Inner paintings are known as "wonderful craftsmanship" and "unique in China" at home and abroad. They are a wonderful flower in traditional Chinese art. The creation of inner paintings requires superb skills, which is different from the outer paintings. The following is: first, the order of painting is reversed, and the inner wall is in reverse order, so that the outer wall is in the correct order; secondly, the small mouth of the pot limits the operation of calligraphy and painting, and it is not easy to see the position of the pen when painting on the inner wall. Therefore, interior painting requires not only a solid foundation in exterior painting, but also rigorous training to complete a good work. It is precisely because the creation of interior paintings is not easy that when a fine product is presented, it becomes extremely precious.
When you see Yi Ding (Nie Lei)'s elegant, flowing, round and simple calligraphy works in the crystal clear crystal snuff bottle, it is so full of charm, just like the fresh life juice in the crystal snuff bottle. As it flows on the wall, feelings of emotion arise spontaneously. The longer I examine it, the more I feel that his calligraphy has the meaning of life of "breeze coming out of sleeves" and "carrying the moon into arms". It is really unbelievable that such superb art comes from the hands of an elegant scholar. His future life is formidable. This is true. !
Chinese calligraphy art has a long history. It began in the Shang Dynasty and matured in the Eastern Zhou Dynasty. During the Jin Dynasty and the Sui and Tang Dynasties, calligraphers emerged in large numbers and reached their peak. The calligraphy of the Song, Yuan and Ming dynasties continued to innovate following the laws of the Jin and Tang dynasties. Calligraphers in the Qing Dynasty advocated the study of northern stele and also condensed a new style. Yiding can write in a pot as small as a millimeter, and he can also achieve meticulous brushwork and clear stipples. He can also be original in structure and layout. He is unique and unique. It is a miracle of contemporary calligraphy art.
Chinese painting pays attention to poetry, calligraphy, painting and sealing. Only the four in one can be considered a complete work. For a Chinese painter, not knowing calligraphy means that the future of art is dark. Since the beginning of his decision to engage in the art of interior painting, Yiding has determined to further develop the art of interior painting and open up a new artistic world of his own.
Yiding has been passionate about calligraphy since he was a child. He has practiced calligraphy with his father since he was a child. His father is a well-known calligrapher in the local area. Under the strict guidance of his father, he began to practice calligraphy from Ouyang Xun's representative work " Starting from "Jiucheng Palace Liquan Ming", it gradually extended to the eight methods of Yongzi, the 36 methods of Ouyang Xun, and the 92 methods of Huang Ziyuan. In the process of copying and learning, he did not avoid the cold and heat, copied with his mind and hands, visited the pond every day, persevered, and did not dare to be sloppy. He worked hard to understand the subtleties and mysteries of regular script, and from it he understood the true meaning of the brushwork structure of European regular script. Even between eating and going to the toilet, I don't forget to practice hanging my wrists and elbows. I use chopsticks as an opportunity to practice when eating. During this period, he studied Ouyang Xun's "Huadu Temple Stele", "Huangfujun Stele", "Meng Dian Tie", "Bu Shang Tie", "Zhang Han Tie", etc.
During long-term practice, Yiding realized that the use of pen is the most important in calligraphy, followed by form. Regular script values ????seeking movement in silence, with stipples pointing to the back and images vertically and horizontally. If bronze inscriptions are innocent, natural, and concrete in nature, then regular script is even more abstract and standardized in nature. For this reason, while studying, his disciples were not limited to Ouyang Xun's family, but from a wide range of schools. He also studied Wang Xizhi's "Orchid Pavilion Preface" to obtain its ethereal, elegant and high-spirited charm. Learn from Yu Shinan's "Confucius Temple Stele" to get the ancient temple atmosphere, and learn from Chu Suiliang's "Yanta Sacred Preface" to get its graceful, lively and mellow natural style.
When creating the internal calligraphy, Yiding carefully studied the focus of writing and the coordination of strokes, and worked hard to master the secrets of brushstrokes. He strived to make the brushwork smooth, straight, and avoid taboo shapes like operators. When writing, try to use a good center, so that the starting point is pointed and the ending point is round. Taking into account the shape of the snuff bottle painted inside, Yiding realized during the creation that by making a slight arc from left to right, the strokes would be vivid and emotional; the dots should be pointed and round, the protrusions should be pointed and sharp, and the bends should be inward and square. The outer circle is round, and the hook is half curved and half straight. The writing style is flexible and changeable, and cannot be limited. Especially for the whole text, the strokes should be different but coordinated. When written line by line, the words should be well-proportioned but always on the same line. In this way, the Qi will naturally flow through it and look at it like a string of pearl necklaces, with a high spirit.
Yiding is well aware of the importance of calligraphy skills while practicing calligraphy. He studied philosophy, ancient poetry, prose, music, dance and other aspects to comprehensively observe calligraphy in order to figure out and appreciate the personality charm and ideological talent contained in it. For this reason, his calligraphy skills and cultivation can be seen clearly in each stroke of his paintings. It seems to be written by hand, relaxed and elegant, but in fact it is the result of extensive training.
After nearly ten years of hard work, Yiding finally put the Chinese European calligraphy in a pot with a vivid and vivid structure. The structure is neat but not rigid, tight but not cramped, and the pen looks horizontal when used. Vertical, but slightly tilted, the strokes are clean and neat, and the strokes and strokes are round and full. Every word should be vivid, and every line should have movable type. Like a tiger perched on a dragon's plate, like an eagle about to show off, or like a bird hurriedly looking back, it is strong and beautiful, and fully embodies the art of inner writing in the snuff bottle, bringing this high-difficulty and high-skilled art into full play. After reaching the limit, Ma Shaoxuan, a famous interior painting master in the Qing Dynasty, pushed the art of interior calligraphy to another peak.