The heart of calligraphy stimulates the clear flow: Lin He talks about Anshi's calligraphy one by one with a brush of brushstrokes
Article/Zhai Wanyi Ni Yongwei
It was Anshi who attracted my attention It was more than 10 years ago that his calligraphy works successively won awards in the Gansu Provincial Calligraphy and Seal Engraving Exhibition and the Gansu Provincial New Century Calligraphy Exhibition to celebrate the 50th anniversary of the founding of the People's Republic of China. At that time, I concluded that Anshi would definitely step forward and achieve greater development with such a solid foundation. Sure enough, in recent years, he has successively participated in national calligraphy exhibitions such as the 8th China-Korea Calligraphy Exchange Exhibition, the 4th National Couplet Calligraphy Exhibition, and the First National Large-Character Art Exhibition, published a number of personal calligraphy and painting monographs, and achieved Excellent results. In addition, as chairman of the Qingyang City Calligraphy Association, he organized and implemented a large number of large-scale calligraphy activities that aroused strong repercussions in the whole society, such as the Qingyang Calligraphy Miles Tour, and made outstanding contributions to the development of local calligraphy art. Yuan Dadi attracted widespread attention and became a leader among Gansu calligraphy teams.
Calligraphy, in fact, is like Zen and Taoism. Words explain Zen and truth, and words are decisive. Facing the beautiful scenery of Anshi's calligraphy, I always have a feeling that there is true meaning in it, and I forget to explain myself. Maybe This is just like the Zen teachings, like drinking water, the spiritual experience of self-knowledge of warmth and coldness is the most authentic and reliable. Anshi covers all styles, including seal script, Li script, Kai script, Xing script and Cao script. But I think his most mature and personal style is his cursive writing. Anshi's cursive calligraphy works, taking the essence and using macros, are integrated into one, which is unique and unique. It has formed a kind of calligraphy language and symbols of its own. You can tell at a glance that the writing is relaxed and happy, and it feels simple and fresh. , a feeling of elegance and elegance. Hegel once said that it is a kind of content. What is called poetry is not just an idea as an idea, but an artistic imagination. For calligraphy, if the artistic imagination grasps the concept, uses the language of lines to convey a certain concept through clever combination, and builds a certain purity between the intellectual speculation and the uniqueness of feeling, which will arouse appreciation. If he is interested in artistic aesthetics, then his unique personality may gain special meaning. What he pursues is a kind of harmonious beauty, elegant beauty and bookish beauty. Therefore, all aspects of stippling, structure and composition must be reasonable and legal, and cannot be deliberately artificial. Obviously, what this kind of pursuit reflects is Wang Xizhi's artistic style and aesthetic thought that is based on neutrality, sincerity and integrity.
It can be seen from Anshi's calligraphy works that Mi Shi and Wang Xizhi learned the most from him, and later adopted the methods of the Ming and Qing Dynasties. Among these "three schools", he learned the most profoundly and thoroughly. The one who was handy was Wang Xizhi again. Therefore, Anshi's artistic style uses brush strokes with cursive lines and uses both square and circular strokes. The writing is neither exciting nor vigorous, and has a literati flavor. The overall style is within the broad scope of Wang's calligraphy style. The dot paintings under his pen can always show the ins and outs of the corresponding writing process quite clearly and completely, whether it is the graceful and elegant style, fresh and elegant, graceful and peaceful, or the rigorous and stable dot painting and structure. , meticulous, arbitrary, natural, this is the case, this can be seen at a glance. Anshi's cursive script also has a strong influence of Minangong, benefiting from "Shu Su Tie", "Wuxi Poetry Preface" and other inscriptions. The side edges are used in harmony, combining thick and flexible lines to form an elegant movement. The glyphs are not strongly sideways, and sometimes Yan Lugong's gesture of hugging back is used to write a long vertical on the left and a semi-encircled vertical on the right. , that is, paying attention to the sharp edge not being too exposed and not losing the spirit of flying strokes, thus being able to overcome the disease of excessive etherealness criticized by Kang Youwei.
The formation of artistic style is often not something that can be deliberately pursued. It should be the author's years of practice and understanding of the inscriptions. When writing, he can express his heart directly, detached from the outside world, and has no intention of flattering others. Just reach the wonderful state. Anshi is a person who is good at seeing the essence through phenomena, diligent in summarizing, integrating and mastering, and is good at creating. He has been diligently pursuing running script for many years. After abandoning the ancient and forgetting himself to create his own, his works have mutual understanding of theory and interest, consistent merit and function, and are unique in their own way.
