Vigorous generate, harmonious rhythm.
Calligraphy expresses the feelings of calligraphers, constructs art with pen and ink, and conveys rich artistic information with lines. Book, expression also; It is the external expression of calligrapher's inner temperament, so different calligraphers' works will have different characteristics and styles. Different brush and ink techniques are the external manifestations of different calligraphy styles. However, different calligraphers have different hobbies and pursuits, different experiences, experiences and academic qualifications, and different cultural connotations, which have a more profound impact on the formation of calligraphy style.
Mr. Yan Taiping has a profound understanding of calligraphy. He is diligent and studious, especially good at calligraphy and cursive script. The outstanding features of his calligraphy are two words, one is "live"; One is "force". While Mr. Yan pursues "vivid spirit" and "vigorous and powerful", his views, his calligraphy practice and his calligraphy works can often inspire people. Someone once commented that Mr. Yan's calligraphy is "fluent in qi, eager to see Peng die, natural in faith, self-sufficient and full of concern." This evaluation is the best annotation of the word "live". Mr. Yan's cursive script gives people the impression that it is full of vigor and vitality, always stands up to scrutiny, looks good, and the more you read it, the more relaxed and happy it is. Many calligraphers have made achievements in calligraphy on the basis of inheriting tradition and mastering basic skills. Mr. Yan is no exception, as Mr. Li Keran said to the tradition: "Fight with the greatest skill and fight with the greatest courage". Yan Taiping is also thoroughly remoulded and has decades of experience. He did it with the greatest courage and formed his unique style. "Liveliness" is the outstanding performance in his style. And his uniqueness lies in his "living" way. He is more looking for "liveliness" from the concept. He believes that in order to write calligraphy vividly, people should first "live" and stick to the rules. If people are uncomfortable, they will lock themselves up. It is impossible to seek "liveliness" in calligraphy in this mental state. The word "Fa" in calligraphy has two meanings: first, it refers to the rules and regulations of writing; The other refers to the creative method of calligraphy art. When learning calligraphy, we should regard this "method" as a law; When creating, we should regard this "law" as a method and means. As a method and means, it should serve creation and be subject to flexible operation and smooth pulse. Only when you are comfortable can you have a "smooth heart and hands", and a smooth pulse can better express your temperament. Only by expressing your feelings can you be truly "alive". He uses a pen in a different way. He writes with a three-fingered pen. In writing, he focuses on the center, both the center and the winger, while the winger takes the opposite trend. This unusual method is not to impress others, nor to deliberately seek change, but to meet the needs of writing nature. In his creation, he used light and heavy, virtual and real, dry and moist, rigid and soft, square and round, lifting and stopping, advancing and retreating, turning and twisting alternately, and paid attention to cadence and cadence. Therefore, the work of "the dragon and the snake contend for the tail" has been well received by people inside and outside the industry. He attaches great importance to the degree of "living", not only to make calligraphy works "live", but also to seek "live" blindly. ?
Mr. Yan pays attention to "Fa" in his creation, never letting go of the details of his works, instead of taking the ancient method and his consistent brushwork as the fixed trend, but taking the overall momentum of his works as the control, so that it can send out new content with the trend, which is conducive to letting emotions naturally drive the brushstroke, and unexpected brushstrokes often appear. This contains the "impossible" factor, which is the key to the "liveliness" of his calligraphy works. The pen of emotion cannot be restrained, and it needs the pen of reason to adjust. If you put a temporary mood? The pen of innovation is generally used in works, which makes the structure of words fragmented. Although the intention of seeking innovation and change is very sincere, it is difficult to get rid of the state of "encouraging and striving for strength", and it is naturally less interesting, so Mr. Yan does not take it. ? In the pursuit of calligraphy power, Mr. Yan attaches great importance to it and has unique opinions. He believes that the "pen power" and "bone power" often mentioned by the ancients are often regarded by modern people as a sense of strength expressed by strokes. He said: the sense of force expressed by strokes is of course a very important aspect, and the "force" expressed by the structure and composition of words is the force of joint force and overall momentum, which plays a decisive role in the sense of force of calligraphy. Therefore, he advocated using the word "calligraphy power" instead of "pen power". He regarded the so-called "bone strength" of the ancients as the strength of the whole bone, rather than pursuing the strength of a single stroke in isolation. In this way, his exploration of "power" is more extensive and profound. As for the performance of "strength", he does not exclude the methods that are easy to produce "strength", such as hiding the head, protecting the tail, drawing straight, Fang Bi, hard folding and frustration. Many people seek the power of calligraphy more, and even prefer these forms that are easy to express "power". When they create in this way, the "power" presented in their works, like the works of Xiang Piao athletes and weightlifters, gives people a strong and expressive form of power. In his running script works, especially in his second work, these expressions are also used, such as steady pen, steady pen, fast rise, steady, risky and even income. However, in the pursuit of "power", he mostly uses the power of coordination, the power of suggestion and the flexible "power". Therefore, the "force" presented in his calligraphy works is not brute force, just like gymnasts and high jumpers, it is dexterous and flexible. Of course, calligraphy works with insufficient sense of "strength" are not worth mentioning. But calligraphy is not a competition of strength, it depends on whether the strength it shows matches the mood of the work and the mood of the writer. It is obviously inappropriate to use extreme "force" to express pastoral poems such as books, bridges and flowing water. The "force" in calligraphy is a symbol of vigorous vitality and the spirit of pursuing progress, and the degree of this "force" should be properly grasped. This "degree" is well grasped by Mr. Yan in his calligraphy works. His works are like a flash, like the fist of Yan Qing's secret Sect; Swing and sprint are like Yue Wumu's elusive guns. Although the hero is brave, he is not fierce and domineering. This is also a self-portrait of Yan Taiping's character. Although he has no proud appearance, he is proud. His paintings are very accurate, so his works are successful. ?
This shows that Mr. Yan not only attaches importance to tradition, but also is not bound by tradition; It not only absorbs the fresh breath of the contemporary art world, but also does not insist on going too far and completely believes in nature. This is exactly what he pursues and is also his style. This is like "the ancient is not good, but the present is different." He went his own way, integrating his understanding of life and calligraphy into his works, and constantly creating a beautiful realm. May he continue to write a new realm along this road.