Where Will China's Calligraphy Go?

Where should contemporary calligraphy go? There are only three paths: one is to innovate the tradition of post-learning; Second, the traditional innovation of stele study; Third, a new way to combine steles and stickers. The first two are the paths for many calligraphers to practice and succeed, but after the enrichment and development of different times, these two traditions have been greatly perfected and matured in terms of calligraphy aesthetic system and technical rules (brushwork, layout, composition and ink painting). At present, despite the new era conditions and the promotion of calligraphy environment, there is little room for creative development. However, this ecological situation of calligraphy provides the necessity and possibility for creating a new way of combining inscription and postscript. The combination of inscriptions and stickers is an innovative exploration based on two traditional elements, which not only conforms to the law of artistic development of "compatibility" and "complementarity", but also points out the direction for the great development and breakthrough of contemporary calligraphy.

There are many ways to realize the combination of inscriptions and inscriptions, which can be combined with different calligraphy forms. Among all calligraphy styles, cursive script is the farthest from the stele style, the most difficult to practice and the most practical value. As the saying goes, "the greater the span, the higher the degree of innovation", so it should be an advanced form of combining calligraphy with inscriptions. Li Zhimin, a senior professor and great calligrapher in Peking University, deeply understood this development trend in 1970s and 1980s. On the basis of learning from previous calligraphers' practical experience in inscription, he took the lead in clearly putting forward the proposition of "attracting steles into the grass", made pioneering attempts and explorations, and implanted the core and spirit of inscription calligraphy into cursive script, which made great changes in cursive script from brushwork, structure to style. Although its theoretical system and practical exploration are not perfect, its pioneering direction, accumulated practical experience and technical rules are enough to provide a foundation for future generations to continue to improve and expand the brand-new book style.

Throughout the history of China's calligraphy, any kind of calligraphy style needs multiple tempering and baptism over the years. As a new school of calligraphy, it is also an open system, just like other things. Once formed, there is only a starting point and no end point. Then, generations of calligraphers need to constantly understand, enrich, perfect and develop it with their artistic creativity and pen and ink practice. Li Zhimin's exploration, as a pioneer, has left a colorful page for the history of contemporary calligraphy, which is worthy of serious study and reference by calligraphy theorists.