There have always been very few female calligraphers in China, and one or two female good calligraphers in the past generations have been regarded as gongbi, and they must leave one or two strokes in the history of calligraphy. For example, Zhao Mengfu's wife Guan Sheng and daughter Zhao Youxi, strictly speaking of the calligraphy of the two of them, the same duan position in the Yuan and Ming dynasties is inevitable sweat cattle, not too much. In recent years, there has been a lack of large works in the auction house, and The Ming and Qing Dynasties have also taken out a number. In fact, the calligraphy of a large number of unknown unknowns is stronger than that of Guan Sheng and Zhao Youxi. This shows the principle that things are scarce and expensive.
As for the mention of Lady Wei, I am afraid that I cannot be the same as the one who can teach Wang Xizhi, the family learning inheritance is extremely deep, and it is the direct brushwork teaching sequence of Cai Wenji and Zhong Xuan, if there is ink in the world, the book rhyme should not be under Xie An.
In modern and contemporary calligraphers, with the socialization of equal rights for men and women, female writers are not uncommon, but its most well-known Mr. Xiao Xian is actually Kang Youwei's "weak women's version", whether it is the understanding of restrictions or the display of their own personality, they are not in the high stage, and they have a slight sense of authenticity.
Contemporary female masters have to mention Mr. Zhou Huijun, who is likely to be the only example of a self-defense lady who can prove it in the existing information, who can rank among male calligraphers in an era with calligraphy strength and rank among the best in the book forest. There is already a monograph in the "14 Hundred Cool Reviews of contemporary books", which will not be repeated here.
Ms. Sun Xiaoyun can be counted as the only woman in the power list of the book world after Cai Yan and Lady Wei. There is already a monograph in the "100 Cool Reviews of Contemporary Books" and will not be repeated here.
Ms. Lin Xiu is a unique presence in the contemporary book world, not only because she is a woman, but more importantly, her view of calligraphy is a rare stream in contemporary times.
She attaches great importance to the cultural literacy of calligraphers, advocates the writing of self-written poems and inscriptions, etc., and the spirit of learning and inheritance of such ancient poetry is compared to the spirit of learning and inheritance of ancient poetry, which is compared to the participation of some people who write grocery shopping diaries and current affairs vernacular on the beautifully framed large vertical axis, which really makes people feel ignorant of the so-called so-called, and the contemporary nature of calligraphy is known as the name....
In recent years, "Calligraphy" magazine has serialized the "Zizhu Zhai Art Talk" series written by Lin Xiu, which shows that its reading volume is by no means comparable to the booksellers who can only play with brushes and do not read books. Calligraphy has always been called a small way, the reason is that "the book is also", and the ink rhymes in the pen are all Chinese ink. The direct result of reading too little and no learning is often no ink in the chest, lack of aesthetics, and nothing to do except pursue new and peculiar visual effects, and the so-called calligraphy "innovation" sources of various clown plays in the book world are not complicated, and they are all because they do not read books.
Su Shi said that "books do not enter the Wei and Jin Dynasties and eventually fall into the wilderness", and the essence of it is not just the inheritance of brushwork. It should be known that the changes in ancient and modern book styles are diverse, but the brush is that one, and the difference between the heart pen, the paper core pen, and the scattered pen is far less than the change of the book body and the style of the book. The so-called brushwork is nothing more than a set of movement methods and training methods that are most reasonable and most abundant and in line with the beauty of neutralization, just as the way of martial arts is to pursue the limits of manpower to achieve higher speed and concentrated blasting. The so-called Wei and Jin brushwork, in addition to the brushwork and gestures summarized by the Two Kings, is to a greater extent the charm and cultural aesthetic orientation of the Wei and Jin literati who are scattered and exuberant, unintentional to the book and even the way of the book. Therefore, reading is actually the core of calligraphy, and pen skills are only containers that accommodate culture to express itself. Taking the brush as a metaphor, reading is the hair of the pen, and the pen skill is only the pen tube.
Reading more books not only makes the pen popular, but also has a major impact on the way of personal worldhood, or "morality, meritorious service, and speech", or elegant and superior, not swayed by fame and fortune. Reading books, the ugliness of today's book world vying for power and profit like a hooligan fighting group fight will naturally not become the norm, and it is impossible to promote "ugly innovation" in calligraphy.
