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Mr. Fan Zeng once commented on his painting achievements in front of the camera: "The painting is divided into nine products... Four pins, already mastered, fengmao Ober; five pins, called the great master, five hundred years out of one; six pins, can be called devils, never seen... I sat looking around for the coming day. ”</h1>
There are indeed one or two people who refuse the title of master, those who openly self-evaluate themselves as masters are rare, and those who openly claim to have surpassed the realm of masters, Fan zeng is the first person in the contemporary era.
I knew Fan Zeng when I was a teenager, when he was middle-aged and had not yet gained a great name, but his works and stories had already impressed me, and in my eyes, he was a charismatic artistic genius, a Chinese literati with a gentleman's style, and I was glad that there was such a figure in the country at that time, no matter what step he was brilliant, I would not be surprised.
An important reason for the slow loss of interest in Fan Zeng is that I have grown up and I am reacquainted with this person who has been placed on historical coordinates. Seeing Mr. Fan talking about poetry and painting on TV, leading everyone to experience the charm of traditional Chinese art, its style is charming, and there seems to be a breeze between talking and laughing, but I still smell a little bad. My disappointment is his interpretation of his own work, and his self-evaluation is even more inexplicable.
Chinese painting and calligraphy are of the same origin, and there are Masters of Chinese Painting who have the realm of "sitting four and looking at five", and their calligraphy level cannot be underestimated. How does Fan ever evaluate his calligraphy? Recently, he replied in the usual way of quoting the scriptures: "As my personal calligraphy, I would like to use Du Fu's poem to describe Li Taibai's poem 'Fresh Yu Kaifu, Junyi Bao joins the army' to describe my character is more appropriate... Can tell a book like its own person. "Mr. Fan is quite comfortable with his calligraphy realm and quite confident in his own personality charm.
"Fresh and handsome" is Fan Zeng's calligraphic aesthetic pursuit. He summed up the results of his pursuit in this way: "Peng Yin's first year of enlightenment calligraphy is the most taboo to use the pen to be vain and the corner, and the empty work is shaking. Reading the Tang Dynasty monument, I also felt that the law was deep and strict, and the spirit of the spirit was suppressed, it was a fantasy of ancient rules, self-made family law, and self-confidence did not lightly let Chu Yu. The world's book world is stupid, and reading this will make you furious. ”
It is said that he studied Guo Moruo in his early years, and he also loved the Fa Ti, but I really can't see what the Fa originated from, washed away the ancestors' penmanship, never heard of it, maybe it is really a genius self-creation, outstanding self-contained, but we do not understand calligraphy and there are many people around the personal writing style, and the face is personalized is not equal to art. As for the inscription, he seems to have tasted it lightly and is not good at learning, and he respects the style of the stele school.
Style is a personal preference, fresh and handsome and majestic and ancient are beautiful, do not exclude the Fa Ti and inscriptions, there is no difference between high and low, no matter which one, you need a solid foundation and good understanding, you must write freely. Browsing Fan Zeng's calligraphy works over the past thirty years, we found that his aesthetic ideals were in direct conflict with his own practice, and his exploration was so arduous that he could not deviate from the "history of books".
A major feature of the paradigm is the pursuit of press, a few ups and downs within a stroke, the thickness changes infinitely, its fine pen is weak, such as the spring worm autumn snake, the thick stroke is bloated, like a fat lotus; and when its lateral brushwork is combined with the press, the lines written are like intestinal obstruction, which makes the viewer suffocate; its pen failure is the most, it is in a hurry, the pen is scattered, and it is not successful in flying white, and the spirit is leaked.
Calligraphy with the pen to pay attention to the change of thickness and thinness, fine can be compared to gossamer, thick as a branch, but the line should be strong, there is tension, the pen edge naturally converts, the line is broken and the intention is continuous, speculating on the root of its failure, should be the writer does not know how to use the pen to turn, did not understand the way of the change of the pen edge, and habitually uses dead ink, do not know the reason why the ink goes with the heart; from its later works, it seems to be more intentional and natural, the twists and turns are gradually reduced, there is some improvement, but it is slippery and unpleasant, there is no fundamental solution, and the failure is common.
