People's spiritual pursuit is often much higher than the objective reality, and the harmony of art sublimates it, which is wonderful and really Taoist. So Wang Guowei said, "If painting is the eighth heaven, then calligraphy is the ninth heaven". Even today, when computer tools take the place of writing, people still have a lingering pen and ink complex, because the artistic appeal of calligraphy often goes beyond the words themselves and points directly at people's hearts. Calligraphy is the spiritual totem of China people. It is impossible for an excellent calligrapher to express his uniqueness and profundity with secular habits. He has his own language and pattern style. Excellent point and line, delicate texture, solid and empty abdomen, vivid texture, simple and abundant, full of internal and external tension, different texture conversion, unpredictable use. Through the movement of lines, you can feel the reader's emotional fluctuation, the stagnation of charm and the strong will. In the schema structure, it is not the plane composition of art, but the causal relationship between the convergence, divergence and separation of schemas caused by the irreversibility of time. The potential language features and spatial awareness of the overall meteorology fully show the talent and mind of the book.
The reason why Wang Xizhi and Yan Zhenqing became the peak in the history of China calligraphy is that they are the best creators of pen and ink language and schema style, as well as innovators of calligraphy line form and structure concept. In the long process of agricultural society, the later innovators failed to jump out of the shadow of these two peaks.
A large number of North Monuments were unearthed, and their firm brushwork language and romantic and exaggerated deformation made the dull late Qing Dynasty see the hope of political reform. Under Kang Youwei's advocacy, historical grievances and personal grievances were integrated into the reform of calligraphy, which swept away the triviality and powerlessness of tradition. However, at the artistic level of calligraphy, it was only the imitation and crude transplantation of form, and did not fundamentally change the line gene and spatial concept of calligraphy form. Unfortunately, a hundred years later, people are still imitating or deliberately changing according to the picture, replacing concrete and in-depth practical argumentation with ancient literary speculation, and better leading the fashion trend with gossip analysis of popular concepts. Therefore, no matter what changes have taken place in epigraphy and calligraphy, contemporary calligraphy has lost its vitality because of genetic aging and cultural self-distrust. Fashionistas, without the burden of history, are frivolous and aggressive; Conservatives, lacking understanding of history, are at a loss, hard to remember, and feel sad and masochistic. This aggressive and sad mentality makes it difficult for us to look at the development of history objectively and integrate into the needs of the times. In this way, calligraphy culture has lagged behind other cultures in keeping pace with the times, and the seemingly lively book world will gradually become an island, and loneliness is inevitable.
If calligraphy is the core of China culture, then the spirit of this core should be the enterprising and inclusive thought from extreme to extreme, and the regenerative ability of pursuing good fortune and avoiding evil from extreme to extreme. If calligraphy has this spirit, it is lucky. Therefore, contemporary calligraphers should have a profound historical vision and insight into the changes of ancient and modern times. Broad cultural mind, not limited by national culture. Independent and sound personality, unmoved by the times. Can stand at the height of the new era, blend the essence, get confused and clear, and get out of the current predicament. Calligraphy is lucky to be like this.