Ji Cheng, president of Dalian Binhai Painting and Calligraphy Academy, is a national first-class calligrapher. He is currently a member of the Chinese Hard-tipped Calligraphers Association, vice-president of the Liaoning Branch of the Chinese Artists Federation, a member of the Dalian Staff Calligraphers Association, a director of the Dalian Young Calligraphers Association, and the president of the Dalian Binhai Painting and Calligraphy Academy. Member of the Education Committee of the Dalian Hard-tipped Calligraphers Association. . Mr. Jicheng wrote Liu Gongquan and Ouyang Xun early in his career, and later followed the Wei and Jin Dynasties. He likes Wang Xian's Thirteen Lines of Luo Shen Fu and Wen Zhengming's Falling Flowers Poetry in small regular script. Below is the calligraphy of Dalian calligrapher Jicheng that I compiled for you. I hope it will be useful to you!
Appreciation of Dalian calligrapher Jicheng’s calligraphy
Dalian calligrapher Jicheng’s calligraphy pictures 1
Dalian calligrapher Jicheng’s calligraphy pictures 2
Dalian calligrapher Jicheng’s calligraphy pictures 3
Dalian calligrapher Jicheng’s calligraphy pictures 4
The charm of Mr. Jicheng’s calligraphy
No matter what words you write, the most important thing is to write them out The charm of words. What is "神"? "神" is the vitality that surges between the lines, the kinetic energy of life. ?Rhyme? It can be said that the sound is limited but the meaning is endless. The word "qiyun" is like a Zen machine. It can only be experienced and depends entirely on understanding. Natural harmony, smoothness and stretch are the direct reflection of vivid charm. Yang Peng believes that the grasp of qiyun depends entirely on the artist's personal cultivation. Only when character, education, and kung fu reach a certain level can "qiyun" have "yun". The charm is the result of the artist's long-term cultivation. Most of the artistic works are completed between the true and false expressions and the erratic state. It doesn’t matter how many years it has been written or how many posts it has been written. The key lies in whether it can leave you with anything after reading these posts. If there is a harvest every time, after continuous precipitation, it is accumulation.
Mr. Ji Cheng has been writing small regular script for more than 20 years, and has been studying and practicing calligraphy as a whole for even longer. Mr. Jicheng believes that learning calligraphy does not necessarily have to start with regular script. Both seal script and official script are relatively neat and standardized fonts, but they are very ancient. Calligraphy students should have a high vision and a high starting point. But in the process of posting, you can alternate and understand each other.
Jicheng’s small regular script owes much to Wang Xianzhi and Mi Fu. His small regular script is round and plump and rigorous in law. It has both the original charm of the regular script of the Wei and Jin Dynasties and the natural interest of the seal script and official script. Jicheng's Xiaokai laid a solid foundation. Wang Xianzhi's small regular script is offset from the solemn and solemn characters, suppressing the left and raising the right, giving people a visual contrast. Mi Fu's small regular script is short and long, with multiple pens folded horizontally to pull the strokes outward with full force. If you keep it short, it will feel like a contraction; if you keep it long, it will be stretched and generous, round, vigorous, strong, loose and agile, solid on the outside and empty on the inside, implicit and deep. The composition of the two regular scripts is independent, but they take care of each other and are connected by blood. Word after word, line after line, facing away from each other, interspersed and avoided, giving people a feeling of neither excitement nor force, and tranquility.
Ji Cheng’s small regular script writing is a kind of literary popularity, and the writing is ethereal. If there are numbers, then there are countless things. If there are too many things, it will be in vain. If there are too many things, it will be foolish. Good works will give people unlimited reverie. The more they read, the more interesting they become, the more interesting they become, and the more they read, the more unfathomable they become. The works that can be seen through at a glance are like boiled water, bland and tasteless.
The traditional small regular script of "Heart Sutra" has a profound and perfect structure, flowing freely, and is not based on the past, which is rare in today's calligraphy style.