Chinese calligraphy art has always been divided into north and south. The southern school is elegant and elegant, while the northern school is powerful and thick. In the inheritance of Chinese calligraphy art, the northern and southern schools develop together in opposition and complementation, forming a diverse pattern of traditional Chinese calligraphy art.
Zhang Tongqi's calligraphy art seems to come from the ancient Beizong method. The calligraphy style is strict and solemn, ancient and thick, but this richness is hidden behind a kind of mellowness and beauty. As an artistic cultural form, calligraphy’s regional style is often hidden within calligraphy, which always affects the continuation of fonts, style inheritance, writing carriers and the spread of brushwork. And Zhang Tong, who moved from the northern sect to the southern sect, darkened and immersed himself in the beauty and agility of the Zhao character. This is the most ingenious aspect of his calligraphy works. Therefore, the running script that he likes to write most has a round shape and connotation of muscles and bones, the dots and strokes are vigorous, the structure is broad and gorgeous, and the momentum is through. The image implicitly contains the elegance of the scholar-bureaucrat and the free and easy atmosphere of the literati. Learning from the past without adhering to the ancient, turning around and innovating, introducing the beauty of Zhao Mengfu, the elegance of Wen Zhengming, and the delicacy of the two kings into the self-established basic formula, integrating the strengths of all the schools to form a structure that is rigorous, broad, profound and stable. The unique style of moistening the ink with fineness and naturalness demonstrates my own calligraphy spirit that combines heavyness and elegance!
The core spirit of Zhang Tongqi’s calligraphy art contains the concept of noble monks in Chinese calligraphy art. This aesthetic ideal is reflected in calligraphy aesthetics and forms the "beauty of harmony", which is impartial, regular and harmonious. In the external expression of the round pen and square frame and the balanced posture, the calligrapher's inner bookish atmosphere permeates. It is extremely difficult for a calligraphy artist to explore the essence of the fusion of Chinese classical culture to express his own subjective spiritual existence. Only by establishing his own way of expression of calligraphy art can the body of this form have With his own spiritual existence, his calligraphy works of art have vitality and value.
The upright person is simple in character, the ancient person is elegant, and the low-key person is quiet. When we look at characters by people and people by words, it is not difficult to find that Zhang Tongqi cultivates inner peace and contemplates the Tao with a clear heart. With a pure and peaceful heart, he refuses the hustle and bustle of worldly gain and desire; with a lonely heart, he writes the vast gentleman's character in his heart. Keeping his heart pure in the midst of glitz, being persistent in art and pursuing deeply in life, pursuing incessantly in life, and trekking diligently on the road of art, this is the true portrayal of Zhang Tongqi's life as a calligrapher.