Text / Zhang Ji
Zhang Ji recently took a recent photo
Zhang Ji, Zi Continued Zhi, number four Rong Zhai lord. Born in 1963 in Henan. He is currently a member of the National Committee of the Chinese People's Political Consultative Conference, the vice chairman of the Chinese Calligraphers Association, and a national first-class artist, and enjoys special government allowances from the State Council. His works have won awards in the National Calligraphy and Seal Engraving Exhibition, and have long served as a judge of the National Calligraphy and Seal Engraving Exhibition. He has published a variety of theoretical monographs and special collections of poems, books, paintings and printed works. He has won the honors of "National Virtue and Art Shuangxin Young Writers and Artists", "National Virtue and Art Shuangxin Calligraphers", "Lanting Seven Sons", "China's Top Ten Young Calligraphers", "Lanting Zhuzi", "Lin Sanzhi Award" and other honors, and won the "2013-2014 National Calligraphy Top Ten Figures" and "2018 Chinese Calligraphy and Painting Top Ten Annual Figures", was selected as the National Cultural Master of the Central Propaganda Department and the "Four Batches" Talent Project, and was rated as the "Most Beautiful Volunteer" in the country by the Central Propaganda Department and the Central Civilization Office.
1. Perceptual expression in calligraphy creation
In calligraphy, perceptual expression is relative to rational expression. In the stage of the teaching tradition, that is, the inheritance stage, it is mainly manifested as rationality, and in the stage of changing the law, that is, in the stage of innovation, it is mainly manifested as sensibility.
When there is a deep understanding and grasp of the ancient law, that is, the tradition, the perceptual expression is the change of law, innovation is particularly important, it is directly related to the success of creation, but also related to the achievement of the scholar. There are many people in society who deeply study and accurately reproduce traditions, but due to the lack of innovative spirit and means of change, or lack of sufficient courage, they dare not cross the thunder pool in the barriers of their predecessors, so they have no reason to create. Here, we will talk about the understanding of four aspects on how to exert our sensitivity or how to change the law, and sincerely encourage the broad masses of our colleagues.
Zhang Ji Fan Zengxiang, "Jixian and Zhuyan Farewell" on paper 180×97 cm 2021
The first is the flexible use of ancient methods. The Qing dynasty Wei Xi once had an academic stance of "advocating the entry into the ancient and the new, emphasizing innocence and nature, opposing conformism, and abandoning mannerisms", which had a far-reaching influence. In contemporary times, calligraphy is gradually getting rid of its practical function and becoming more and more purely artistic, with the obvious characteristics of carrying forward the main spirit and ideological concepts of artists. Many of the beauties such as the sense of power contained in the dot painting and writing, the breath generated by the use of ink, the posture created by the spatial composition, and the rhythm expressed in the chapter layout cannot be simply covered by the external figurative form, and can only be realized by injecting the author's temperament and learning. Therefore, when learning traditional ancient methods, we should not blindly "draw scoops according to gourds", and we must understand them with our hearts. The ancient law must be copied rationally to seek its form, and it is also necessary to imitate it emotionally to seek its god, and the two complement each other perfectly, and the form and god are both available. In the previous generation, everyone was a model of flexible use of ancient laws, such as jinnong and Yi Bingshou in the Qing Dynasty, which directly took the Han law and turned it into their own, thus creating a new style and establishing a new law.
Zhang Ji Liu Bang "Song of the Great Wind" on paper 69×68 cm 2019
The second is to follow the age of the ancient law. "Art is contemporary", any art form is marked by the times, and the art of calligraphy is no exception. History is developing, the times are advancing, calligraphy is moving from practical to contemporary exhibition halls, and every step of change shows the characteristics of the times. Contemporary people pursue ideological emancipation, the pursuit of life style, aesthetics tend to be diversified and open, expressed in the calligraphy itself, and the complete display of the law and skill is far from meeting people's appreciation needs. On the basis of tradition, the flexible and changeable use of pen, ink, knots, and chapters all reveal the aesthetic feelings and elegant tastes of contemporary people to varying degrees. In the Tang Dynasty, Sun Guoting had the classic remark that "when the ancients were not obedient, the present is not the same as the disadvantages", and these phenomena in the creation of calligraphy today are the specific manifestations of "the teachers and the ancients do not violate the times". It can be said that the development of the aesthetics of the times will not be transferred by the aesthetic tendencies of individuals, but at the same time, the aesthetic exploration of individuals also has sufficient and free space for expression under the premise of understanding the overall aesthetic characteristics of the times. If calligraphy creation only indulges in tradition and is divorced from the cultural background of the times, it will inevitably stagnate, and it will also violate the natural development law of "advancing with the times".
