On October 19, 2021, at the Zhijiang Art Museum on the 15th floor of Block B, Wangjing, Qianjiang Century City, Hangzhou, Lou Wanggan, a Chinese craftsman calligrapher of the World of Great Beauty, and Wei Yiguang, the founder of the Q&A based on the philosophy of behavior, had a key dialogue.
Lou Wanggan, a Chinese craftsman calligrapher in the world:
Writing is like being a person, I am a person who learns calligraphy, I should be in tune with the rhythm of the public at all times, and I cannot forget my cultural identity of learning calligraphy. Forgetting the identity, calligraphy is equivalent to losing the soul and losing the root. What is the soul of calligraphy?
Wang Shengqian's "Pen Yi Zan" said: "The magic of calligraphy is superior, and the form and quality are secondary." Over the past sixty years, I have deeply felt that "writing should be measured", and I see learning, culture, and wonder in my measure.
Words are like people. The structure of the human body has great richness, not only the richness of the inside of the human body, but also the richness of the relationship between man and heaven and earth. From a physiological point of view, the Yellow Emperor's Inner Classic, with essence, qi and spirit as the foundation, runs through the five internal organs and six intestines, and flows through the flesh and blood of the body's bones, muscles, muscles, muscles, and muscles, and is presented as a set of inner rich systems.
The autumn wind crosses the court, and the people are as light as chrysanthemums. The Character Chronicle strengthens the social and ethical factors of the aesthetics of calligraphy and unfolds into a rich personality system. The calligraphy art handed down by our ancestors is a symbol composed of strokes and lines, selecting Chinese characters as materials, and through rich imagination and fine processing, a completely native and purely national plastic art has been created. Therefore, Mrs. Wei proposed meaning, bone, and flesh.
In the face of such an art, folk rely on the effective method of master-apprentice inheritance, and have passed on this wonderful flower of traditional Chinese culture - calligraphy for thousands of years, coupled with the establishment and development of modern art schools, so that its rich line art and literary and poetic have been greatly enriched and developed.
Although I did not have the opportunity to enter the school system for study and training, my love and dedication to the art of calligraphy since I was a child has not changed in the slightest, and the beauty of calligraphy to achieve the same as the human body is my lifelong pursuit.
Wei Yiguang, chairman of the World Brand Conference, answered a question:
You said, "Whenever you show your pen and paper, it's like running away from the reins, running like flying, and you feel like you're forgetting your age, forgetting your troubles, and forgetting everything. "This in itself is a divine beauty.
The ancient Chinese aesthetic theory, which is based on the theory of the construction of living organisms, is inherently not limited by time and has a natural connection with all things in the universe, which determines the identity of all aesthetic objects in Chinese calligraphy. You said, "When the works you create, while enjoying yourself, you want to get the empathy of others, appreciate and recognize, share the results with the public, and travel together, this realm is the goal of my pursuit." ”
In fact, since ancient Times, the art of calligraphy in China has originated from life and nature, and is closely related to it, and is regarded as the same. The Ming Dynasty Yang Shen said: "The landscape of the heart is really picturesque, and the skillful Danqing painting is like the truth." The couplet of Lin Zexu's former residence has such a sentence, "If the government is a real book, it is dense and seamless", which is about the unity of art and nature, society, politics, and life, and this unity is based on the unity of life in the gasified universe.
Calligraphy works of art are condensed into a material composition, such as literature formed by language, calligraphy and painting formed by pen and ink, and music formed by sound, so the supreme state of Chinese calligraphy aesthetics is to regard calligraphers and calligraphy works as living bodies, and to describe them in the vocabulary of the gods.
Because the art of calligraphy has its own characteristics, for more than two thousand years, it has formed the richness of the theory of the gods: god, essence, qi, wind, emotion, meaning, magic, heart, rhyme, bone, grid, style, product, quality, body, stem, environment, reason, flesh, shape, speech, literature, collection, sound, sound, pen, ink. The aesthetic of calligraphy, centered on the beauty of the gods, matured during the Wei and Jin dynasties.
During the dialogue, Lou Wanggan, a world-class Chinese craftsman calligrapher, said, "For a calligraphy enthusiast without a college background, it is necessary to have its own correct positioning, but also to have self-confidence, self-esteem, self-improvement vision and mission." ”
Responsible editor: Damei Wudu Global Brand Value Release Center