Looking at its knots, mostly based on the structure of the script, the author intends to make the black and thick short strokes converge and gather, and the thin and long lines extend and wind, in order to encircle the larger white ground, the style of painting is obvious, but because of the lack of grasp of the denseness between the dots and strokes,
The relationship between the virtual and the real in the glyph structure, many words are unstable in center of gravity, the structure is loose; many words are deliberately distorted, like the tortured person, can not bear to witness; its later works, reduce the proportion of "tortured", but many words stand there, from a distance to look at the sound people, closer look, the original limbs have fallen disabled; its seal, the work of the subordinate, the body has its shape, most of the seals are like dead trees, like zombies, what about beauty?
Looking at its chapter method, the works of less words are like building blocks that want to fall, and the works of many words are like rocks and stones, each word fights for itself, rarely echoes, let alone talk about what line; its rank is often skewed from left to right, sometimes the first few lines are still correct, but the last two lines will have left deviation problems;
Some of his later small print works have changed, but they are still stagnant, and within one painting, the repetitive zigzags have not changed, and they have infected the disease of the pavilion body; as for the crookedness, crowding, and improper size of the inscriptions, as well as the indiscriminate use of idle seals, large seals and improper position of the stamps, it is a common disease of paradigm works, especially in the recognition of his paintings.
Liu Xizai said: "In all books, the strokes should be firm and muddy, the posture should be strange and correct, and the rules and regulations should be changed and consistent. "Strokes are slow efforts, and for the knots of words and the whole layout, if you are careful, the entry will be faster."
The deepest impression of Fan Zeng's calligraphy is that the writer will not deal with the relationship between qi and zhengsheng, change and integration in the layout of the knot body, and does not realize that the black and white "avoid each other and call each other", highlighting its serious lack of spatial sense, and as a calligrapher and painter, this is a hard wound. Looking at the works of many young people who have learned to write, although they are a little immature, the book's intuitive grasp of the dense lines and the virtual reality between the words is also greater than his.
With so many hard injuries, what spiritual aura can be expressed? What about "fresh and handsome"? Morbid calligraphy only.
I had suspected that most of the Fan Zengshu I had seen were counterfeits, and I was afraid that I would blame Mr. Wrong, but this time I witnessed his writing on TV, and his pen was ink, which was similar to my conjecture! A glimpse of the paradigmd true grass seal hanging behind him was a four-body banner that reassured me.
Judging from the degree of recognition of Chinese brush paper and ink by writing, and the level of control of lines and ink colors, it can be imagined that his Chinese painting level can be imagined.
Looking at his proud work "Huang Binhong Statue", the facial shape of the character is acceptable (superior in his paintings), but the vulgar pink color is really detrimental to Mr. Huang's face, and the frustrated lines that outline the character's clothes are jerky and sloppy, and how close to the exaggerated press effect of writing, the author said that it took twenty minutes to complete this work, which is completely credible.
Looking at the vertical drop and several large seals in the painting, in the use of pens, knots and chapters, all confirm the paradigm calligraphy characteristics summarized earlier. In such a work, the author actually said that he was "very satisfied, there is nothing wrong with it."
Fan zeng was full of ambition for his own calligraphy, so how can he judge the works of today's people?
He openly said that at the current calligraphy exhibition, many works are "pretending to be stupid", and many works that seem to have a personality in the style of the stele school are made by some "cunning people" who are good at calculation, these words are strange, ugly, chaotic, dirty, so that if they go on, "Chinese calligraphy has no future." On television, he actually criticized those disgusting works by learning to walk, and also showed that his books were out of nature, which made the whole hall laugh.
Can you really distinguish between "really lame" and "pretending to be lame" at a glance like walking in a work of art? It's not that simple. Whether it is Fan Zeng's "fresh and handsome" or those "ugly as beautiful" at book fairs, they need a certain degree of "jingyi", but to "do" naturally, which Mr. Fan agrees with.
The problem is what is "natural", different aesthetic qualities and preferences will form their own standards, such as calligraphy works that they think are "fresh and handsome", may also be regarded as unnatural, or even reduced to "strange and ugly and dirty", so that people mistakenly think that they are the works of those who are good at business calculations.
Those calligraphers who are not willing to look at the "second king" have greater pressure to innovate, they need to deliberately and boldly explore, and it is not appropriate to rashly assert some controversial "strange and ugly and dirty" works that appear during the period, and should be treated with tolerance, if there are indeed "cunning people" mixed in, sooner or later they will be eliminated.
