Lingfei passed by
Calligraphy creation needs clever expression. Ingeniously meet the basic requirements of "formal beauty" and "formal beauty" in creation, and have a reasonable beginning and end, integration and convergence. Preface to Lanting is a very clever work. The author writes calmly, and the structure and form of the characters are orderly, charming but natural. Carved, leaving no trace.
Think of friends on a cold night.
Practice makes perfect, and cleverness is the performance of calligraphy reaching maturity. Calligraphy creation needs real accumulation. Su Dongpo said: "When writing words, you should be familiar with your hands. When your hands are ripe, you will be full and more than enough. " When a person first comes into contact with calligraphy, his movements are usually not smooth, his stippling is not in place and his ink is not harmonious. The whole work gives people a feeling of being clumsy and out of breath, with a lot of ink stagnation. Like the sky before the storm, covered with dark clouds, there is no clear sky in Wan Li. Then gradually skilled, more and more dexterous hands, the surface of the paper roll will be clean, the line thickness and length will be accurate, and the slightest ink will not leak out. Zhao Mengfu's familiarity is one of the forces that lead him to forget his heart and hand, and he has the demeanor of a Jin people when writing. He writes thousands of words every day, which is perfect, and his mastery of brushwork and writing is impeccable.
Excerpts from Small Window
The concrete manifestation of cleverness is smallness. The smaller the thing, the easier it is to show cleverness, and the bigger the thing, the harder it is to show it, so people often say it is small. Small is small skill, that is, working hard in subtle places. In calligraphy creation, we only seek the wonder of painting, the beauty of words and rhyme. Zhao Mengfu's "Tao Te Ching" has made a very detailed plan for the space of each word, skillfully spreading the words with different strokes in roughly the same space, making them have the beauty of intermediate change. The cabinet styles in the Ming Dynasty are mostly small and exquisite, which can be described as meticulous work. But it is easy to be bound and difficult to control the whole. The written works present only a small emotion, a small pattern, and even boring. Calligraphers can't stick to smallness and don't bother to embellish too much.
Semi-cursive/running/calligraphy (China's calligraphy)
Huang Tingjian criticized in Li Zhiyao's After Seeking Books: "Every book should be clumsy and redundant. I don't talk much recently, such as a bride's makeup comb, decorated with hundreds of kinds, and there is no fierce woman. " Much smarter, the heavier the trace of deliberate arrangement, followed by a lot of efforts in non-writing factors. Nowadays, people often let the author rack his brains for an exhibition, what color paper to use, what color ink to use, how to splicing and so on. In short, in the end, the smart color of the exhibition hall is too heavy, just like a rich banquet. There are all kinds of mouth-watering dishes on the table, but when guests taste them, they are all sweets, which inevitably makes people tired of eating without food. Zhao's "On Calligraphy" says: "Those who have an attitude are not only good at calligraphy; Skeleton is the ancestor of calligraphy. Today, we haven't set a good example, but we should pay attention to our attitude first. Why not give up the basics and pursue the end? Stop it! Stop it! "
People who really make good use of cleverness pursue "great cleverness and great clumsiness". The opposite of cleverness is clumsiness Shuowen explained: "clumsy, but a pity." My work is like an uncut rough jade, showing a simple and implicit artistic conception. She doesn't have smart external beauty, and she wasn't as charming as smart at first, but the longer she is in contact, the more likable and interesting she looks. Choosing a clever expression of calligraphy language is like walking a street, full of beauty and excitement. Expressing calligraphy language in a clumsy way is like taking an unpretentious path, cold, gentle and profound. In calligraphy, "skillful and clumsy" has become a higher aesthetic standard than skillful work.
Clumsiness is an emotional appeal of calligraphy, even a spiritual return of calligraphy skills and calligraphy language. The word "self-defeating" is used to describe a person who thinks he is smart, but ends up screwing things up. This is a derogatory term. If put into calligraphy, if a calligrapher can turn cleverness into clumsiness, then he must have a high foundation of cleverness, so many calligraphers aim at clumsiness. There is nothing wrong with this positioning, but the formation of clumsiness is supported by the accumulation of skills and personal understanding of calligraphy, but it is just an empty shell, and the displayed works are often chaotic.
Xiaozhuan vermicelli restaurant
Throughout the history of calligraphy, the word "Qiao Zhuo" has been constantly and repeatedly appearing in people's field of vision, which is not only the display of calligraphy style, but also the development process of various calligraphy styles. We can list such a train of thought: the free combination of Oracle Bone Inscriptions and Da Zhuan in the pre-Qin period-the uniformity of Xiao Zhuan-the diverse styles of official scripts in the two Han dynasties-Wei Bei's simple calligraphy-rigorous Tang Kai-Song Sijia's "respect for meaning"-Zhao Mengfu's Japanese calligraphy-Fu Shan's "Four Ning and Four No", and even the alternation of inscriptions. The word Qiao Zhuo reflects the change of people's aesthetic tendency, and any party will die if it develops to the extreme.
At the beginning of the Yuan Dynasty, Wang Ruoxu said in Poems of Southern Hunan: "Clever is clever, clever is not enough, which makes people tired. Only if you are clever, you can be clever. " Smart and clumsy together, just like a person has a beautiful appearance and a simple and straightforward personality, so that he is not tired of looking at it. So is calligraphy.
Text/Tang
Personal data:
Tang is a master of calligraphy in Fujian Normal University.
He studied under the famous calligrapher Professor Zhu Yisa and is now a member of Fujian Calligraphers Association, Fuzhou Young Calligraphers Association, Fuzhou Hard Pen Calligraphers Association and Fuzhou Women Calligraphers Association. Articles are scattered in Fujian Daily, China Calligraphy and Painting Newspaper, China Calligraphy Newspaper, Calligraphy Newspaper, Calligraphy World and China Culture Newspaper.
In 2009
Selected as the "Harmonious Haixi Cup" calligraphy competition in Qinghai Province.
Selected as the seventh calligraphy copying contest in Shanxi Province.
20 12
Taiyuan normal University 90th Anniversary Calligraphy Exhibition Excellence Award.
20 13
Won the second prize of Fujian Standard Chinese Character Competition.
Participation record:
20 10 entered the first Shanxi Twin Towers Seal Carving Exhibition. 20 1 1 Enter the 2nd New Calligraphy Exhibition in Shanxi Province. 20 13 entered the first calligraphy exhibition of Fuzhou Young Calligraphers Association. 20 15 was selected for the calligraphy exhibition "Writing University Mottos and Carrying Forward Socialist Core Values" sponsored by the Language Application Management Department of the Ministry of Education and undertaken by Beijing Chinese Language Institute and Beijing Normal University.