The reason why we never tire of reading Tang poetry and Song poetry is because the art of calligraphy has been passed down for thousands of years. Ideology has something to do with nationality. In other words, the more national, the more cosmopolitan. This kind of art, which can represent your national culture and spiritual level, is a world-wide art ... Calligraphy art is like this, and it should be said that it is our most traditional art form with Chinese characteristics, bearing the ideological culture and feelings of our nation for 5,000 years. Calligraphy is thoughtful, vivid and connotative. Any calligraphy classic, especially a masterpiece handed down from generation to generation, is always a perfect combination of thought, content, emotion and creation, such as Wang Xizhi's Preface to Lanting, Yan Zhenqing's Sacrifice for a Nephew and Su Dongpo's Cold Food Post. Behind these famous posts is a thrilling emotion, or a true interpretation and allusion. Everyone has this experience. Creation is what you think, how to write, what to write and what to write. Wang Xizhi's Preface to the Lanting Pavilion is definitely not going to the exhibition. He just recorded an event, just an activity, a local folk custom, and wanted to express this. Sacrificing my nephew is not a collection of works, but a creation and writing with emotion. So thoughts and feelings are the soul of calligraphy works, which is one of them. Second, inheritance and innovation. Inheritance is the key, especially the creation of calligraphy. In his speech at the Eighth National Conference on Literature and Art, General Secretary Hu clearly pointed out that inheritance and innovation are two important wheels of a national culture, and the works handed down by world famous literary masters from ancient times to the present are the results of being good at inheritance and innovation. Immortal literary classics often not only permeate the experience and philosophy accumulated in history, but also contain the ideals and spirit nurtured by the times; It not only continues the characteristics and advantages of traditional art, but also creates novel and vivid contents and forms. Not good at inheritance, no basis for innovation; Not good at innovation, lacking the vitality of inheritance. Innovation based on inheritance is often the best inheritance. General Secretary Hu highly summarized the relationship between inheritance and innovation. This is especially true of calligraphy art. If we don't follow the method summarized by our ancestors, it will deviate from the correct running track, and it will not be calligraphy in the true sense. Without inheritance, where does innovation start? Innovation is innovation on the basis of inheritance, and it is by no means arbitrary creation and play. This is not the case. So this kind of inheritance and innovation is very important.
The "Three Mig cursive Copybook for calligraphy" invented by our present Mr. Wang Hong is both a creation and a contribution. According to the characteristics of Lian Bi's cursive script, he proposed that the appreciation, research and temporary writing of cursive script should be based on the behavior unit theory, which broke the rule of studying cursive script with single words as the unit, and interpreted the cursive script classics with the invention patent of "three Mi Zige lines positioning method", which was popular among cursive script lovers. A friend of mine, when talking about the artistic features of "Wild Grass in Laws and Regulations", vividly described: Wild Grass broke through the inherent shackles of Cao Zhang and Cao Jin, and the overall format made the calligraphy lines gallop freely, resulting in its dazzling and dynamic effect. After bold use, it produced "three or five sounds, and a thousand words on the wall." The artistic charm of "the ink column rushes and the room is full of voices" That is to say, Zhang Xu and Huai Su's cursive script uses Lian Bi's regular script, or the deformation, size, irregularity and exaggeration of the characters, all of which have changed and broken through the form of Cao Zhang, and they can feel a special artistic charm, and for the first time, they have expanded their calligraphy into an elegant performing art. Their calligraphy is dynamic, artistic and rhythmic, just like music. What is the promotion of calligraphy practice? That is the philosophical height of "learning from nature and learning from nature". From a single tradition of learning from others to a natural height of learning from others, abstract lines have become a concrete medium, enabling people to enjoy the beauty of painting, resulting in an artistic association of "Crouching Tiger, Hidden Dragon, Climbing a Mountain, Controlling Like a Spring". It caused a "strange stone rushing to the autumn stream, and Han Teng Gu Hangqu. Get the moon first by being close to the water, and every word is afraid of Jackie Chan. The melody of music, the passion of music, the interest of painting and the rhythm of dance are dizzying and beautiful, which leads to a series of changes in brushwork, ink painting, structure and layout. Brushwork, ink painting, structure and layout are just a few elements, which find the best combination of romance and reality. Zhang Xu and Huai Su not only have a solid foundation in orthography, but also greatly enrich the connotation of Zhang Zhi and Er Wang's cursive script, which not only publicizes the traditional spirit, but also broadens their own imagination. Zhang Xu, Erwang, Huai Su and Huang Tingjian are innocent to themselves, the world and the nation. Their art is like a beautiful chorus of the Yellow River. Hong Hushui, flapping the waves, showed her true