Look at Tibet, draw a sketch and write history.
Wang Qingzhou is related to a group of writers who reprimanded Fang Qiu and inspired writing. They poured their lives into pages of paper, and after historical accumulation, they created a romantic and confusing history. And all this, today, still does not stop, they use their endless life, their understanding of the world, is such a person, writing the joy of life.
Go deep into the essence of traditional learning and explore the beauty of calligraphy.
"Learning calligraphy should go deep into tradition. Only by going deep into tradition and truly understanding the spirit of tradition can we deeply fall in love with tradition. " China's literature method has a profound and long-standing cultural background. After thousands of years of tempering and historical accumulation, Chinese calligraphy has experienced primitive symbols, Oracle Bone Inscriptions, Da Zhuan, Xiao Zhuan, Li Shu and cursive script ... and gradually evolved into fonts that can be seen everywhere in our eyes today. In Wang Qingzhou's view, we must respect tradition, take every word seriously and absorb the essence of traditional culture. In his view, "tradition is not dry for today, and its resources are still fresh."
Indeed, with a long history of 3,000 years, the calligraphy treasure house is extensive and profound, colorful and full of energy. For inheriting the traditional calligraphy art, Wang Qingzhou advocates following certain principles, which can be used for reference, but cannot be abandoned. Because, "different levels of traditional excavation and understanding can open different calligraphy trends." Because of this, he turned this persistence into collection and communication, and shared the same taste with others.
On one occasion, like-minded people visited Mr. Wang Qingzhou's house and saw his extensive knowledge and hospitality. In his home, tourists almost saw his wealth. Calligraphy, poetry, picture books, ancient seals, etc. Although mainly in the Qing Dynasty and the Republic of China, they are rare things and their appearance is well preserved. According to him, these are for further study and reference. If you meet someone, he will borrow some poems to communicate with you. In his mind, only by carefully preserving, polishing and learning from each other can the profound calligraphy art be carried forward. Perhaps, for Mr. Wang Qingzhou, this is also a kind of respect for traditional calligraphy and an exploration of historical ink, which is undoubtedly of great significance for grasping the essence of calligraphy and exploring its broadness.
Carry forward the past and seek innovation, and publicize the vitality of Chinese characters.
Shi Yaqi, a calligrapher in the late Tang Dynasty, put forward in On Books that "if the law enforcement remains unchanged, even if he can get three points, he will be labeled as a book slave; It is not a self-supporting institution. " This view is undoubtedly correct.
Seeking change has become a major task for calligraphers.
Facing the vast calligraphy culture, Wang Qingzhou has been considering how to change on the basis of stability. In his calligraphy concept, the development and innovation of calligraphy art can not be separated from the carrier of Chinese characters, and the connection with traditional calligraphy can not be cut off. The characteristics of Chinese characters are pictographic and comprehensible. Although after thousands of years of vicissitudes, they tend to be symbolic, abstract and concise, and people have also made subtle structural changes to them, in general, hieroglyphics are still the source. Therefore, Mr. Wang Qingzhou thinks that the innovation of calligraphy art must keep the original structure of Chinese characters and carry out the innovation of calligraphy art with the concept of tolerance, fit and harmony.
"Innovation is a gradual inheritance and a change in inheritance. We must first inherit the innovative spirit and achievements of the sages, and then innovate on the basis of inheritance. " In his works, the traditional harmonious rhyme is more open, and his feeling of modern culture is softer. Today's fashion elements can be discovered between pen and ink, and every word has fresh vitality, which fully expresses his new understanding of calligraphy art.
The beauty of China's Chinese characters lies in the beauty of Fang Zhengzhi outlined in different strokes, different trends, different moods, and the interpretation of the traditional beauty of harmony in China. In actual creation, Wang Qingzhou uses the rhythm and strength of various corresponding contradictions such as line thickness, length, light and shade, reality, light and weight, and then strategizes, showing changes under unified constraints, with a harmonious beauty of contradiction as a whole. Following the essence of harmonious beauty of calligraphy, I brewed some pen and ink in my chest, and integrated my feelings about calligraphy into the trend of lines, including exposing horizontal, hiding horizontal before, hanging horizontal, descending horizontal and merging horizontal. Moreover, in the horizontal arrangement, the brushwork, angle, thickness and length have different changes, which are rich and colorful, and reflect the rhythmic beauty of various fonts in the changes, thus forming a harmonious whole.