In today's book world, everyone is singing traditional songs, and everyone is in the study to visit the ancients and understand the ancients. Trace a little trace of your own use from the long history of calligraphy. But whoever touches a trace, before it is discovered by others, quickly excavates it in order to find another way among today's book people. Therefore, in the nearly 20 years of the contemporary book world, calligraphers have excavated a large number of new elements of calligraphy, such as Qin inkblots, northwest paper residues, Gansu porcelain pieces, prisoner bricks, etc. These so-called "non-mainstream" calligraphy works have gradually entered the mainstream of calligraphy performance, and since then, in addition to the Erwang and Wei monuments, there have been various strange calligraphy styles in the calligraphy circle. Of course, this is an element of the ancients and a traditional historical expression. But after all, its source, it is inevitable that it will be difficult to enter the hall of Chia Tai Weather.
So in recent years, many people are reflecting, after all, what is tradition? What is Chia Tai Weather? What was the tradition of expressing the ancients? Prisoner bricks are good, residual paper is good, but after all, it is the "mainstream" wind that the calligraphy community cannot accept at that time, we see her well today, in fact, it is novel, I have not seen it, so I think it is funny, so I inexplicably like her, which is also a new realm opened up outside the mainstream style, opening up a new means. We buried our heads in these things for a day, and the next day we created them, which was still not interesting, because it was too simple, so simple that it would be extremely easy for us to create this style. We can never doubt the intelligence of the ancients, for the penmanship, chapters and other elements of the ancients have done a lot of research, only to appear can be passed down for a thousand years of paper, so that future generations are intoxicated! So now more people are abandoning these marginal things, and returning to the ancients and returning to the mainstream tradition! The second king wind blows again, this time the wind is a little big, but also a little fierce, a swarm of bees are showing the second king, all kinds, but there is a very similar expressiveness, it is really fun!
I said that Li Rui penetrated the minds of the ancients, which I summarized by watching his works in large quantities. What was the mind of the ancients? That is, we look at the ancients' Fa Ti, in addition to looking at the cat painting tiger to ask for dot painting, structure, chapter law, etc., what else can we learn? The words left by the ancients are limited, and it is easy to restore the elements of the ancients after learning a few tricks, but it is difficult to restore the weather of the ancients through the relationship between black and white. So we can get closer to the ancients, the so-called heart and hands, is to resonate with the ancients.
Li Rui's works express many ways of the ancients, his works from the Tang Law, the expression of the ultimate beauty, this beauty is of the times, the beauty of the Tang Dynasty is different from any era, atmospheric, majestic and delicate. Li Rui's cursive works integrate this expressiveness, and he has figured out the minds of the ancients, so in his works we see the precision of the ancients' pens, the magnificence of the shapes, and the staggering of the rules. I do not believe that Li Rui absorbs more of the factors of the times into the creation of his own works, because I see that his works are very epochal, that is, to express the atmosphere of the Tang Dynasty, which is not the boldness of the Ming and Qing dynasties, but the accurate expression of the inner atmosphere.
Li Rui also has a skill that can restore the ancients with great precision, that is, his works make you feel that there are many things of the times, just like the ink left by the ancients. Of course, this kind of performance is not achieved by dyeing and aging, most of Li Rui's works are dyed, but we look at Li Rui's works through the background color is also very wonderful, he can restore the ancient people's Fa Ti with another expression, to achieve the ancient people's expression method, which is indeed very difficult. There is also the accuracy of pointillism, Li Rui is more cautious with the pen, and the relationship between the position of the dot painting is more thorough, so he will consider it when dropping the paper, so that his works are almost not picky, the so-called interspersed, management, etc., he has done it, so he can tend to perfect performance.
When more people in today's book world go to excavate new elements, Li Rui has returned, returning to the most orthodox calligraphy traditional elements, excavating traditional elements from the ancients that everyone knows, so he has achieved a certain degree of success, and we have reason to believe that he will do better and better!