Yao
Cui, whose real name is Han Lu, is not confused at the age of 20, and the art of calligraphy has reached a wonderful realm. He has exerted an extremely extensive influence in calligraphy, especially in Huxiang calligraphy. It is undoubtedly of far-reaching significance to interpret and evaluate such an accomplished and creative calligrapher and his calligraphy art.
Push the source upstream and shake the leaves to find the root. As the creative subject of calligraphy art, the calligrapher's aesthetic, personality characteristics, artistic accomplishment and artistic psychological set determine the style and taste of calligraphy works. Xiang Jun inherited the personality characteristics of Dongting Lake area: active thinking, clear organization, stable and modest, kind to others, strong sense of honor and professionalism. He is also very steady, rational and rigorous in calligraphy learning and creation, and his works reflect the unique charm and style that is both heavy and elegant.
Xiang Jun has just joined the work in Changde, Hunan. Changde has always been a gathering place of humanities in northern Hunan, and there are also many predecessors in calligraphy and art circles. Xiang Jun was deeply influenced by them and laid a very solid foundation for calligraphy. From 65438 to 0985, Hunan Calligraphers Association hosted the first Huxiang Calligraphy Competition. He just turned 22 and won the first prize, which shows that his calligraphy skills and artistic talents are outstanding.
In order to find a more suitable working and living environment, Xiang Jun moved his family to Yueyang, the gateway of northern Hunan. He once opened an influential calligraphy and painting shop "Chufengtang" in Yueyang City. His calligraphy, seal cutting, art supplies and related books are of high grade, which provides ideal tools, materials and cutting-edge information for calligraphers and enthusiasts to create calligraphy. For the benefit of others, Xiang Jun not only gathered a large group of like-minded book friends in calligraphy, but also won a lot of learning opportunities and creative time for himself, and ushered in the first peak of his calligraphy creation. During the period of 1998, his works participated in the fourth exhibition of new works sponsored by China Calligraphers Association and won the "Top Ten Excellent Awards"; 1999 participated in the seventh national exhibition of calligraphy and seal cutting works and won the "National Award". In 2002, he was awarded the title of "calligrapher with both virtue and art" by China Federation of Literary and Art Circles and China Calligraphy Association.
Xiang Jun's outstanding artistic talent and charming achievements in calligraphy also edify and inspire young friends who love calligraphy around him. Especially, the calligraphy art salon "Yonghe Bookstore" was established later, where friends regularly held calligraphy copying, creation, exhibitions and academic seminars together. The calligraphy level of fellow calligraphers was significantly improved, which made Yueyang City participate in the national calligraphy exhibition sponsored by China Bookstore many times in recent years, and even won prizes. Yonghe Bookstore became famous in the whole province and even the whole country.
Xiang Jun is a man who is never complacent. In 2003, he resolutely gave up the operation of "Chufengtang" and went to the Central Academy of Fine Arts to study in the master's class of calligraphy hosted by Mr. Wang Yong. He comprehensively combed and perfected his calligraphy, seal cutting, painting and artistic theory, wrote a novel and influential Diary of a Flower Family, recorded his learning experience in the Academy of Fine Arts, and summarized his creation in stages. After returning to Yueyang, I made a short-term adjustment, and now I am officially transferred to the Mass Art Museum of Yueyang Cultural Bureau, which has created a stable and guaranteed working and living environment for my artistic creation. I believe that complex and diverse life experiences can sharpen people's will, enrich people's life experiences, expand people's knowledge fields, and improve people's aesthetic taste and artistic accomplishment.
Xiang Jun's calligraphy seal cutting can be described as rich in images and criss-crossing. He has a comprehensive accomplishment and profound skill in calligraphy and seal cutting, which is mainly due to his solid copying skills. He is well versed in the mystery of Sun's saying that "the viewer is fine, and the painter is precious". He carefully observes the brushwork, structure, composition and ink method of calligraphy posts, with special emphasis on understanding their spirit and artistic conception, from the whole to the part, from the form to the spirit, trying to be familiar with them and strengthening their memory, which is not only conducive to training the eye and hand, but also to truly grasping and inheriting the tradition, "typing in with the greatest strength."
In creation, he first made a great breakthrough in seal script, forming a vigorous, spicy and elegant Bo Gu style. Generally speaking, the composition of his seal script works is mainly couplets, with occasional nave and banners. On more solemn occasions, he usually falls on both sides of couplets with his own long-running script. Generally speaking, its seal script is based on the big seal script, with a wide range of methods, especially influenced by the three-body and Chu spells. The structure is full and the ankle is flat. At the same time, there are great changes in the line shape, line direction, line length and space between lines, which makes it firm, smart and broad, and placed in an orderly manner, such as the stone carvings in Qin and Han Dynasties, which are heavy, steady and vigorous. The pen is thick and boundless, and the pen is easy and rhythmic; The thickness of the main stroke changes little, and the small strokes are smart and interesting; The strokes are like vines that have withered for thousands of years. They are naturally rigorous, and their lines are spicy but not stagnant. Generally speaking, thick ink is the main ink, and occasionally light ink is also interesting, moist and nourishing, and the thick ink will gradually dry up, which can be described as "moistening the spring rain and cracking the autumn wind". (Sun) His brush and brushwork of official script are also deeply influenced by seal script, and his temporary works are impressive. However, his official script was still "hidden in the boudoir" before creation and was rarely shown to others. I believe that once his style is unique, it will definitely be a blockbuster.
