Brief introduction of Wang Quanyi's calligraphy

China celebrity calligraphy Research Institute, who is the natural portrayal of Taoism —— The calligraphy art of Wang Quanyi, the founder of the original book. Who is the natural likeness of Taoism? -The calligraphy art, martial arts and calligraphy of Wang Quanyi, the founder of the original book; Calligraphy and martial arts have always been regarded as the quintessence of China, but few people classify them. More people regard calligraphy and martial arts as dynamic and static, and literature and martial arts are irrelevant. The calligraphy of Wang Quanyi, the founder of the original book, has broken this gap and redefined people's imagination of calligraphy and martial arts. Mr Quan Wang was born in Hulin Town, Guoyang County, Anhui Province at the junction of Henan, Anhui and Su Ru. Mr. Quan Yi is brilliant and has studied martial arts and calligraphy since he was a child. Because of his poor family, he worked harder than his peers, so his martial arts and calligraphy naturally improved a lot. Later, Mr. Quan Yi learned from Zong Bangxin, Master Yong Wen of Shaolin Temple and others, and became more and more proficient in martial arts. At this time, Mr. Quan Yi learned more about martial arts, but failed to combine martial arts with calligraphy, so as to understand the way of martial arts and calligraphy. Mr Quan Yi is naturally eager to learn. After he felt trapped in the limitations, he went to Sichuan alone and found the master of sea lanterns, which was a sensation in the country at that time, in order to give directions. This is also a sincere move. Mr Quan Yi finally met Master Hayden in Benyuan Jingshe, Chonghua Town, Jiangyou, Sichuan. After many tests by Master Hayden, he was finally accepted as a closed disciple. Master Hayden has successively taught Mr. Quan Yi some Shaolin stunts, such as flower piles, iron shirts and finger meditation. What has benefited Mr. Quan Yi for life is Master Hayden's unfathomable attainments in Buddhism and Chinese studies. While studying in Sichuan, Mr. Quan Yi practiced calligraphy every day, day after day, without interruption. This is also the original reserve of the original calligraphy initiated by Mr. Quan Yi. Then, after decades of practice, Mr. Quan Yi finally achieved his profound internal strength in calligraphy and martial arts today. Mr. Quan Yi believes that the external aspect of martial arts is boxing, while the external aspect of calligraphy is writing. The relationship between the two is not as simple as a fist and a pen. Their methodology is the same, that is, the theory of Yin and Yang in Tao Te Ching. Mr. Quan Yi thinks that Yin and Yang are two entities, and there is Yang in Yin and Yin in Yang. Yin and Yang are opposite and complement each other, which is what Lao Tzu said: "Everything is negative and holds Yang, and tends to think that it is harmonious". Martial arts is the external explanation of this relationship. In martial arts, you come and go, you advance and I retreat, you fight and I hide, you use your strength, and you follow the trend. You have me and I have your offensive and defensive skills, and you can all find clues from the theory of Yin and Yang. Let alone calligraphy. In calligraphy, virtual and real, big and small, thick and light, thick and thin, far and near, dry and wet, these techniques must not be separated from each other in calligraphy art, otherwise it can only be a toothless child doodling. Macroscopically, the theory of Yin and Yang is the Tao in Laozi's mouth. On this basis, Mr. Quan Yi thinks that both martial arts and calligraphy originate from Tao, and both are subordinate to Tao, which is more intrinsic. Mr. Quan Yi combined his martial arts with calligraphy, applied the skills and techniques in martial arts to calligraphy, and integrated the ideas and strategies gained from calligraphy into martial arts. These two processes are harmonious, non-contradictory, endless and sustainable. His own calligraphy and martial arts have made great progress. In order to better spread this writing skill, Mr. Quan Yi gladly named this calligraphy the original book. Dragons appear frequently in Quan Yi's Mo Bao, which is the most perfect display of Mr. Quan Yi's thoughts. The dragon written by Mr. Quan Yi was a bit heavy at first, but then it seemed that he accidentally pressed it lightly, rowed it down, spun it up again, and then moved it left and right along the stroke, leaping high and falling again, leaving no waste pens. This dragon word, seemingly simple, is actually a double combination of Mr. Quan Yi's wrist and brain power, strength and ideological