Zhang Ji Shijing Wang Feng Caige on paper 137×69 cm 2017
The third is the individualization of the ancient law. Any art is a unity of commonality and individuality, and it is difficult for a personality without commonality to enter the fa, and on the contrary, it is impossible to achieve a truly stylish artistic masterpiece without the commonality of personality. We know that personality is not exactly equivalent to style, personality is often innate, relatively fixed personality characteristics, and style is the expression of personal disposition in works of art and artistic performance after humanistic integration. In the creation of calligraphy, learning from the ancients and being different from the ancients should be a basic understanding. Predecessors have concluded that this is the truth of "fighting with the greatest strength and rushing out with the greatest courage". It can be said that it is not easy to hit in, and it is even more difficult to rush out. It often relies on kung fu and perseverance to enter, and it often relies on wisdom and courage to rush out. Punching in is the foundation, rushing out is the goal. Rushing out can be innovative, which is the sublimation of personality. Many individual pursuits in contemporary calligraphy creation, as long as they do not violate the laws of art, as long as they serve the overall effect of the work, can be tried, but the grasp of "degree" is crucial, because it directly maintains the life of the work. Those who cannot see it, disregard commonality, and abuse their personality will eventually find it difficult to reach a high realm.
Zhang Ji self-composed poem "Mission" on paper 137×69 cm 2020
The fourth is the humanistic integration of ancient law. Humanistic, the various cultural phenomena that exist in human society. Integrating the legality of art itself with the social humanities can be described as the lifelong pursuit of artists. Liu Xizai said in the "Outline of Books": "The book writer is like also, like his learning, like his talent, like his zhi, in short, just like his person." As we all know, the art of "imagelessness" is shallow, which requires the author not only to pay attention to the tempering of techniques, but also to the cultivation of temperament. It can be said that qi is the final destination of the integration of various arts, the natural expression of comprehensive cultivation, and the subconscious externalization of spiritual temperament. "Kung Fu is outside the word", the general trend of the development of contemporary calligraphy creation tells us that the support of comprehensive cultivation is the top priority. In the long history of Chinese calligraphy, all those who can be called everyone have advanced learning. Extensive knowledge outside of calligraphy is like soil to plants, without the continuous nutrients in soil, the life of plants is bound to dry up.
In summary, whether it is the flexible use of ancient law, the obedience to the era of ancient law, or the individualization of ancient law, the humanistic integration of ancient law, the mechanical mode of thinking and rational means of copying are not feasible. It is necessary to rely on sensibility, understanding of "deepness", and application of "understanding" on the premise of "new", "understanding", and spirituality to achieve "transformation", so as to enter the "Tao" from "skill".
Zhang Ji Lanting Award Creation Testimonial Letterhead on Paper 32×22 cm 2017
2. The development and innovation of calligraphy art
Development, innovation and tradition are closely related, and it is only when we come out of tradition that we can call it innovation. Only by not forgetting the past can we open up the future. I believe that the development and innovation of calligraphy art are embodied in the following 12 aspects.
First, inherit the clear laws of the Dharma. There is a pen method with a pen, a word for knots, an ink method with ink, a chapter with a chapter, and a law in all aspects. When learning from the basics, in fact, every stroke has a law to follow. To revere tradition, not arbitrarily, the state of unrestrained calligraphy when everyone creates is based on the premise of profound skill. Don't think of taking shortcuts or taking crooked paths. It is necessary to learn from the tradition seriously and solidly, establish the correct concept, grasp the correct direction, coupled with flexible thinking, if so, I believe that anyone can succeed. I often say three things: First, ideas are more important than actions. Behavior governed by incorrect ideas is not only reactive, but even has; second, direction is more important than speed. If there is no right direction, then the faster the speed, the farther away from the target; third, talent is more important than skill. Although traditional skills are the foundation, only practicing solid basic skills may not be able to become a high-level calligrapher, and talent and comprehensive literacy are indispensable. Talent as talent and temperament has both a natural side and a later-stage side. If there is no broad vision and profound skill, no keen thinking and creative courage, the so-called talent is difficult to show. With the deepening of the understanding of the essence of art, in the specific creative process, talent and inspiration will burst out consciously or unconsciously.
