The fruits of decades of painstaking research. The formation of Yongan Ma has a profound historical and cultural origin, inheriting the traditional calligraphy art of China for thousands of years. Yongan Ma's achievement lies in his great breakthrough in traditional calligraphy and his great contribution to the development of calligraphy art in China. Traditional calligraphy can be divided into five styles: cursive script and seal script. Strictly speaking, Yongan Ma is not among the five styles. Yan-style calligraphy can draw lessons from five calligraphy structures, namely, stippling and turning pen, but its solid foundation and premise is the calligraphy font of the original book.
Yongan Ma's tendency, high on the left and low on the right, goes with the flow, stretches smoothly, conforms to the mainstream aesthetic orientation, and is more eye-catching and inspiring. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind. Yan calligraphy is the sixth research achievement of Ma Yong 'an's calligraphy for many years. According to the review of Modern Book Spectrum, Mr. Ma Yongan's calligraphy with strict style "looks like bamboo leaves, with innovative brushwork and writing style, full of aesthetic feeling. Its characteristics conform to the innovative calligraphy concept of beauty and potential, and to the style criterion of modern book spectrum. Yan's achievements in calligraphy have made outstanding contributions to the development of calligraphy art in China! " With the appearance of Yan-style calligraphy, calligraphers have written articles in succession, and spontaneously set up many research institutions and academic organizations to study "Yan-style calligraphy". Mr. Zhang Hai, Chairman of China Calligraphers Association, and famous calligraphers such as Shen Peng, Ouyang Zhongshi, Li Duo and Zou Dezhong all put forward valuable opinions on Ma Yongan's "Yan Shu Font", which were fully affirmed and highly praised. The calligrapher Mo Hunter wrote in his blog "Everyone Surrounded" that he has been thinking and searching for more than ten years. There are many modern and contemporary calligraphers, but something is still missing. It was not until he met Yongan Ma that he woke up from a rude awakening and was greatly inspired. What he once suspected and thought impossible finally appeared. He said that the birth of Yongan Ma was a great event in the history of China's calligraphy. He predicted that the swallowtail of calligraphy would definitely become the absolute height of contemporary calligraphy!
The naming of Yan calligraphy was once a hot topic in the field of calligraphy and painting. Because it looks like willow leaves and bamboo leaves, some people call it willow leaves and bamboo leaves. Mr. Wang Xie, editor-in-chief of Modern Calligraphy Spectrum, and the Art Committee of China Calligraphy Xintiandi Research Center named it Yan Shu. Later, after naming discussion, according to the naming characteristics of historical calligraphy, it was decided to name Ma Yongan's calligraphy "Yan Shu Font", which basically followed the formulation of modern calligraphy. Ma Yongan's strict calligraphy art, which integrates cursive script and seal script, has distinct strict features in stippling, brushwork and structure. In traditional calligraphy, the pen hides the front and the pen returns to the front. Yan calligraphy, when writing, hooks are like gold, and the front is exposed; When I closed my pen, I was filled with lofty sentiments. In terms of strokes, traditional calligraphy stopped, and Yan calligraphy kept turning. Therefore, the former has many wings in Fang Bi, while the latter has many pens and centers. In structure and posture, it is very different from the traditional calligraphy style. Yan calligraphy can be divided into five styles, which are used in all styles. Traditional calligraphy runs counter to the trend. The font of Ma Yong's An Yan Shu is high on the left and low on the right, which follows the trend. This is also the fundamental reason why reading the font of Yan Shu can relieve depression, be transparent and refreshing, and give people excitement and pleasure. Mi Fei, a great calligrapher in the Song Dynasty, said that "a good calligrapher can get enough money", which is why he described contemporary famous calligraphers like this: "Great achievements, a round in Shu. Yan calligraphy, whether stippling or combination, is a unique invention and patent of Ma. Calligrapher Hong Miao said, What did the sixth body Ma Yongan find and how high was it? Because we are in the same era and too close, we still can't see his greatness. When our descendants leave us at a distance, they will find what a great mountain stands in front of them! However, this is an indisputable fact. Of course, Mr. Ma Yongan and Yan Shu will encounter many problems, and we also believe that our world will be bright. The wind and rain will come again, but the existence of the blue sky will never change. Yan Shu is the sixth body of China's calligraphy, which was created by contemporary calligrapher Ma Yongan. The strokes of Ma Yongan's fonts are few pauses, and the cursive brushwork of seal script goes with the flow, smooth and natural, without affectation, which opens up a broader aesthetic space of calligraphy art. Traditional calligraphy, because it moves against the trend, can only be written by folding the pen, which is more than one stroke and lacks flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.
There are many kinds of stippling in Yan calligraphy. Compared with traditional calligraphy, it is an invention. Yan calligraphy, pen in the pen, pen in the plate, as thin as silk, with the nib outside. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing.
The trend of Yan's calligraphy is high on the left and low on the right, following the trend, stretching smoothly, conforming to the mainstream aesthetic orientation and attracting more attention. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.
Yan's calligraphy style is characterized by little pause and no folding. He uses the cursive brushwork of seal script, which goes with the flow, is smooth and natural, and is not pretentious, which opens up a broader aesthetic space for calligraphy art. Traditional calligraphy, because it moves against the trend, can only be written by folding the pen, which is more than one stroke and lacks flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.
There are many kinds of stippling in Yan calligraphy. Compared with traditional calligraphy, it is an invention. Yan calligraphy, the pen in the pen, the pen in the plate, as thin as silk, the front of the pen. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing.
Yan's body is ever-changing, and every word has a god. Suddenly, I saw the eaves of Yan Yu and the blue sky in Xiang Yan. Beauty, beauty and emotion are the essence of Bi Xianyan. Understand the true meaning and integrate Yan's beauty into calligraphy art, and its beauty can be seen everywhere. Beauty lies in flexibility, beauty, fluency and naturalness! Therefore, it was named Yan Ti, also known as Yan calligraphy style.