power. Mr Quan Yi's calligraphy also pays more attention to the profound combination of movement and static. Mr. Quan Yi believes that excellent martial arts should cultivate quietness and keep calm as water when the enemy moves, because boxing moves in the body and in the heart, and excellent martial artists should be integrated with body and mind. That is to say, in martial arts attack and defense, the spirit must be highly concentrated and the mind should always remain calm, so as to carefully observe the enemy's flaws and win in one fell swoop. In fact, for martial artists, they should sort out their inner thoughts, keep a normal heart and relax every bone and muscle of the whole body just like emptying a quilt full of sand. When they reach this state, they should quickly mobilize every body and mind and use seemingly unintentional tricks that contain profound skill to the enemy. An ordinary action may contain infinite traps, and a fierce momentum may be just for the next step. Not to mention calligraphy. Often when the calligrapher is at the desk, the pen in his hand has been integrated with himself, and only the idea of calligraphy and the imagination of writing are in his mind. As the saying goes: "Write respectfully and loosely". Mr. Quan Yi knows this well. In terms of the Buddhist characters that Mr. Wang often writes, Mr. Wang always takes a bath and changes clothes before writing, first gives six incense to the Buddha, and then meditates on the Buddhist scriptures for half an hour. After my heart was empty and clear, and the Buddha's voice was quiet, I went to the case, rolled up my sleeves, and raised a brush made of Tibetan yak hair in one go. Too fast, onlookers often can't see clearly how to write. Mr. Quan Yi's Buddhist characters are simple and natural, and the strokes are integrated, and the whole character is inside the outer circle. Looking closely, it is obvious that he is a Shaolin master with stunts, who refuses to abuse martial arts and only wants to learn Buddhism. Mr. Quan Yi's Buddhist words are the embodiment of Buddhism from the outside to the inside, and the achievement of this realm can not be separated from Mr. Quan Yi's profound grasp of the way of sports. Mr. Quan Yi also believes that calligraphy, like martial arts, depends on the solid basic skills. For example, the first important thing in practicing martial arts is the advantages and disadvantages of standing piles. You can see all the major sects in China. No matter how you practice martial arts, you must learn from standing piles. The so-called tree attracts the wind, all by the roots. Excellent martial artists can generally integrate with the earth and turn it into their own deep roots. In the attack and defense of the enemy, the earth is its greatest source of strength and strong support. As long as your feet don't leave the ground, you will never give up. Therefore, new learners should March, run, kick and stake every day in order to have a solid basic skill. In the actual attack and defense, the victory or defeat is in an instant. At this critical moment of lightning and thunder, moves and skills are often useless, which really tests the solidity of basic skills. So is calligraphy. The ancients emphasized: "If you want to learn cursive script, you must learn regular script first", that is to say, if you want to practice cursive script (running script), you must start with regular script. If the meaning of the ancients is traced back, calligraphers should practice the brushwork, ink method and composition classified as "skill" before they can talk about what is the "art" of books. And this "skill" depends on a large number of temporary jobs. Otherwise, it is difficult to form a school with spirit and spirit. In order to practice brushwork, ink painting and composition, Mr. Quan Yi used more than 100 new pens, and the consumption of high-quality rice paper was much higher than that of one person. Today, Mr. Quan Yi has been able to achieve "a good calligrapher does not choose his pen", and he can master the brushstroke between his five fingers, and he can also achieve "integration of paper and ink". No matter what kind of paper material, as long as Mr. Quan Yi touches it, he can skillfully control the use of ink according to the thickness, so that the ink color is clear and the style of his works is refreshing. Mr. Quan Yi especially praised the Tao Te Ching, which is known as the king of all classics, especially this sentence to Laozi: "All my big patients have a body for me; And I have no body, what's wrong with me? " I have a deep understanding. Mr. Quan Yi often said, "People die, so it must be."