Zhonghua Wan's calligrapher, Fa Erwang Yimai, advocates Jin Yun in his calligraphy style. Two kings' charming romantic feelings and Wang Yang's wantonness in Ming and Qing Dynasties all made him stop there and linger. Later, he used the book styles of Song Dynasty and Ming Dynasty to adjust, and has extensively dabbled in Mi Fei, Yang Ningshi, Wang Duo, Dong Qichang, Sun Guoting and other people's calligraphy posts, seeking new ideas, randomly sprouting, and striving to create a peaceful and simple natural realm.
Zhonghua Wan advocates tradition and culture, and puts forward that "the real calligraphy creation should be an irrational gallop on the rational plateau". Therefore, after studying the famous posts of past dynasties, Li Zhukai's calligraphy and cursive writing are all good, and Li Shurong, Zhang Qian, Jin Nong, Xiao Guan and Yi Bingshou are all in one furnace, which is ingenious and unique. The cursive line is the second king, drawing on the charm of Lu Gong's breadth and Su Mi. It is elegant and leisurely, simple and natural, and has its own features. "
His running script pen is calm and steady, and the structure is rigorous and meticulous, and it has both the beauty and elegance of the southern post and the beauty and harmony, and it is more focused on the charm of the ancient tune and the charm of its spirit. This is manifested in the works as rich and meticulous brushwork skills, calm and carefree brushwork style and elegant and elegant artistic style. The style of this grass is fantastic, and it is dominated by cleverness and decisiveness. This kind of works breaks through the traditional pattern in composition, and skillfully introduces the concept of modern art composition into calligraphy creation, which makes the works give people a strong visual impression in expressing emotions and characteristics, and gives people a sense of freshness in composition form. In the use of pen, knot words, composition and artistic conception, he pursues a great effect instead of focusing on the precision and regularity of stippling. The coherence of momentum, the contrast between reality and reality, the clever evasion and the free expression of passion constitute the overall characteristics of Zhang Xuguang's cursive works. I have a soft spot for official script, so it's hard to give it up. Zhang Qianbei, Monument to the Fresh Jade and Monument to the Hengfang are the main official calligraphers, and the style of brushwork is followed by Deng Shiru and Jinnong of the Qing Dynasty, and the brushwork of bamboo slips and silk books in Qin and Han Dynasties is thick, flexible and full of rhythm changes, and wins with strong brushwork, dangerous posture and great style. Especially in the whole black-and-white segmentation, it not only highlights the contrast between large and small pieces of black and white, but also adds the strength of black and white, showing the high-spirited spirit. .
At first, Mr. Zhonghua Wan learned calligraphy only by copying everyone's inscriptions. In 29, he went to the forest of steles in Xi 'an and saw a stone carving of the Han Dynasty, which shocked him. Suddenly, he had a strong idea to integrate this vast and majestic feeling into calligraphy, and to express this heroic spirit with calligraphy.
after returning to Shijiazhuang, he began to look for the shocking feeling of aesthetic experience from the post. First of all, he started with Yan Zhenqing's regular script in the middle Tang Dynasty, which was open, atmospheric and square, and then went deep into the official script of the Han Dynasty to find it. He summarized the artistic style of the Han Dynasty as: vigorous, broad, open, full, romantic and diffuse.
In calligraphy creation, Zhonghua Wan insists on the principle that China's calligraphy can't be separated from China's traditional culture. Law shows the thought and essence of traditional culture.
In a word, calligraphy is a feeling of diligent practice+inspiration+temperament, paying attention to the overall effect, paying attention to one's free will and following one's heart with the pen. Calligraphy, in time, should be full of vigor and vitality, in space, the brushwork should be vivid and wonderful in static state, and the line ink should show the charm and spirit in dynamic state. It is the blend of skill and artistic conception, and the harmony between mind and nature. Sometimes I wonder where the roots of western calligraphy are, and how the typical sensibility and rationality in Europe can achieve the art of calligraphy. It is very clear that calligraphy originates from nature, from humanity, from tradition, and from the long-standing cultural accumulation of poetry.