The Structural Features of the Sixth Body of Ma Yongan and China's Calligraphy.

Yan Shu's calligraphy style is the result of decades of painstaking research by Mr. Ma Yongan. The formation of Yan Shu's calligraphy has a profound historical and cultural origin, inheriting the traditional calligraphy art of China for thousands of years. The achievement of Yan Shu's calligraphy lies in his great breakthrough in traditional calligraphy and his great contribution to the development of China's calligraphy art. Traditional calligraphy can be divided into five styles: cursive script and seal script. Strictly speaking, Yan Shu's calligraphy is not among the five styles. Yan Shu's calligraphy can draw lessons from five calligraphy structures, namely stippling and turning pen, but its solid foundation and premise are correct books. Whether Yan Shu's calligraphy is the "sixth style" after the "five styles" for the time being, but as far as its style and characteristics are concerned, it is indeed once in a thousand years and unprecedented.

The structure of Yan Shu's calligraphy is based on the original book, supplemented by the side book (not mentioned before, but relative to the original book), and the front and side are interactive and vivid. Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front is clear and slightly dull.

Yan Shu's calligraphy follows the trend, with high left and low right. It follows the trend, stretches smoothly, conforms to the mainstream aesthetic orientation, and attracts more attention. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.

Yan Shu's calligraphy is fluent, natural and unpretentious, and the cursive brushwork of seal script has opened up a broader aesthetic space for calligraphy. Traditional calligraphy, because the pen moves against the trend, can only fold the pen to write, with an extra pen, lacking flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.

There are many kinds of stippling in Yan Shu's calligraphy. Compared with traditional calligraphy, it is an invention. Yan Shu's calligraphy, pen, pen, as thin as silk, pen. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing. Traditional calligraphy, a method throughout the ages, wants to be right first and then left, and wants to be up first and then down, and accepts everything. Everyone is stuck in a rut and lifeless.

Mi Fei, a great calligrapher in the Song Dynasty, said, "A good book is enough." . Yan Shu's calligraphy has formed its own unique style in structure, posture, brushwork and stippling. Visible Yan Shu is one of the highlights.