On the basis of traditional calligraphy, we strive to explore and develop, and gradually create a calligraphy mood that reflects our own knowledge, personality, and cultivation. Whether it is a banner, a nave, a couplet, or a fan, it can present a style of genius, calmness, and self-discipline. The elegant and harmonious wind is fresh and timeless, refreshing and breathtaking. It makes people feel relaxed and happy when looking at it, and it has a taste of elegance and leisure. The saying that books are like people is well explained here.
Anshi's seal script is ancient, simple and lush, with a well-proportioned structure. He uses the pen to hide the edge and reverse it, and he can see the cleverness in the clumsiness. The ink color changes richly, including thick, light, dry, wet, and withered simultaneously. The variations of thick and dry are appropriate. It may be as dry as an iron horse in the autumn wind blocking the north, or as moist as an apricot blossom in the spring rain in the south of the Yangtze River. His official script is dignified and elegant, square and simple, and his writing style is natural, free and easy, and varied. He uses center, reverse, twisted, side, and wrapped fronts at the same time. The priorities, turns, thickness, and astringency are all reflected in his writing. It seems just right. His regular script is dignified and elegant, with stable knots, gentle and powerful lines, and clear breaks in the pen. The dense parts are ethereal, and the sparse parts are not lax. He needs to experience and ponder with his heart, tempering the lines, changing the techniques, and harmonizing the charm. , the control of laws and regulations are all outstanding.
Words are the voice of the heart; books are the paintings of the heart; those who speak and paint, are gentlemen and villains moved by emotions? Anshi is modest, plain and polite, and he is always a gentle and modest gentleman in his dealings with others. He is enthusiastic about public welfare, and every year he squeezes out 10,000 yuan from his salary as a fund to reward local young people who love the art of calligraphy. He often donates to out-of-school children, lonely elderly people, and seriously ill patients. He is deeply attached to Longdong, morally dedicated, and selfless. He used his superb calligraphy skills to compose a moving and magnificent poem for the literary and artistic undertakings in the old district. Although the character is high, the pen is different and the person is not worthy of the title. Although the work is not expensive, the realm of calligraphy is connected with the realm of people. Aren't Anshi's Qinggang and elegant calligraphy works a reflection of his indifferent temperament, noble feelings and philanthropic heart? Is it a vivid reflection? Isn't it a true portrayal of the characters as they are written?
The heart of the book is clear and clear, and the brush strokes disperse the forest crane. He is like a clear spring that washes away the dust, dilutes fame and wealth, and washes away his persistent heart of loving and pursuing calligraphy. I believe that he will be as eager to learn as he is, and will continue to improve and hone himself. I will definitely go further and achieve better results in the future! The spiritual state of silent independence - Anshi's calligraphy career
Zheng Moquan/Article
Anshi adheres to the family motto, When he was young, he became interested in calligraphy and painting and fell in love with painting. When I first learned Tang Kai script, my writing was thick and muscular, with a majestic and majestic air. Later, he turned to Er Wang, using the brush to carry grass in the lines and apply it in both directions. The writing was neither exciting nor harsh, and had a scholarly feel. Later, he adopted the style of people from the Song Dynasty and the Ming and Qing Dynasties. The meaning and charm are unique, the structure is stable, the risk is sought, and the excitement follows the strokes. The composition is scattered and ups and downs, but it is true and natural. In the past few years, he has been involved in various styles, including seal script, Li script, Kai script, Xing script and Cao script. He is also prolific in his creations, and many of his excellent works have been selected for national exhibitions.
Anshi is humble and polite. He does not seem to consider himself a calligrapher or painter, but he pursues the noble and elegant feelings and style of ancient literati and officials. During the many contacts with Mr. I, I really didn’t feel that I was dealing with an accomplished calligrapher and painter, but rather as if I was dealing with a gentle and elegant “gentleman.” Everything is very harmonious, elegant, serene and calm, just like the book. I think that in addition to maintaining his own artistic beliefs and dignity, Anshi probably also contains a deep understanding and grasp of the detached natural realm of ancient literati and officials.
"A book is like a person", I believe it.
Since ancient times, the Chinese have always combined "book quality" with "character" and "put quality first." "Natural in nature, not the result of hard work." Therefore, Confucius said: "If a gentleman is not serious, he will not have authority, and if he is learned, he will not be solid." Chinese cultural tradition has always said that "literature is like its person", "poetry is like its person", "painting is like its person" and "writing is like its person". It fully illustrates that "personality determines style, and character determines works." Liu Shao said: "The person who writes writes the will." Calligraphy works are meant to express the author's inner feelings and creative artistic conception. I think, isn't this what Anshi was like as a person and as a writer?
