Liu Xiaoqing, nicknamed Yi Lao, Er Quan, name of the restaurant "Yi Lao Zhai", was born in Chongming, Shanghai. He is good at regular script and regular calligraphy, and good at painting landscapes. , is a well-known contemporary calligrapher and painter in my country. Below is Liu Xiaoqing’s calligraphy that I compiled for you. I hope it will be useful to you!
Appreciation of Liu Xiaoqing’s calligraphy
Liu Xiaoqing’s calligraphy picture 1
Liu Xiaoqing’s calligraphy pictures 2
Liu Xiaoqing’s calligraphy pictures 3
Liu Xiaoqing’s calligraphy pictures 4
Liu Xiaoqing's personal profile
Liu Xiaoqing, born in 1942.6, No. Yi Lao, Erquan, name "Yi Lao Zhai", was born in Chongming, Shanghai. Graduated from the Chinese Painting Department of Lu Xun Academy of Fine Arts. He once served as the vice chairman of the Shanghai Calligraphers Association. He is currently a member of the Academic Committee of the Chinese Calligraphers Association, a part-time professor at the School of Liberal Arts of Shanghai University, the dean of Shanghai Hudong Academy, and the deputy director of the "Calligraphy" magazine of Shanghai Painting and Calligraphy Publishing House. Editor-in-chief, librarian of Shanghai Museum of Literature and History. He studied under Qian Shoutie and Ying Yeping. He is good at regular script and regular script and is good at painting landscapes.
His works have participated in the first to seventh Chinese calligraphy exhibitions and dozens of various exhibitions in Shanghai. Such as Shanghai Calligraphy Exhibition, Shanghai Calligraphy and Seal Engraving Exhibition, the 6th Shanghai International Calligraphy Exhibition, Shanghai Memorial Shen Yinmo Calligraphy Exhibition, Shanghai Modern Calligraphy Exhibition, Sino-Japanese Modern Calligraphy Exchange Exhibition, Shanghai Hundred Calligraphy Exhibition, and Chinese Calligraphy Association Member Boutique Exhibition wait.
Published include "Copybook for Young Regular Script", "A Summary of Chinese Calligraphy Techniques", "Creation and Appreciation of the Art of Calligraphy", "Commentary on Chinese Calligraphy Techniques", "How to Write Running Script", "Basics of Running Script" "Knowledge", "Guide to Xiaokai Techniques", "Concise Chart of Calligraphy Techniques", "Collection of Liu Xiaoqing's Famous Xiaokai Fus from Past Dynasties", "Yu Garden Poems in Regular Script Copybook", etc.
On calligraphy? Zhongshi?
Extending from the original period of Zang Feng, there is a further technical point: in the operation of each line, not only Zang Feng is It is essential, and just taking and hiding is not enough. So later generations added to it without hesitation: from hiding to reversing: the formula is called "reverse in and level out". The Tibetan front may not always be opposite to the direction of travel of the pen. The opposite is true. If you want to give it, you must first abandon it. If you want to do it, you must first keep it. Of course, in calligraphy, it is expressed as: "If you want to be horizontal, you must be vertical, and if you want to be vertical, you must be horizontal." It seems very contradictory, but it actually contains a lot of meaning. A very discerning truth. The "reverse" of reverse entry certainly does not exist simply as a technical move. If in the stone carvings or ink strokes of the official script we can see the requirement to return to the pen, which is the basic meaning of "reverse entry", then in the hands of the Qing Dynasty epigraphers, "reverse entry" is no longer a simple The shape of the strokes is an expression of aesthetic norms.
Compared with the softness, smoothness or boldness of Tie Xue, the meaning of "inverse" means strong, uplifting and heavy and vigorous. Its stylistic connotation has far exceeded its meaning as a technical phenomenon. . But there is no doubt that it is based on the material existence of skills. Therefore, in the light of the strong and leisurely aesthetic needs of Beibei, inversion has almost become the basic skill of calligraphers in the Ming and Qing Dynasties. From Wang Xizhi's home style to Qiu Yan to Yi Bingjing's, He Shaoji's and Wu Changshuo's reverse strokes, we have seen a change in aesthetics. Its depth is obviously much clearer than that of a returning forward or hidden forward. The principle of "reverse entry and flat exit" seems to be aimed at the starting and ending parts of the line, but in fact, it is intended for the middle section of the line. I remember that Bao Shichen, a theorist of stele studies in the Qing Dynasty, once put forward an epoch-making theoretical standard in response to the shortcomings of calligraphers since the Tang Dynasty who only judged the quality of the technique from the beginning to the end of the line, while obviously ignoring the aesthetic value of the middle section of the line:? Zhongshi?. He believes that to truly judge a calligrapher’s line skills, we should not only look at his starting and ending movements, such as hiding, nor the connecting movements of turning, such as turning, but should cover both ends and play with the cut: if the middle section is solid and powerful, Only when it is not frivolous can it be said to be true skill.
Indeed, since the Tang Dynasty, due to Yan Zhenqing's achievements and influence as a master, and because he has made first-class pioneering techniques in the head, tail and transition of lines, later generations have succumbed to their worship of him and often only follow the His idea is to use the starting and ending transfer of the pen as the only criterion for testing the level of technique. In fact, these parts are also the most obvious and easiest to test.
Bao Shichen's "Real in Reality" theory is exactly a historical correction to this. It is quite difficult to judge whether it is practical or cowardly, and there is no ready-made traditional model for reference. Naturally, it is even more difficult to gain universal recognition. If Bao Shichen did not have a thorough understanding of Beibei calligraphy, but just fell into the aesthetic pattern of Tang and Song calligraphy, he may not have such insight. Taking the idea of ??Zhongshi as an opportunity, there is another standard in the theory of "reverse entry and level exit": "astringent". ?Astringent? means it is not smooth. It is also designed to ensure that the calligraphy lines are intrinsic but not bold, stable but not slippery: if "Zhongshi" is based on the perspective of calligraphy appreciation or criticism, and aims at the evaluation of the object of the work, then "Astringency" is more focused. The intuitive feeling of the creator. The former points to the aesthetic object, and the latter points to the aesthetic subject. They are consistent with each other, which is the most ideal technical explanation of "reverse entry".