We cannot but care about the calligraphy community's understanding of Fan Zeng's calligraphy. In fact, the calligraphy community generally regards the "painter's character", most of them laugh at it, and there are few comments, and these "stupid people in the world's book world" are not "angry" for their arrogance.
However, the Japanese side is more buying, and the people who set up the Fan Zeng Art Museum praised him as the only poet, calligraphy and painting in contemporary China, and Fan Zeng's words also frequently appeared in the top professional newspapers and periodicals of calligraphy and painting. In the early 1990s, there were authoritative domestic calligraphy newspapers and periodicals, and while affirming his knowledge, they publicly criticized Fan Zeng's calligraphy for the first time. To this day, how does Fan Zeng, as a master of art, deal with the voice of criticism?
When the CCTV host asked if he had heard the evaluation of colleagues in the Chinese calligraphy circle, Fan Zeng's answer was quite clever: "I don't care about this, because writing is my own business, and I don't care at all." "I don't have the knowledge to get the net, saying that there are tens of thousands of messages on the internet, and it has nothing to do with me, it's a virtual world, someone needs it." I have a lot of troubles inside and outside the body, inside and outside the body.
A person can eliminate troubles, be a real person, be a happy person, you write calligraphy, then your calligraphy will naturally bring you endless happiness. ”
Writing is your own business, you can take it out and publish it, or carve it into stone, as well as practicing writing with disciples, and going on stage to promote the teachings, it is related to the interests of others. Merchants take the opportunity to collect money and raise prices, no matter what, many devout students, but with Fan Zeng's calligraphy works and Teacher Fan's teachings to appreciate the beauty of art, interpret the works of the whole sick pen as mature and innovative works, and "self-confidence does not lightly let Chu Yu", I am afraid that it will mislead people. And refusing to listen to the words of the contrarian ear is only afraid that it will go farther and farther down the wrong road.
Dealing with criticism and "insults" in front of the media and ignoring them is a characteristic of today's masters, because masters have confidence. Please let go of the broad mind that is filled with Chinese civilization classics, and listen to the voice of criticism, including the hateful voice from the "virtual world", of course, this may bring "troubles", if you accept criticism but are powerless to change yourself, it will indeed lose "happiness".
Another characteristic of today's masters is that they are good teachers and believe in their extraordinary abilities. Fan once said on television: "I once met a calligrapher who was very bad. But I saw his words, and I said that this man would become a very good calligrapher in the future.
It was because I passed this sentence to his ears, saying that Mr. Fan Zeng had this evaluation of you, that he examined his own skeleton from then on, and later became a very good calligrapher. How I wish I were the one who was "very bad" and changed myself to the glory of life because of a word that was "passed on".
However, it should be admitted that Mr. Fan has indeed inspired many young people, and the young calligrapher on the scene of the performance, when he was a middle school student, was touched by one of his articles, so he worked hard, but today's achievements, his words, far more than his own spiritual teacher. With Fan Zeng's erudition and eloquence, he will influence more people, and I hope that Mr. Fan Zeng will continue to talk more about the classics and talk about the relationship between learning and calligraphy, but he will avoid using his own works as a successful example.
Those who are motivated and those who are about to be motivated, of course the person who wants to inspire themselves is a true master, and I have been asked: "Is he a master?" I was speechless. With his fame and quotes, his eloquence and versatility, his eloquence and demeanor, as well as his insight into the situation, his boldness in action and his skills to cope with the needs of the master, these are just in line with the expectations of today's class for the image of the master.
Comparing the works, theories and activities of the modern Chinese master of calligraphy and painting, what exactly does he lack? I can't find the right words, right and extrapolated from his calligraphy and calligraphic remarks to his people.
Mr. Fan Zeng has studied calligraphy for decades, and still writes about this level of fans, which really surprises me, and with his vision, at least there should be an objective evaluation of his own works, and his proud self-evaluation of ancient and modern times shocked me even more, and I had to evaluate his art appreciation ability again. "Reading books break through ten thousand volumes, but the next pen has no god", unfortunately, his books are not hard work, but also lack of talent.
Fan Zeng's works have a strong market vitality, which all go with him, the market has the law of the market, and the participants bear their own risks. And those who sincerely worship the teacher and learn the art, and those who want to follow the right path of art, please think twice.