Zhou Zhen is a famous contemporary calligrapher in my country, and his works have also been recognized and appreciated by the majority of calligraphy fans. Below are the calligraphy works of Zhou Zhen that I have compiled for you. I hope they will be useful to you!
Appreciation of Zhou Zhen’s calligraphy works
Pictures of Zhou Zhen’s calligraphy works 1
Picture 2 of Zhou Zhen’s calligraphy works
Picture 3 of Zhou Zhen’s calligraphy works
Picture 4 of Zhou Zhen’s calligraphy works
The appreciation of calligraphy cannot be separated from the written content
Calligraphy is an important part of traditional Chinese culture. All the literati in the past had good calligraphy. Writing is mainly practical. Since modern times, calligraphy has gradually been classified from the previous practical scope to the aesthetic category. Although there are more people writing than before, calligraphy creation has therefore become an artistic creation for a small number of professionals. Similarly, the appreciation and appreciation of calligraphy has also become a professional behavior to a certain extent.
For collectors, improving the level of calligraphy appreciation is of great help to collecting and appreciating calligraphy. Recently, Zhang Guiguang, chairman of the Guangdong Provincial Calligraphers Association, held the "Spring and Autumn Fruits? Zhang Guiguang's Calligraphy Works Exhibition" at the Mogao Art Museum, and held a "Calligraphy Talk" lecture to share his appreciation of calligraphy.
Calligraphy creation should be created with the effect of living room:
According to Zhang Guiguang, the calligraphy world has been roughly divided into two concepts in recent years: traditional and non-traditional. Zhang Guiguang said: The main difference between the two is whether the creation is for the living room effect or for the exhibition hall effect. ?The so-called living room effect means that traditional calligraphy is usually placed in the living room for calligraphers or collectors to appreciate it themselves, or for friends to share and comment on it. The exhibition hall effect is to pursue a sense of shock during the exhibition, which is often huge.
Zhang Guiguang prefers to create works for the effect of living rooms. He said: "The works created for the effect of exhibition halls are getting larger and larger nowadays, generally reaching at least six feet." Six feet is 1.8 meters, and an ordinary living room is 3 meters high. Such a large painting often cannot be placed at home. The size created for the exhibition hall means that these works can only stay in the exhibition hall. The audience often does not stop after the initial shock, and does not appreciate it carefully to achieve the communication effect. ?
?Different from the exhibition hall, when calligraphy works are hung in the living room, it is very comfortable to look at them after get off work and can be carefully appreciated and played with. Moreover, the calligraphy works created for the exhibition hall effect are not only large, but also highly decorative. Not only are many colors used on the paper, but also the ink used in the ligatures, which is far from the traditional calligraphy appreciation habits. ?So Zhang Guiguang believes that these calligraphy are difficult to withstand scrutiny and cannot reach the height of traditional calligraphy.
Calligraphy appreciation should be combined with the writing content:
There is a view in the calligraphy circle that if calligraphy creation wants to go international and integrate with international standards, calligraphy creation must be stripped of the meaning of specific words. This completely turns it into line art, allowing foreigners who don't understand Chinese characters to understand calligraphy. Zhang Guiguang does not agree with this view. He believes that the reason why Chinese calligraphy can become an art is that it can resonate with the audience and is inseparable from the meaning of the words and the creative content.
Zhang Guiguang believes that a successful calligraphy work of art is often the expression of the author's emotions, temperament, and accomplishments, which can express the author's spirit and give the audience a certain appeal. This is inseparable from the content of the writing. Zhang Guiguang gave an example. The three most popular running scripts in the world are Wang Xizhi's "Preface to the Lanting Collection", Yan Zhenqing's "Manuscripts for Nephews" and Su Dongpo's "Han Shi Tie". "The Preface to the Lanting Collection" is about a literati gathering where the sun is beautiful, the sky is clear and the air is clear. It is written in a very leisurely and natural way, giving people a smooth and fresh feeling. "Manuscript of Nephew Memorial" writes about the nephew who died heroically during the Anshi Rebellion. The style is passionate and the grief and indignation are vivid on the page.
Therefore, the success of calligraphy works cannot be separated from the content.
When the audience appreciates calligraphy, they can also understand the work from the written content, and then understand the author's intention in word closure, composition, and layout, so as to grasp the overall situation of calligraphy. For example, the "Preface to the Lanting Collection" commemorates the elegant collection, so the middle spacing between the lines looks very comfortable and the changes are relatively even. The writers of "Nephew Memorial Manuscript" and "Han Shi Tie" were emotional, sad and angry, with great changes.
In "Manuscript for Nephew Memorial", you can see that the depth of ink used and the size of fonts vary greatly. The size of the characters in "Han Shi Tie" is relatively uniform at first, but changes greatly later on. This change in ink depth, font size, etc. is consistent with the author's emotional changes and consistent with the content of the writing.
Taking Yan Zhenqing's calligraphy creation as an example, from a vertical comparison, we can compare the use of vertical needles in "Liu Zhong's Letters" and "Manuscripts for the Sacrifice of My Nephew". The word "er" in "Liu Zhong's Letters" is different from the "Hanging Needle" in "Manuscript of Memorial to My Nephew". Although both are hanging needles, the emotion is completely different. It is the excitement after winning the battle.
The higher the cultivation, the more enjoyment you get from calligraphy:
The appreciation of calligraphy is different for everyone, and different people appreciate different things from calligraphy. Zhang Guiguang believes that this is caused by each person's different cultivation and circumstances. The deeper and higher the cultivation, the more enjoyment one can get from calligraphy. If the audience does not know calligraphy, only knows how to recognize characters, and cannot read the "Preface to the Lanting Anthology", they will not be able to understand why some words in the "Preface to the Lanting Anthology" are written like this.
Therefore, Zhang Guiguang suggested that for those who want to appreciate more content and get more pleasure from calligraphy, improving their personal cultivation is the key. The audience can read books related to calligraphy. In addition to calligraphy creation, understanding of calligraphy history, literature, and philology is very necessary. Although reading these books will not make you a calligrapher, writer, or philologist, it is very helpful to understand calligraphy creation and allow you to appreciate calligraphy more deeply.
In addition, you can also read more posts and read more works. Reading calligraphy to a certain extent and making comparisons is also a learning method to improve your appreciation ability. It can be analyzed from aspects such as calligraphy pens and word knots. Since seal script, official script, and regular script each have their own pens, you can compare these differences and figure out the pens used in different fonts when appreciating them. For example, regular script characters will never appear in seal script, so you can evaluate them when appreciating them.