Perhaps because of the death of soldiers, Li Benhe's calligraphy works are vigorous and magnificent, with a strong legacy of the Han and Wei Dynasties, containing his unique understanding of China's calligraphy art and full of masculine beauty. His skill is profound, his brushwork is rich, and his interest is full of life. In a word, he is full without stagnation, hard without cold, simple, complicated and natural. In a line, there are ups and downs, strewn at random and coherence. Between the lines, welcome, look around, reflect each other, coordinate and orderly. The spirit of the whole article is ups and downs, and the reality echoes and blends with each other, reaching a wonderful situation of harmony between man and nature. It is said that Li Benhe's calligraphy is full of charm, and his heroism and true feelings are always conveyed through calligraphy. It is a model of the combination of revolutionary heroism and revolutionary romanticism, and it is also the pride of China's calligraphy circle. In the words of industry critics, Li Benhe's rough years are still between the lines, and Wan Li's affection is highly praised. The ink spots are vast and shocking, and the rushing atmosphere falls on nine continents. Lanting lives in elegant books and poetry, and the bamboo garden makes every effort to make friends. Three inches of golden pen, bitter for several spring and autumn! It is rare to see such a calligraphy master with a solid foundation on the back of paper! Because of this, many collectors at home and abroad are very optimistic about Mo Bao in Li Benhe. I have been studying for more than 20 years, read countless books, studied countless ancient inscriptions, read a lot of book theories, and met many people who read books. I am called a "book friend". I often get together with book friends to discuss calligraphy art. What I talk about most is nothing more than how to taste reading methods, how to appreciate a good work, and what is the real connotation of calligraphy. In fact, that is nothing more than the strength of calligraphy.
In the third chapter of Laozi, "rule by saints, empty their hearts, strengthen their bellies, weaken their aspirations and strengthen their bones." Strengthen its bones, love essence, and the bone marrow is full of bones. In chapter 55 of Laozi, the bones are weak and the tendons are soft but firm. The last two words "bone" refer to bones and muscles, strength and spirit. "Bone" is so important to the body and the country. What about calligraphy? Wei Shuo in the Wei, Jin and Six Dynasties said in his "Bi Tu" that "those who are good at writing are bony, while those who are not good at writing are fleshy; Skinny and fleshy people are called gluten books, and fleshy people are called ink pigs: those who are strong and strong are sacred, and those who are weak and without tendons are sick. "When Tang Sun wrote a book in the Book Score, he said that no matter what the body is, it must be full of bones and muscles, and the strong will do it.
From the Shang Dynasty, the appearance of Oracle Bone Inscriptions opened the door to calligraphy. The bone of calligraphy has been passed down from Oracle Bone Inscriptions's "bone" for a long time. Looking at today's book world, the bone of calligraphy seems to be getting farther and farther away from us. But since I met Mr. Li Benhe, a great calligrapher, I have felt the power of books.
I have known Mr. Li Benhe for many years, and I am the youngest "big disciple" among his more than ten disciples-the first disciple who worshipped Li Benhe as his teacher. Although sixty has four teachers, the oldest disciple is one sixtieth. I'm not 30 years old yet. After spending half a year with Mr. Ben and drinking every day, I greatly appreciated and moved Mr. Li's calligraphy and life. At that time, I wanted to write something for Mr. Li, but I was embarrassed to write because of my limited literary skills. After two years, I met my teacher again and watched her creation. I feel a lot. Teacher Li Benhe's works are more rounded, heavy and vigorous than two years ago, and truly "vigorous". It is not easy to be vigorous, but Mr. Li not only achieved "vigorous and vigorous", but also sublimated to "mastery of pen power"
Teacher Li Benhe has studied calligraphy for more than 50 years, and has a special liking for authentic works, seal script and official script. He made a deep study of Zhang Qianbei, Zheng Wengong stele and Taishan modern jade, and used it for reference in Wei and Jin Dynasties. His greatest achievement is to integrate his own understanding and aesthetics of calligraphy on the basis of learning martial arts, and successfully form his own calligraphy style, which is called "He Noumenon" by the industry. Under the premise of legalism and ancient customs, we constantly innovate and skillfully apply real grass to a work, which is natural, vigorous and smooth. Look at a work created by a gentleman in China Laozi Painting and Calligraphy Institute: the mountain is the peak.
This is a regular script work, and I prefer to call it a real book work. The whole work gives people the impression that it is magnificent and well-structured, mainly based on Wei Bei's brushwork and running script. The word "mountain", Wei Bei's brushwork structure, is mostly handled by the center. The prototype comes from Mr. Wu Zhongqi, but in fact, it is more compact, heavier and inclined than Mr. Wu Zhongqi. The last stroke is crooked, but the whole word is supported to the right, forming a "strange danger." The word "Gao" is folded horizontally, using the brushwork of official script, and the last one is Weibei. The whole stroke is heavy and thin, opposite to the "mountain". The word "person" is small and heavy, leaving a certain gap, giving people an ethereal feeling. "Feng" is actually a cursive script, but it is handled by official script next to the mountain character. The right part uses Weibei structure and calligraphy, and the whole character is vigorous and chic, which I call the finishing touch. Fei Bai's last stroke makes the whole work look full of vitality, thus cleverly avoiding the fact that "ink pig", "gas can reach" and "gas" are actually the charm and spirit of calligraphers. At the same time, the work also reflects the atmosphere of teacher Li Benhe's many years of military career: integrity, frankness, and integrity are all reflected in the work.
Although Xia's official script works are called official scripts, they mostly have the meaning of seal script. The upper part of the word "Shen" and the right side of the word "Zen" have the structure and brushwork of seal script, while "Dao" uses the brushwork of running script to make the whole work more active. Although it is difficult to compare the structure of a single word with the corresponding inscription, we can find many sources everywhere.
Tradition and innovation are contradictory and complementary. When people study, they often say that "they can enter and leave". "Entering" means that you can concentrate on ancient brushwork in the process of learning books, and "going out" means that you can learn ancient things, use them flexibly, and use the learned brushwork and ancient talents for your own creation. This is reflected in Mr. Hepburn, who is ancient, innovative and has his own aesthetic comprehension, so he has today's "Hepburn style" and "vigorous strength and smooth brushwork".
Calligraphy is an art between "black and white" and China's "soul". There is no shortcut, nor can it be artificial. It is entirely to show the calligrapher's personal life experience, literary accomplishment and emotional expression. To be a calligrapher with both ability and political integrity requires not only a profound knowledge of calligraphy and Chinese studies, but also an upright person. My teacher Li Benhe is worthy of such a calligrapher.
(Author/Liu Hong: a famous calligrapher, calligraphy and painting critic)