People generally know Xiang Jun's calligraphy art from his seal script. In fact, in terms of style and realm, he thinks his cursive script is better. The overall impression of his cursive works can be described by Liu Xie's "thinking strangely without losing his virginity, playing flashy without falling into reality" From the perspective of ink painting, his cursive style broke through the cage of the ancients, fully absorbed the techniques commonly used in landscape flower-and-bird painting, such as adding ink, thick ink, weak ink, dry pen and thirsty pen, and was also good at using the techniques of grinding ink, Su Mo and dipping ink by the water, which made his works have a strong visual impact. Its embellishment is not swollen, and its bone strength is just like it; Dry pen such as orange bagasse. Although it looks rough and dry, it can still squeeze out water. Mo Yun is colorful and interesting. As Sun said: "If it is as heavy as a cloud, or as light as a cicada's wing, it will be guided by the sound of spring, and then it will be peaceful;" It's like the first month of the first month, like a river between stars. "The cursive pen is natural and clever, with various shapes and angles, and there is no fixed procedure. The middle section of the line is vigorous and vigorous, and the thickness of the whole line changes obviously. The strokes seek unity in change and change in unity. Turn the pen over and over, with a strong sense of rhythm. The so-called "late is not old, the disease is not constant", "at first glance, it is awkward, if it is obvious, it is hidden; Poor pervert, on paper. "(Sun's) From the structural point of view, his cursive script is based on the" two kings ",but it also absorbs the characteristics of calligraphers in the Ming and Qing Dynasties and the Republic of China. The spatial contrast between the characters is strongly exaggerated, the words are strange and correct, and the size is extremely varied, just like a huge group of actors, men, women and children, either marching forward, or Ana smiling, or sad, with different moods. He pays great attention to the blank changes between words; There are many ways to echo between words, such as continuity, discontinuity, modality, overlap, intersection and parallelism of axes, utilization of potential axes, grouping connection, sideline connection and so on. In particular, the left or right profile is basically a relatively complete combination of edges, which changes in order, resulting in extremely overlapping and undulating effects. From a line, its composition is constantly changing and transitional, while several lines are extremely contrasting and changeable, and the whole work is very strong. Although changeable and harmonious, it can be said: "every word is a rule, and every word is the final rule." If you violate it, you will not commit it, and it will be different. " (Sun) As far as form is concerned, its cursive style is the most abundant, generally including banners, doodles, couplets, nave, fans and so on.
Throughout Xiang Jun's cursive script, from the application of pen and ink to the composition of structure, it gives people a feeling of change without madness, unique and elegant, which fully embodies a neutral beauty and a strong sense of form. It can be described as: criss-crossing Tibetan ravines, Fiona Fang is full of black and white clouds.
Xiang Jun is well aware of the importance of the intercommunication between calligraphy style and calligraphy, and immersed in ancient Chinese characters such as Zhuanli to trace back to the source and increase the ancient meaning; Dabble in cursive script, realize its enlightenment, and enhance agility and agility; I also put a lot of effort into regular script, starting with my face and body, with strong bone strength and graceful posture; Small letters are drawn from the Wei and Jin Dynasties, with elegant and agile brushwork, rigorous and casual structure, elegant and gorgeous ink, and are generally hand-rolled. On the surface, the exploration and study of various fonts seems to distract the energy, but the actual effect is to get twice the result with half the effort. Only Tao Jun's various styles can achieve a wonderful situation, and Xiang Jun successfully handles the relationship between erudition and specialization.
Xiang Jun also put a lot of energy into seal cutting. I work hard between square inches, benefiting from many teachers, with wonderful ideas and ingenuity. Therefore, my work is also pleasant and fruitful. His works have been selected for many national exhibitions sponsored by China Calligraphy Association and Xiling Printing Society. It is precisely because of his outstanding seal cutting level that he has a unique vision for the organic cooperation between seal cutting and calligraphy works.
Of course, calligraphy, as a expressive art, is expressive in its essential characteristics and content, which shows the author's ideological interest and spiritual temperament. The ultimate goal of its artistic language is to externalize the author's mind and interest. From this standpoint, perhaps people will put forward higher expectations for Xiang Jun's works: they would rather be less rational, sacrifice some sense of form, be more passionate and arrogant, and enter the realm of selflessness. There is no doubt that Xiang Jun's calligraphy and seal cutting skills and techniques are very profound and skillful. However, it is impossible to achieve the goal of transformation only by kung fu and skill, and it must be based on profound cultural heritage. Therefore, he has dabbled in the history of books, calligraphy and ancient Chinese characters, and is also insightful in calligraphy criticism and appreciation, and has relatively complete knowledge and cultivation in philosophy, aesthetics, literature and painting. At the same time, innovative spirit is also an essential quality of a mature calligrapher. Innovation is to enrich and break through the artistic language and style while inheriting and drawing lessons from the artistic achievements of the ancients and others. Is to do what others have never done, activate the tradition with richer artistic language, appeal to the present, have a shocking effect and cause a strong * * * sound. It can be said that Cui is a young calligrapher with rich knowledge and innovative spirit.