The stone installation and all the structures are all done with workmanship. The seal script is ancient, simple and lush, with well-proportioned structure. The pen is used to hide the edge and reverse the movement, which reveals the cleverness in the clumsiness.
The official script is dignified and elegant, with simple and dense squares. The knots are open horizontally and convergent vertically. The dense parts are ethereal and the sparse parts are not loose. There is a vague sense of regular script and seal characters in the knot, which shows the personality. The regular script is dignified and elegant, with stable knotting, gentle and strong lines, and clear breaks with the pen. Anshi's running and cursive writing are his strengths. We might as well explore his complex of running and cursive writing in detail: Anshi's writing in cursive writing is not aggressive or harsh, but calm and expressive, giving people a fresh, mellow, elegant, vigorous and Zen-like feeling. Enjoy artistic enjoyment. Judging from the works he created, his brushwork has at least the following obvious characteristics: First, it is rich in variety. In terms of horizontal painting, there are straight and reverse strokes at the beginning of the stroke, and upward and downward folds at the end of the stroke. There are long and short strokes, vertical and oblique strokes; there are differences between forward and return strokes in oblique strokes. As for the points, they are either bent or raised, square or round, slanted or upright, curved or straight, and they change according to the shape of the word and the situation. The second is to be calm, happy and free. It is not difficult to be calm in running or cursive writing, nor is it difficult to be quick and easy. The most difficult thing is to be full, thick, round, and elegant. The sharpness of the starting point is exposed, and the ending point of the writing is not exposed. Thickness is not too heavy, and thinness is not light. It is deep. The powerful strokes reveal a free and agile attitude, and the joyful strokes reveal a graceful and serene charm. In my opinion, Anshi can definitely understand the three flavors in his current state. The third is rhythm. In Anshi's cursive writing, different strokes have different rhythms, such as horizontal strokes are slower and vertical strokes are faster, strokes are slower and strokes are faster. The same strokes also have different rhythms. Just like a vertical painting, the hanging needle is fast and the hanging needle is slow; the same strokes are slow and the reverse stroke is fast. It is just like this, there is slowness in the fast, fast in the slowness, ups and downs, tension and relaxation, ups and downs, ups and downs. For example, music has melodies with different pitches and speeds, so that it can produce a beautiful movement. The fourth is the balance between hardness and softness. The pen used in running and cursive script should not be too rigid, as too rigid will lack the soft and harmonious charm; nor should it be too soft, as too soft will lack the power and force. Anshi harmoniously unified the seemingly contradictory objects of hidden and exposed, smooth and reverse, quick and astringent, turning and folding, middle and side, curved and straight, ups and downs in his brushwork, so he was able to withstand Think about it. The fifth is to pull the thread naturally. The thread-pulling threads of Anshi's cursive script are naturally formed in the rhythm of the author's pen movements under the author's meaningful emotions. Lead when you should, lead when you should, no more, no less. There are no branches or vines, they are all brought out accidentally when the pen is going against the trend, or one or two characters are connected, or three or five characters are connected, so it appears that the charm is coherent and the rhythm is strong.
Anshi's cursive script has a rigorous structure and elegant style. In terms of changes, it follows the structure of the situation, big and small, fat and thin, wide and narrow, covering and interspersing, stretching and contracting, and it is extremely varied. On the side of Ji, there is a combination of strangeness and righteousness, which seems strange anyway. In terms of unevenness, it is well-proportioned and unique. The ancients were most afraid of "the top and bottom should be straight, and the front and back should be even". Therefore, Anshi's cursive writing is uneven, either tilted to the left or right, or raised and lowered, with some stretching and relaxation, some opening and closing.
In the management of cursive scripts, Anshi gave shape to his body and made the best of his style. At first glance, they seem to be uneven in size and length, but upon closer inspection, they appear to be harmonious and well-proportioned. It determines the shape of each character according to its different position in the whole text and its relationship between the top, bottom, left and right, and deforms it according to the situation, either straight or straight, shrinking or expanding. In the layout of the article, the momentum is coherent, either by intention or form. Seek change in the unity of layout, seek differences in harmony. "Violation without violation, harmony without difference." Unify various contradictory and opposing situations into a harmonious whole, such as the squareness and circle of the characters, the moistness and dryness of the ink, the density and opening and closing of the lines, the priority of the rhythm. At the same time, Anshi is also good at handling the relationship between virtuality and reality in his works. He often uses reality to become virtuality, and the real part is also spiritual. The virtuality is real, and the discontinuous part is continued. There is virtuality in reality, and reality in virtuality, giving people a beautiful artistic enjoyment.
