In order to measure the level of calligraphy, contemporary people often compete in the form of exhibitions and award various awards, so as to derive the merits of calligraphy works and the level of writers. However, this selection mechanism has also been reformed many times in recent years, and its purpose is to achieve the principle of impartiality. Nevertheless, the problem arises, that is, the criterion of selection, and sometimes viewers often feel that the works of those who have won the highest awards are not the best feelings in their minds, even ugly books. Why?
In response to this question, Zhang Ji, vice chairman of the Chinese Calligraphers Association, gave the answer, he believes that the works on the exhibition of the competition should be a competition of "technique plus innovation", rather than letting you copy the words in the ancient posters to participate in the calligraphy competition. Because the calligraphy competition measures a person's ability to learn ancient times, that is, the level of technique, there is another more important reason is that after you learn the ancients, are you digested, whether you have become your own, and form your own style, which is the fundamental reason.
For Zhang Ji's view, many people agree with the view, thinking that calligraphy should be innovated in inheritance, if they are all written about the ancients, the works on the exhibition are the same, and there is no way to judge, let alone everyone's learning level and creative ability. But there are also some people who believe that Zhang Ji's view is not comprehensive, if everyone goes to innovation, it is easier to make ugly book works on display, such examples are too many, which can be seen from the works that have won awards in previous competitions.
Why are there ugly books in the calligraphy competition? Is there something wrong with the judges' vision, or is there something else? We should look at this issue from the following aspects.
First, the so-called ugly book works are on display, and the fundamental reason for this is determined by the nature of calligraphy. Speaking of the essence of calligraphy, it is also the source of calligraphy innovation. Wang Xizhi gave his own views on the nature of calligraphy at that time, saying that "there are intentions between dot paintings", which means that calligraphy should show its due characteristics in the meaning of writing and works. Later, su Dongpo, Huang Tingjian and others in the Northern Song Dynasty also put forward their own views on the meaning of calligraphy, "I can't make a book of calligraphy, and I am tired of asking for it", which is to require calligraphy innovation to win with "intention". When contemporary calligraphy is innovated, it is more expressed in terms of "meaning".
Second, ugly books are the result of the bold use of pen and ink. Contemporary calligraphy due to the great abundance of materials, people in the creation of calligraphy works, often invest in large-scale, large ink methods, so that the work from the sense of form more wild, which makes the work appear weight, size, urgency, black and white, dense and other contradictions are very obvious, so that the work in the overall sense and visual impact is better than the ancients. Of course, there is another main reason for this, which is to cater to the tastes of the judges, or to attract the eyes of the judges.
Third, the departure from the ancients can give ugly books an excuse for innovation. When people innovate in calligraphy, they will always adhere to a principle, that is, they should never write exactly like the ancients, as long as they find the basic brushwork, or a certain dot painting similarity. For example, a Yan body calligraphy creator at a book fair, from the overall point of view, is indeed written Yan body, but a closer look is far from Yan Zhenqing's book, in fact, this author is very smart, he knows what the judges want, he will do what, and does not violate some of the views of the ancients, as Mi Fu said, "The ancient books are different, if they are similar, then the slave books are also." "So this is also a criterion for contemporary calligraphy judging and value orientation."
In general, Zhang Ji, as the leader of the Book Association and a member of the jury, his views do not represent him alone, but a summary of the evaluation requirements of contemporary calligraphy exhibitions, and only by creating works in accordance with this idea to participate in the exhibition can it be possible to achieve certain results in the calligraphy competition.
What other views do you have on Zhang Ji's point of view? Welcome to leave a message to discuss together.
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