Wenge is personality, personification of the book, this is the only principle of calligraphy. As a result, Lin Xiu's advocacy of reading is directly ancient and sincere, and it does have the significance of inspiring the deaf. However, on Lin Xiu's calligraphic performance alone, there is a phenomenon that is contrary to this, which is worth thinking about and learning:
Lin Xiu's early writings and the Fa Sacred Order and Chu Suiliang's teachings were obvious, although there were problems of eating the ancients and not being enough for the family, but the path was very correct. In the past ten years, there have been more works of daxingshu and jade seals. The Jade Seal is a crafted book with "skill" greater than "rhyme", although there is nothing wrong with it, but there is no need to study deeply, we only talk about Ms. Lin Xiu's writing.
Lin Xiuxing's book is elegant and elegant, and the writing is exquisite, quite the flavor of the Wu school founded by Wen Zhengming, but there are few changes, a very weak sense of space, and the emotional performance that changes with the ups and downs of the text is also if there is none, and there are few touching places. And these, in fact, are the "rhymes" and "rhymes" of calligraphy, and a calligrapher who advocates reading and reading a lot of books lacks "literary rhymes" in his pen, in other words, Lin Xiu's calligraphy, which is better than the literary style, lacks the valuable book qi of the literati, which is a difficult thing to understand.
If you look closely, I am afraid that the key lies in the relationship between the amount of reading and the cultivation of literary rhyme.
Reading to obtain the literary style, how to turn it into a transforming force for personality and book style? On the study of ancient books, some people say that even the average ancient literati read more books than the classical literature professors of our general universities, reading, not only has read this simple difference, whether to read deeply is actually the difference between the world. Ten lines at a glance VS ten years to break a scripture, do not seek much understanding VS citations of the precepts of course are very different, the literary style that can be obtained is naturally different, and the degree of subtly changing one's own temperament is also different.
Let's take a look at the works that Ms. Lin Xiu participated in compiling, such as "Dictionary of Chinese and Foreign Cultures", "Selected Works of Famous Contemporary Female Calligraphers", "Masterpieces and Techniques of Contemporary Book Masters", "Three Hundred Schools of Global Chinese Poetry", "Selected Poems of Chinese Han and Hai Hundred Schools", etc., which are basically compilation and excerpt works. His own works include "Ancient Literary Knowledge and Poetry Creation", "Introduction to Literature", "Ancient Writing", "Poetry Essay", "Preliminary Exploration of Ancient Japanese Chinese Poetry", in addition to the "Preliminary Exploration of Ancient Japanese Chinese Poetry" involved in the field slightly professional, need to have a certain professional academic foundation to be able to write, the rest of the works basically belong to the professional depth is very shallow, the requirements are not high, and do not need independent academic creativity of the textbook compilation. Just "A Preliminary Study of Ancient Japanese Chinese Poetry" also does not have any professional awards and academic citations to support its value. Forgive me for being shallow, I have not seen Lin Xiu write an article with unique insights and real academic value.
Here, we are not deliberately devaluing the cultural depth of Ms. Lin Xiu in this way, but want to reveal a calligraphy convention: there are many literati calligraphers since ancient times, but many of them are not in the flow, and a very small number of talented people can reach the top of calligraphy, such as Wang Xizhi, Su Shi, Xie Wuliang... They have no intention of writing but can override the calligraphy, so the writing is integrated and full of artistic charm. There are not many scholar-type calligraphers since ancient times, but they are not listed in the book world, but their calligraphy value is above that of many famous calligraphers, such as Sun Guoting, Jiang Kui, Li Qian, deng Shiru and other former presidents of the Xiling Printing Society (the next session does not count) and Zhang Boying, Luo Zhenyu, Zhu Fujin, Huang Binhong, Pan Zhonglan, etc. The former is unattainable, in-depth study of learning, precipitation of academic ability, improvement of their own academic education, and becoming a scholar-type bookmaker is actually relatively close to the vast majority of people. It is easy to become a scholar, and the difficulty of calligraphy is evident!
Lacking academic research literacy, Ms. Lin Xiu is not specialized in reading, but there is elegance, and her calligraphy is not as good as Cao Baolin and Yan Gongda's literary rhymes that have the same starting point. It can be seen that people's spiritual style and artistic attainment are not always more and more advanced by reading books, and the real key lies in the deep precipitation and the formation of academic breakthroughs and all-round communication.
It is precisely because of the lack of depth of learning and cultivation, and at the same time, it does not have the line control that Mr. Zhou Huijun is diligent and abandons the socialization of specialized calligraphy, which is rarely matched in the contemporary book world, and naturally forms a book style with soft lines, twists and turns, and lack of rhyme. The lack of bookishness is actually another word--shallow and vulgar. Ordinary landscapes that are not rigid, not soft, not thick or thin, and have no characteristics also mean the death of art.
A person who has written a lifetime of writing may not be a calligrapher, a person who has read a lifetime of books may not be a literati, and a person who has written a lifetime of words and a lifetime of books may not be a true literati.
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