learning the ancients.
♦ The avenue is simple, and the same is true for calligraphy. Guan Zhong Ding Zhen seal, often with a simple pen, and the atmosphere of high antiquity is overwhelming. Nowadays, people think that cursive writing is full of changes and is mostly in a continuous shape, often full of paper winding, up and down left and right, full of paper branches. In fact, cursive also seeks simplicity, simplicity is not simple, and deletion of complexity is also simple. Can delete the complex and simplify, in order to be able to approach the ancient. The so-called pen breaks the meaning of the ancients, which is this meaning, if it is blindly linked, it is trivial.
♦ Cursive writing is not difficult, difficult in late weight, can retain the pen, can be astringent. Lin Sanzhi's old Zeng Yun, the pen should be retained, that is, this is also the case. Common bookers flow straight down, slightly without stopping, quite imposing, but with the pen flowing, at a glance, like a pool of clear water, looking directly without hindrance. There are clouds in the proverb, there is no fish in the water until it is clear, and cursive writing is like clear water. If you can combine fast and slow, and see the cang astringent, such as entering the deep mountain, both green and full of greenery, and see long live dead vines, then the forest in this mountain must not be newly planted, and suddenly there is a kind of ancient feeling.
♦ The ancients discussed books and emphasized specialization, which can be described as the theory of knowing. Foolish to think that specialization is the basis of learning books, and if you do not specialize, the foundation is not solid, you cannot peek into the ancients, and you cannot talk about learning books. It is necessary to specialize in refining, to seek knowledge, to collect the nutrition of ancient masters, and to turn them into their own flesh and blood, so that they can see their own faces. In ancient times, everyone was like this, and I did not see those who became famous by only learning one family.
♦ Study books must be diligent. Diligence has three meanings: diligence, diligence, and diligent testing. Diligence is the foundation, there is no shortcut to learning books, we must be widely known to the ancients to come to the inscription, to explore the ancients to knot the body of the pen, such as building a house, this is the basis. You can be diligent, but you also need to be diligent. Those who are diligent in enlightenment, pondering the heights of the ancients, and realizing why the ancients were high, is beneficial. If it is mechanically written, it is no different from copying a book, although it is more than useful. Some people are in the pool all their lives, and there is no benefit, which is why. Diligent testers, diligent in creation, also said. Learning from the ancients for a long time, after all, it is still the ancients, dare to try their own play, in order to see their own temperament, its beginning is inevitably not satisfactory, you are persevering, the ancients pen and ink language are all driven by me, and gradually see the personality, in time, Taishan can be moved, personality can be achieved.
Introduction of Xu Yan
Xu Yan, born in 1974 in Zhangjiagang City, Jiangsu Province, is a national first-class artist. He is currently a member of the Jiangsu Provincial Committee of the Chinese People's Political Consultative Conference, the deputy secretary-general and executive director of the Jiangsu Provincial Book Association, a member of the Female Calligraphers Committee of the China Book Association, a member of the China Standard Cursive Society, a senior professional title art judge in Jiangsu Province, a part-time professor of Nanjing Normal University, and a part-time professor of Southeast University. He has successively won the honorary title of "The First Batch of Outstanding Young Calligraphers in Jiangsu Province", the honorary title of "Young and Middle-Aged Experts with Outstanding Contributions in Jiangsu Province", the training object of "333 High-level Talent Training Project" in Jiangsu Province, and the "Five Batches" of Talents in the Propaganda and Cultural System of Jiangsu Province. His calligraphy works have won the "National Award" of the 7th National Calligraphy and Seal Engraving Exhibition and the "Highest Award" of the 3rd National Book Exhibition. His works have been selected for the 8th and 9th National Calligraphy and Seal Engraving Exhibition, the 3rd, 4th and 5th National Women's Calligraphy and Seal Engraving Exhibition, the 2nd and 4th National Zhengshu Exhibition, the 2nd National Cursive Exhibition, the 3rd National "Lin Sanzhi Award" Calligraphy Biennale, and the First National Calligraphy Sketch Exhibition. He has published "Contemporary Jiangsu Young Calligraphers Xu Yan Scrolls", "Contemporary Chinese Calligraphy and Painting Masterpieces Collection Xu Yan Calligraphy", "Xu Yan Calligraphy Works Collection - Tang Poetry Song Poetry Yuanqu Appreciation", "Pen and Ink Temperament - Collection of Contemporary Chinese Famous Artists Xu Yan Scroll", "Xu YanShu Tao Yuanming "Peach Blossom Origin Record and Poetry", "Xu YanShu Song Ren Poetry Ten Rules", "Ancient Chinese Women's Calligraphy Research", "The Footprints of The Former Sages - Jiangsu Calligraphy seal research Society Looking Back".