feelings about life in the intense and warm drizzle. The strange silk thread appreciates their gentle swing, and the pen and ink surge with their affectionate pen and ink. Although time flies for thousands of years, their spiritual brilliance is still flying and spinning. They are national treasures, symbols of wisdom and endless treasures for human beings to move towards civilization and harmony. Some people write cursive scripts. Compared with our ancients, we sometimes really feel guilty. Our structure is loose, our hearts and hands are not right, and we are at a loss We only seek form, not spirit, and our lines float around, but we don't know why. We stand on a branch and admire ourselves, but we don't understand the truth of "practice a thousand songs before we know our friends, watch a thousand swords before we know our weapons" Art is a free lyric poem, which is pure and selfless, full of ups and downs, great sorrow and joy, infinite contradictions and spiritual twists and turns. Only with this experience can she reach the state of "crazy for the world, really drunk". Beyond the artistic classics of the times, without any political color, she should have nothing to do with fame and fortune. The cursive script of Zhang Xu and Huai Su is a revolution. Such a feeling, an experience, we still have one thing in our creation. It is very important to grasp the relationship between reading and creation, and reading is the key. In other words, our creation is not random. Some scholars and critics have said that calligraphy is written, but it is not completely written. It is cultivated through learning. Without good study and knowledge accumulation, such calligraphy is also pale and powerless. Therefore, learning calligraphy from the ancients is the right way, and calligraphy comes from tradition.
The other is to upgrade our China culture. Calligraphy depends on practice and reading posts, and the cultivation of Chinese studies also depends on practice and reading posts. An accomplished and contributed calligrapher is often a knowledgeable scholar, writer or politician, that is to say, he has profound attainments in Chinese studies. Our Mr. Qi Gong, our Mr. Shen Peng and Mr. Ouyang Zhongshi are all like this. They are not only writers, but also professors and poets. I mean, if we want to create good works and become masters of calligraphy, we must enhance our self-cultivation, or have a certain ambition. We must set high goals for the nation and the collective. This depends on the law. If the goal is set low, it is enough to write to the level of the provincial book association. If you get a member and become a little famous in this place, it will be difficult to rise to the national level. If you aim high, you will work hard. That's really different.
Besides, I said we should be ambitious. In ancient times, we all wrote with a brush, and we mastered the usage of the brush. Doesn't mean those people have it. Many people write well, why not be famous? Because many people have no identity, status and fame, calligraphy can't be passed down. Even the best writing style is in the ravine. Locals think he is a scholar, he is a gentleman, he is local and can't jump out. So we are the same. Some of our civil servants and some party and government leaders love calligraphy, which conforms to the artistic law of calligraphy creation. Because these people have literacy, their cultural literacy and self-cultivation are different. Chairman Mao is a great leader, politician, philosopher, strategist, calligrapher and poet. Calligraphy is metaphysical and philosophical, so the identity of a calligrapher is commensurate with Chairman Mao's political influence. It is a cultural, upper-class and people's calligraphy, and it is the favorite of the people. Not only the calligraphy level is the highest, but also the lower Balinese. In spring and when it snows, people with beautiful chins. All people influenced by our China culture have special feelings for calligraphy, so we have different understandings of calligraphy creation, or what are the phenomena in our book creation? Mr. Liu Heng, director of the Research Office of the Chinese Calligraphy Association, summarized some phenomena in contemporary calligraphy and book creation. He said that the fundamental reason why there are various schools and pursuits in calligraphy today is that everyone has different understanding and attitude towards calligraphy. For example, many people regard calligraphy as an independent and pure visual art, hoping that calligraphy works have the same characteristics and effects as painting and sculpture, so they strive to "create" the feeling and effect in practice; Some people like all kinds of trendy art theories and "modern art" phenomena, and think that calligraphy should also be added to them, thus having more direct intervention and influence on the real society; Some people even use calligraphy as a name or a means to create various fancy name factions to attract attention from the perspective of practical interests; Of course, some people just regard calligraphy as a skill and indulge in the imitation experience of some past statutes ... Different understandings and attitudes are reflected in their works, which will inevitably form different styles. It should be believed that all kinds of pursuit of practice have the possibility of success, because artistic styles should be rich and varied, and cannot be measured or constrained by a standard. Especially in today's diversified and unbelieving authority, calligraphy art has realized its own development through diversified understanding pursuit and style. These are some different phenomena in contemporary book creation.