Calligraphy creation is a long process of "sudden enlightenment" and "gradual practice" that cannot be neglected. It requires both a normal mentality and an enterprising spirit. As an artist with perseverance and a normal heart, I think Anshi has moved from enlightenment to self-awareness. Therefore, we have reason to expect more from him.
August 2009 in Xi'an The freehand brushwork of life originating from the soul - Commentary on An Shi's painting of Eagle Li
Zheng Moquan/Article
Chinese people love eagles. Eagle worship has been practiced in traditional Chinese culture for thousands of years. In ancient times, eagle worship was a symbol of royal power, political authority and military power.
The entire painting is painted with dry and wet ink, with light ocher and cyan colors used to dye the rocks and pines, and the majestic appearance of a gathering of eagles emerges vividly on the paper.
From this, we first find that when we look at An Shiying's works, we find a prominent feature: grand momentum, strong freehand brushwork, and novel composition. In Anshi's works, whether it is a large-scale painting or a sketch of a fighting party; whether it is a work with dense objects and images, or an eagle and a stone, they are all high and low, relaxed and relaxed, full of rhythm, rhythm and movement, giving people a strong visual sense. impact. This strong visual impact comes not only from the author Shen Xiong's majestic pen and ink, but also from the author's eclectic composition. Anshi's compositions are not framed by traditional formulaic rules, but draw on and absorb the plane composition and segmentation of modern paintings, either radiating from the inside to the outside, or enclosing from the outside to the inside, or spreading from top to bottom, or from bottom to top. No matter how things change, whether they are unexpected or unexpected, or they seek victory in danger, they all revolve around the same aesthetic orientation and artistic rules. This is the author's efforts to integrate the relationship between perceptual freehand brushwork and rational composition. , so that the traditional art form of eagle painting can be full of more modern spirit and modern flavor.
Secondly, we found that the overall tone of Anshi's painting of the eagle can be said to be based on its charm (Anshi's ink is heavy and majestic, and his strokes are decisive, regardless of the strokes, pauses, turns, and strokes). All of them have a "hard energy"), are energetic and rhymed, have both charm and charm, are balanced and complementary, and are very interesting to watch. This is because: First, Anshi's painting of eagles is truly freehand, with one eagle and one stone. Every plant, every tree, every bit and every stroke is written with calligraphy ink, so it is full of layers and changes. It is crude and simple, solid and thick, with a furry feeling and full of the rhythm of life. Secondly, Anshi knows how to control. In the process of his writing, he is not anxious or impatient, not sticky or peeling off, dry or wet, bone and flesh, without any sense of deliberate artificiality, so the whole picture looks loose and beautiful. And agile. Third, in addition to being good at ink painting, Anshi also dared to use color and was good at it. The colors in his paintings are not only different from the inherent colors of objects, but also break through the barriers of stylized colors in traditional eagle paintings. They are bright but not vulgar, fresh and elegant, giving people a pleasing feeling and adding to the sentiment of the works. Harmony and charm, to a certain extent, it is both powerful and meaningful; it is both thrilling and charming.
Finally, we also found that Anshi has a solid ability in modeling, coupled with his profound calligraphy skills, so the depiction of physical images is both expressive and general; Lively and smart. The eagle in his painting has become the eagle in his heart. Eagle in the heart. Whether they are standing upright, hanging, fluttering feathers, spreading wings, fighting, or eagles gathering together, they are all beautiful in form, spirit, and mood. Although due to the technical characteristics of small freehand or large freehand painting, Anshi made necessary refinements and omissions in the painting process, he was always able to capture the most vivid, expressive and exciting aspects of the object he wanted to express. moment. Although the painting is vertical and horizontal, it has its own "discipline" and "law"; although the brush strokes are "straight-sweeping", it does not violate the shape and spiritual similarity.
In a sense, Anshi's eagle works are the projection of the author's artistic soul and the refraction of the subjective spirit, or in other words, they are the freehand impressions of life originating from the author's soul. That's why Anshi has achieved such impressive results today. He does not have the aura of a big shot or the style of a famous person. His simple clothes, simple appearance and simple words all reveal his simple inner world. As a member of the Communist Party of China, Comrade Anshi is well aware of the great responsibilities on his shoulders. In order to develop Qingyang's advanced culture, to promote Qingyang's harmonious cultural construction, and to realize his own life value, he Connected with Longdong, caring for the people, willing to be ordinary, selfless dedication, calm in life, using his full enthusiasm and loyalty and perseverance to culture, literature and art to compose a colorful and beautiful poem of a Longdong cultural person.
——Zhu Xusheng Zuo Ruijie