Yuwen Jialin
For the study of calligraphy, I talked a lot with ancient masters, from point to surface, from the outside to the inside, all in place and very useful. Macro and concrete, I don't know. Here, I will talk about how I came all the way in the process of learning cursive calligraphy.
I have been studying calligraphy as an amateur for more than 20 years, and I have always been very interested in the cursive script of the two kings. In the last two or three years, I have basically taken the calligraphy style of Wei and Jin Dynasties as the object of learning calligraphy. To sort out the process of learning calligraphy, I slowly cut into calligraphy with such a line: at first, I wrote block letters and official scripts (of course, I am writing now, but the requirements are different from before). The next step is to practice running script a lot, which takes the longest time. At the beginning, I wrote Yan Zhenqing's "Struggle for Seats". This post is woodcut, the lines are full of seal characters, and the branches are painted white, which is very beautiful. At that time, it was a gourd painting gourd ladle. Although there were many misunderstandings, it was also quite devoted. Later, when I wrote "Sacrificing my nephew", I thought about the lines of "Fighting for a seat", and I was puzzled: the same person wrote with a pen, but there were many differences? Later, I gradually realized that it was only the difference between block printing and ink printing, but it was actually the same thing. Therefore, for a calligraphy problem, sometimes we can only see the appearance, and more often we are confused by the appearance, even obsessed, and farther and farther away from the "avenue." From the outside to the inside, look at the essence through the phenomenon and know why. This is very important, which is related to whether we can adhere to the traditional "avenue".
After studying Yan Xing for several years, I found that my ability to control every word was much worse. At this time, I became interested in Mifei's running script. Because old rice is beautiful in one word! This writing is nearly 10 years. Of course, while writing meals, there are also two kings, Su Dongpo, and famous Ming and Qing dynasties. But learning rice is always the main line. I have learned all the posts of Lao Mi as long as I have them at hand. This writing state was very happy at that time, and at first glance it was a beautiful little running script. While I am complacent, my writing style actually falls into a routine: one line at a time, only the exquisiteness of the department, not the whole. "You can't see the forest for the trees." Now I call that year's creation copying books. Sad husband! I have been copying books for ten years. Of course, it's no wonder that old rice, but he didn't understand it deeply and walked into a dead end. Until now, I still like Mi Fei's calligraphy. Of course, my perspective has changed.
To tell the truth, a calligraphy exhibition in 2005 brought me an opportunity to improve my calligraphy: In April this year, Calligraphy Herald and Shanghai Calligraphy Association jointly hosted the "Nomination Exhibition of Six Young Calligraphers in Jiangsu", which was recommended by Brother Guan Jun and I was selected. This exhibition has helped me a lot and pushed my concept of cursive script forward. The ancients said, take the law. In the last two or three years, I have spent a lot of time studying the cursive script of Wei and Jin Dynasties, especially the interpretation and copying of cursive script.
Grass, grass, grass. The composition of cursive script can not be ignored. I started with 17 posts, and read, read, write, and communicate repeatedly. Just like watching a movie, I don't want to miss a good clip. If you store more, you will have it when you create. Because Seventeen Articles is a woodcut, while copying and studying, I also interpreted Sun's Book Score and compared the differences and connections between woodcut and ink block. This learning method has a good effect, which makes me get into a good state soon.
After finishing the initial knot, I made a comprehensive "scan" of the cursive works of the two kings and famous artists in Wei and Jin Dynasties, and made a lot of analysis and copying. Through the combination of intensive reading and extensive learning, I have a little understanding of the calligraphy style in Wei and Jin Dynasties, and I also know why calligraphers after Tang and Song Dynasties are not as good as famous artists in Wei and Jin Dynasties.
Collection, selection and reconciliation are my simple understanding of calligraphy from copying to creation. I have always believed that calligraphy creation is "expression", not "reproduction". "Copy" is a simple mechanical copy, while "expression" has risen to the height of human nature. Good performance is good work. I hope my work gets better every time. (Published in China Calligraphy No.7, 2008)