Appreciation of Huang Tinghui's Calligraphy Works
Pictures of Huang Tinghui's Calligraphy Works 1
Picture 2 of Huang Tinghui's calligraphy works
Picture 3 of Huang Tinghui's Calligraphy Works
Figure 4 of Huang Tinghui's calligraphy works
Huang Tinghui's Personal Profile
1930 was born in Taian, Shandong. He has served as deputy director of the Propaganda Department of Tai 'an Municipal Committee, director of Tai 'an Cultural Relics Administration, vice chairman of Tai 'an Federation of Literary and Art Circles, researcher of Taishan Scenic Area Management Committee, member of Shandong Provincial Political Consultative Conference and director of Shandong Calligraphers Association. He is currently a member of China Calligraphers Association, director of Shandong Poetry Society, librarian of Shandong Literature and History Research Institute, honorary president of Sanwei Painting and Calligraphy Institute and president of Taishan Painting and Calligraphy Institute.
On the Internal Potential of Calligraphy
So-called? Internal potential? That is, the invisible turn. Its disk is trapped in emptiness, and there is no trace to be found. This method is often used to write letters. The internal situation is broken. Is the stippling communication office available? Degree? Method, the so-called? Degree? Who's that? When a painting is finished, that is, two paintings fly through the air, don't stop gesturing. The so-called shape is before painting, and God flows after painting? . What is that? Take advantage of the pen and use it in the air? There's a good way to sneak in. This method comes from regular script, meaning is broken, and the trend is from the inside out. With a little painting, the tendons and veins are connected, but without painting, the qi and veins are promoted, making regular script invisible, cursive script tangible and real book useful, and it is still cursive. Wen Zhiming said? Real books are fluent, cursive when put, and there must be laws when moving, and the whole is block letters. What you can write should be consistent. ? Because in the communication place of stippling, a pen moves excessively in the extremely low air on the paper, and it looks as if the pen has never left the paper. So, one stroke at a time, one stroke at a time, is naturally a concentration, just like Feng Fang's Book Tactics said:? Keep writing, stick to the paper, turn it gently and press it again, like running water, which will last forever for business. ?
If it can be transported in the middle, the momentum will flow from the inside, then the painting will be coherent, and the pen will be calmly released from the big place, and the pen will be calmly collected from the big place. Although the tension wire is not exposed, it is discontinuous but breathable, and it is not suitable for straight edges regardless of size or length. This is an advanced ventilation method. Jin people write running script with incoherent form and coherent spirit. If it is broken, we can try Wang Xizhi's Lanting to get its purpose.
Desire comes from the heart, and it is difficult to be good at using a pen. The point is where he sends and receives pens. He can inherit the pen when he sends it, and open it when he receives it, or reverse it or hide it, or close it or shrink it. Naturally, he was exhausted. Chen Yi once said in The Essence of Hanlin:? The power of the word, the center is also hidden, and the fault is measured together. Tibetans are also squatting and robbing. Degree, empty, fit and write. To understand the word "hiding degree", there is no dead pen, but living in muscle. ?
Invisible turn, also called in calligraphy terminology? Tendon? Method, tendons are hidden in meat, tendons are connected, and qi and blood are naturally interlinked, as He Jiang's original calligraphy says: Those promising love and blood flow, like gossamer, keep circling, with paintings, no stippling, faint coherence, overlap and involvement, and there is no dull and sloppy disease in the meantime. ?
In short, it is more important that the spirit is not exposed, and Jin people are cursive, and there are few figures that are confusing. Please look at Jin's "Yuan Bo Post", which has smooth brushwork and beautiful reflection. Every word is full of gestures and ups and downs. Although the text is incoherent, the whole layout has a sense of unity.