Yang Xiaolin's kung fu is all in the back, graceful and elegant, imitating Wang Xizhi, Yan Zhenqing, Huang Tingjian, Mi Fei, Zhao Mengfu and Wang Duo. Try to indulge and cultivate elegance, vigorous and delicate, but appreciate her works, there is still fresh elegance in her bones.
Yang Xiaolin Wanglin Xizhi's calligraphy is quite successful, and the details are cleverly outlined. She is a patient and meticulous person, and she is also very sensitive to Wang Shu's beauty. In contrast, her writing of Yan Zhenqing's "Sacrifice to a Nephew" lacks massiness and simplicity. Amin scholar Zhan Ruoshui said, "In China, simplicity is not difficult, cleverness is not difficult, and clumsiness is difficult.". Yang Xiaolin can write beautifully, but she is not competent for simplicity from beginning to end. Yuan Hongdao, a Ming Dynasty man, said: "The disseminator of things must be quality-oriented, and the text can't be passed on, not to say that it can't be done, and the quality can't be done." His calligraphy is rich in words, but poor in quality.
Cleanliness is a major feature of Yang Xiaolin's calligraphy works. The pen is neat, beautiful and handsome, and the shape is beautiful and generous, but the effect is not good. Among them, the works of Huang Tingjian and Mi Fei are the best, and the intervention of long lines makes them smooth, but clean and concise. Stylistically, it is not as sophisticated and happy as Sun Xiaoyun and Hu Qiuping, and it is immature, and sometimes it is not in place and accurate. But from beginning to end, the pen is leisurely, like a butterfly wearing a flower, swimming freely. She tried to integrate yellow and rice, but she hasn't succeeded yet. Some are pure luteal style, and some are Mijia style. Judging from the wording, they are all considerable, and an article is not bad, which is doubtful. Kobayashi still needs long-term running-in and loss-increasing adjustment to be harmonious.
Yang Xiaolin's fine calligraphy is more accurate than Chinese characters, and writing Chinese characters is always a bit weak. The fine print shows the concentration and centering in writing, especially the chapters with many words, and the composition in her works is smooth, and she is not in a hurry. She pays great attention to the blank space in the space. No matter how many words there are, there is plenty of space. However, lowercase letters have exposed many disadvantages, and winning by many is a common practice of lowercase letters, but it is not popular. Small letters seem to follow Zhao Meng all the way, lacking structure, and the strokes are stretched blindly, regardless of convergence. For example, there are words such as "branches follow branches" in "Qing Zaitang Painting Orchids", and all the strokes that slip away are just stretching without convergence, which is quite different and meaningless, just a bunch of words. From small letters to cursive scripts, there is an atmosphere of seeking truth, which is less strange and less ups and downs. Emotional control is much more, and there are some constraints in the pen. Pan Deyu, a Qing Dynasty man, said: "Everything can be melodious, and the truth reveals the essence, which is wonderful now." Xiao Lin's book is still a little thin, because she lacks emotion and meaning.
In the process of writing, Yang Xiaolin still strives for stability, both in speed and pen and ink. Therefore, reading a work is good and pleasing to the eye. Reading a few more articles will make you feel too dull and depressed. The reason is that the ink output, speed and lifting are too unified in many aspects. This kind of writing is easy to write well and completely, but it lacks movement when it is peaceful. Jin Sheng sighed: "In a painting, one risk is even, one risk rises sharply, one risk is undecided, and another risk is added. It is really a masterpiece." Writing is like looking at the mountains and not liking peace, so is calligraphy. It is necessary to increase their proportion in speed, importance and dryness of ink color, so as to make them more vivid in comparison and increase differences. The appearance of differences is like ripples in the vision, and the whole article will have the beauty of interaction.
Yang Xiaolin seems to be tepid in the whole movement, which seems to be an advantage, that is, there are fewer failures and he is not wild and messy, but he should make more changes according to different contents and styles. It's warm when it's warm, and it's hot when it's hot, so it's difficult to convey different ideas. Si Kongtu said, "Climbing Taihang Mountain, the grass around the intestines is green, the jade flows and the flowers are fragrant." He is talking about the twists and turns of writing poetry. Xiaolin's calligraphy has a straightforwardness, which reveals everything. There should be more twists and turns, winding paths leading to secluded places, which will arouse the interest of viewers in exploration. Tangible needs the support of taste to last long.
If someone asks, "What is Yang Xiaolin's calligraphy style?" ? It's really hard to answer. Covers a wide range, dazzling, strong absorption capacity. Many bodies can be written temporarily, but they have not been integrated yet. In the pursuit of quality in the future, we should pay more attention to the absorption and experience of quality and the storage and precipitation of quality.