Calligraphy creation: thinking through examination and turning into practical application
Ke Wenhui
Xie Yun studied calligraphy with his father when he was young, and lived in the Yan and Liu families. His father asked his son to write Be upright but not rigid, and put an end to the charm of the pavilion. After middle age, he worked extensively on official script and seal script, and worked hard on oracle bones, bronze inscriptions, and Han dynasty steles. He said: "Yin's writing is an ancient dream. How far away and yet so close." (Xie Yun, "Tide of Writing") "Life opens its eyes slightly, and in front of it is a colorful rainbow." (Xie Yun, "Dream of Ancient Writing") 》) Behind the language of the poem is contemplation and sweat, which ignites the golden flame of hope, explores the hidden places, and sifters with a brush. Return to the new zero point after the upward spiral, and start the journey again. Constantly seeking "change", accumulating the tenacity of personality in the change, dreaming about the new realm of contemporary people's style, reflecting the new brilliance of Chinese calligraphy art.
I pay close attention to Xie Yun's calligraphy. Just compare the flexibility and improvisational effect of certain words, and the difference with the relatively regular works of the past is clear at a glance. When he writes one or two words, most of them are thoughtful in layout and writing, and only then can he express his ideas. Rarely done in one go. He never adheres to the ancient methods, but only adheres to the "flexibility" of the opposite direction. Put yourself into the long river of calligraphy and think about it, wandering endlessly, observing the comings and goings, and savoring the subtle details. The core of Xie Yun's varied writing is "Tao" - the freedom and selflessness of the mental state in writing. "It is neither Tao nor extreme, it is self-named" (Gong Zizhen, Qing Dynasty) Xie Yun is also good at writing poems. A calligrapher may not be a poet, but his life and works cannot be without poetic flavor. Once you realize this, motivation will arise. Style is a river, the water is renewing. Changing the course of the river is as precious as nature made. What remains unchanged amidst change is the combination of character, environment, and destiny. This "fate" has no fatalistic meaning.
Xie Yun learned from the calligraphy and writings of the ancients. Looking down and looking up is happiness. The childish heart is out of body, and the place of innocence is based on non-management. It takes off the borrowed clothes of the predecessors, longs for the beautiful state of no state and has many things, and tries its best to avoid the pit of seeking state and losing form.
The intervention of painting style is another use of Xie Yun's "flexibility". Calligraphy and painting have the same origin. Square characters have not changed much in 1,500 years and have developed to the extreme. Returning books to paintings, returning to ancestral experiments, is a dangerous path for a few people. It's a disaster if they gather together. Reducing words to paintings doesn't work. However, Xie Yun's quest to enrich calligraphy with the brushwork and artistic conception of painting is very meaningful. Instead of reproducing objects, he strives for a painterly effect in texture, structure, and shape without using painting techniques. He takes the initiative, does not go too far (too much is not enough), and brakes as soon as he reaches the precipice. In terms of dryness and wetness, shade, thickness, dryness and moistness, the qi circulates smoothly and is not out of alignment when tilted. Getting carried away while reading paintings is one of the important characteristics of Eastern aesthetics. Xie Yun paid tribute to these three things. Go away from the hustle and bustle, enter silence, and be romantic. Writing is writing about life cultivation, and the green light shines on the hardworking people.
It is free and easy in the legal code, with running cursive as the main trunk (or brush grid), opening up the partition walls between various styles, and the sentiment and official flavor of seal characters penetrate into pointillism. For example, there are several poems about seal script and Luo Gong - there are clues about the works in running script.
The most eye-catching thing is that Xie Yun writes with acrylic paint on the canvas. With the flat surface, the brush, power, rhyme, edge and color are completely integrated and integrated. "When you return home, you must keep your integrity" (Sun Guoting of the Tang Dynasty). The shape is different from others. It is truly a "new" work of calligraphy creation, and it also proves the effectiveness of Sun Guoting's calligraphy theory of "thinking through examination". The tools and materials of Chinese calligraphy, in addition to the common writing on rice paper, bone engraving, copper casting, calligraphy and silk, and bamboo slips, are all forms of calligraphy. Xie Yun's original experimentation with new effects of oilcloth and oil paint materials helped to broaden his horizons. (Twenty pieces of the works donated by Xie Yun to the National Museum of China were written on oilcloth and oil paper.)
After half a century of exploration, Xie Yun realized that he was constantly updating and pursuing art beyond art, which made Eastern culture invincible. important traditions of the place. The joy of labor in the calligrapher's creative process is the most generous reward from art to the artist. He never dared to consider himself a scholar. Every time a pair of young and middle-aged people discussed calligraphy, they would always encourage each other as calligraphers and scholars first. When meditating, I feel crazy, when I wave, I feel crazy, gradually accumulating and filtering out my own face. "Xie Yun's Calligraphy" has just been published by People's Fine Arts Publishing House. It is a new achievement dedicated to readers - the flat peach condensed with hard work. It also shows that Xie Yun's calligraphy development has just entered middle age (although he is nearly 70 years old). ), in a period of accumulating strength.
Work, reading, visiting the pond, artistic preparation and advancement inside and outside the book determine the outcome of the next "Xiang" leap. The taste is clear and the plasticity is obvious. Short essays are substituted for wine, sprinkled in front of the saddle: "Mount!"