Zhang Ji's self-composed poem "Chinese Calligraphy and Painting Thousand Character Text" (partial) on paper 2014
Second, the normative requirements of convention. As mentioned earlier, penmanship, calligraphy, chapters, etc. are all laws, but some rules belong to an unwritten convention formed over hundreds of years and thousands of years, and it is also something that we who are engaged in the study and creation of calligraphy art must abide by. For example, with the use of seals, history does not clearly stipulate how the seal must be covered, where to cover, how many to cover, etc., but we must not be casual, because it has conventional norms. In fact, every aspect of calligraphy learning must be taken seriously.
Zhang Jihan does not make a fuss Pottery print 4×4 cm 2011
Third, the aesthetics of the times that flow naturally. A good work of art should have the following three elements: tradition, era, and personality, all three of which are indispensable. With tradition but no aesthetics of the times, it is also stuck on the reproduction of a certain image of the ancients, and it is difficult to go to a new level. "Not broken, not standing", but what kind of feeling is a breakthrough in tradition and a manifestation of the times, which needs to be studied, explored, and understood. In our time, from the perspective of the direction of the general cultural development, the art of calligraphy must not only be inherited, but also inclusive, flexible, and interesting. For example, the Tang Dynasty's calligraphy was very rigorous, but when we study it now, if we only show rigor, this is certainly not the main aesthetic feature of contemporary times. Obviously, vividness, flexibility, and interest should all be important and prominent ways of expressing the script in this era. Of course, under the premise of the mainstream aesthetics of the times, the forms of expression are also colorful.
Zhang Ji Dare for Balin Stone 2× 1.3 cm 2011
Fourth, unique personality. We cannot learn from the ancients but cannot repeat the ancients, and we cannot repeat the present people when we learn from the present, and this standard is very high. How do we grasp ourselves, the above-mentioned concept is more important than the behavior, have the correct concept to guide, and then put into practical action; grasp the right direction, and then speed up; lay a solid and deep foundation, while exerting their talents, this is the successful trick to learning calligraphy. Individual style is the embodiment of individuality in creation. Personality and style are different, and style is a sublimation of personality. Personality is integrated with traditional skills, the spirit of the times, comprehensive literacy, etc., and it is possible to form a style after it is improved. The style should be a kind of appearance that is gradually smoked, naturally revealed, and integrated. The highest realm of art should also be naturally expressed, and at the same time have a rich content.
Zhang Ji Overcome The Difficulties of the Times Qingtian Stone 3×3 cm 2020
Fifth, the ability to be bold and careful to create change. Boldness and meticulousness are a pair of contradictions, but these two aspects are indispensable. There are various contradictions in artistic creation, and it can be said that contradictions are all over the place. From macro to micro, from local to holistic, everywhere, all the time. Art is promoted and grown in the continuous resolution of contradictions. When dealing with contradictions, it is necessary to be bold and careful, and at the same time to grasp a good degree. It is necessary to show both artistry and creativity, as well as the various rules and laws of the calligraphy ontology. In addition, the grasp of degrees is not set in stone, and different writers will have a self-adjustment range at different times.
Zhang Ji Gu is not obedient when the pottery print 3×3 cm 2011
Sixth, complex and changeable contradictions. The art of calligraphy, like other disciplines of art, is a unity of contradictions. If there is no contradiction in artistic creation, then the work will appear very pale and must be a failure. Under the premise of harmony and unity, the sharper, more prominent and richer the contradictions contained in the work, the stronger the artistic appeal of the work. As an art creator, you must not only learn to resolve contradictions, but also learn to create contradictions first. In the early stage of study, we must be good at finding contradictions from the classic inscriptions of the ancients, penetrate the ideas of the ancients to create contradictions and resolve contradictions, and grasp their methods and techniques. Why the appeal of classic works is so strong and can be passed down from generation to generation to this day, because it is intriguing and has rich connotations, so the contradiction relationship is very important. The use of pen, ink, structure, etc. "to be simple but not simple, rich and not cumbersome", this is actually the key to resolving contradictions.
Zhang Ji Three Provinces Shoushan Stone 2.5×2.5 cm 2019
Seventh, harmonious and unified visual effects. With complex and changeable contradictions, the most important thing is to solve the problem of harmony and unity when resolving contradictions. We must pay attention to reunification but we must not be without changes, and we must not lose unity when we pay attention to contradictions. Some writers can't solve this problem for decades or even their entire lives, and their works are either monotonous or chaotic. Resolving complex and changeable contradictions and making them unified within a range of styles is also the embodiment of the author's artistic feeling and comprehensive ability.
Eighth, the fresh and flexible breath of life. In the art of calligraphy, the form is important, but the spirit is more important, and the spirit is a manifestation of life. When we first came to the post, we should not only pursue the form, but also pursue the god-like, and we must "have both form and god." Just like painting, if you paint a portrait, it is only accurate in shape, but it is very rigid and dull, it is lifeless. Therefore, artistic creation must first have a correct establishment of the concept, and then put it into action.
Zhang Ji Pingfu Shoushan Stone 1.8×1.5 cm 2014
Ninth, the integrated skills of mutual integration. Mutual integration is to break the limitations of the calligraphy body, which is called "the stone of his mountain can attack jade". How to get rid of the bottleneck period encountered in the creation? I think the first thing to do is to be calm and reflective. You may wish to re-dive into the ancient classics to absorb some new ingredients, and then create. At the same time, we must broaden our horizons and absorb more resources. If it is too rigid, it is necessary to strengthen the courage. In short, if you want to break through yourself, dig deeper, have a wider vision, and be bolder, the problem may be solved. The comprehensive technique of mutual integration is also called in vitro borrowing, if the pen is hard and monotonous, you can learn from the vivid brush and ink in the painting; if the dot painting is soft and feminine, the sense of strength in the seal carving will definitely play a subtle role. Seeking printing outside india and seeking books outside the book is this truth. The internal laws of all art disciplines are actually consistent, and they can achieve more with less.
Zhang Ji Virtual Valley (side section) Shoushan Stone 2× 1.5 cm 2014
Tenth, euphemistic rich emotional sustenance. When you are new to calligraphy, it is also unrealistic to talk about emotional sustenance if you have not even dealt with the basic dot painting and interstitial structure. However, when the creation reaches a certain height, the emotion may be reflected in the work, which is actually a kind of heart-writing realm. The ancients said: "The bookmaker, the heart draws also." "Although people's joys and sorrows are not directly expressed as techniques and techniques, they are revealed in creation, and are often most fully expressed in extreme cases. As a mature calligrapher, if the law, skill, era, personality, etc. can be taken into account, and there is emotional expression, the realm of the work will be higher. But emotional sustenance is untenable, but as a high-level creation, it is indispensable.
Eleventh, subtle cultural accomplishment. Regarding cultural accomplishment, it can be said that this topic is very big. Specific to calligraphy, such as the use of characters, many of the inscriptions in ancient inscriptions are actually typos, which cannot be completely copied, but we can learn its characteristics in terms of pen and structure. In fact, mastering this knowledge is considered cultural accomplishment. Broadly speaking, the scope of culture is too great for us to cover everything. Even culture in the narrow sense includes all aspects, to continue to learn, continue to accumulate, it will eventually be subtly integrated into our creations, so as to improve the quality of the work.
Zhang Jizai (with side section) Qingtian stone 3.5×2 cm 2014
Twelfth, positive ideological content. The text content of the calligraphy work is an important part of the work, and it is like the two wheels of the car and the wings of the bird, which cannot be abandoned. If we only focus on art forms, we can only explain the lack of cultural ideas. Just imagine, a work with vulgar ideological content, even if the artistic level is very exquisite, who wants to hang in the courtroom. In addition, as a contemporary calligraphy exhibition, especially a high-level and high-standard exhibition, people are too familiar with the content, that is, there is no sense of novelty, which will also affect the overall effect of the work. Unpopular, low-level interesting content, I think, is like typos, which is a hard wound.
A good work that can withstand the test should be said to be indispensable in these 12 aspects. Some of them involve calligraphy ontology, some involve related categories, some are direct, some are indirect, some are particularly important, and some must be paid attention to. I am also constantly learning and tempering these 12 aspects, and I am here to encourage you.
(This article was originally published in Art Observation, No. 10, 2021)