To study the collection value of contemporary calligraphers' works, we must first understand the collection standards of calligraphy works, and distinguish who deserves our attention, research and investment, and which can be ignored to avoid unnecessary financial and energy losses. China Brand Calligraphy and Painting Network, after a lot of interviews and investigations, thinks that we must pay full attention to contemporary calligraphy circles and calligraphers when discussing the collection standards of contemporary calligraphy works. From the following aspects:
First, pay attention to the technical content of calligraphy works. In other words, the writing skills of calligraphy works are the first level. Speaking of this question, many people may find it funny. There are many contemporary calligraphers, including nearly 10,000 members of China Calligraphy Association alone. I write every day, but the technology is not enough? And that's the problem. Forget amateurs for the time being. Among the nearly 10,000 members of China Book Association, those who have really mastered the writing skills can be called calligraphers, but I am afraid the proportion is not optimistic. Zhao Mengfu said that "it is not easy to use a pen through the ages", which is the point that harms people. The author believes that the core of calligraphy is technique, which is a question of calligraphy evaluation standard. If the standard is chaotic, the direction will be crooked, and the result will naturally be biased. Although the formation of calligrapher's personal style is a comprehensive factor, the technique is the most important. Ancient literati used to write with a brush all their lives, and reading and writing by others became the daily work of literati. After a long period of tempering, most people's writing skills are unmatched by contemporary people. If contemporary people want to make achievements in calligraphy creation, they must pass the skill barrier, otherwise there is no entry at all. Of course, the training of techniques is mainly based on copying, which should mainly include the mastery of brushwork, calligraphy, composition and ink painting. This learning process is hard, boring and lonely. As a result, many people can't stand their temper and can't eat any more, so they try to take shortcuts. Many contemporary "famous" calligraphers did not actually get started before they became famous. Some people gave up the training of basic skills for various reasons after getting started, and were busy becoming famous, publishing books and going out (selling characters at acupoints), and their creative level went from bad to worse. Those who really stand the test of history are those who have been sitting on the bench for ten years honestly and concentrate on writing posts. Their creative ability can represent the highest level of contemporary book circles. Their words are indeed technically qualified.
Second, pay attention to the inheritance and innovation of works in artistic style. This is a matter of calligrapher's choice of method, which embodies the high unity of artistry and individuality of calligraphy works. Contemporary book circles are flourishing and bustling, and the general impetuousness has aroused people's worries more and more. Many people have been unable to explain exactly how and what calligraphy should be written. Faced with the "popular trend" one after another, there are really countless calligraphy lovers who have lost themselves and "can't find the North". Fortunately, history is continuous. From the height of the whole history of calligraphy, people in our time may be inferior to the ancients in general skill level, but in the formation of various styles and styles, after all, we should act as a time link and act as a link between history and the future in the long chain of calligraphy tradition. At this point, any calligrapher, as long as he can find a foothold that can link the past with the future on the basis of entering the ancient times, and integrate his personal aesthetic taste with the atmosphere of our times, may become the object of study and admiration for future generations because of the inheritance of style and artistic innovation. Although the Yuan and Ming Dynasties were not as good as the Song and Tang Dynasties, we still feel unattainable today. "Looking back at the present, or looking back at the past."
Third, pay attention to the social popularity of calligraphers and the circulation of their works. Let's talk about the first point. Calligraphy has been collected since ancient times, and they are all "celebrity calligraphy". Almost all the famous calligraphers in history are very famous at the same time, from Lisi, Cai Yong, Erwang, Ou Chu, Xuanzai and Hengshan (you can find these in the calligraphy forum of China Brand Calligraphy and Painting Network) to Sha Menghai and Zhu Qigong, who make us proud. There are indeed famous calligraphers behind them, but not many are famous. This is not to say that collecting calligraphy works only depends on fame. You should know that these "celebrity calligraphy" are because the author has held leadership positions at different levels and is a well-known scholar or expert in which field. The author's fame has enhanced the reputation of his works and become a "celebrity" calligraphy; Some are because the author's handwriting is good, which has been recognized by experts and society, and his reputation is getting bigger and bigger. Finally, it was recognized by the society, which is that the reputation of calligraphy enhanced the reputation of the author, and the author became a "celebrity" in the calligraphy field. We certainly advocate collecting the latter's works. There is a very embarrassing phenomenon in contemporary calligraphy collection, that is, based on the position, especially the author's position in book associations at all levels, buyers simply don't look at or understand the quality of the works, and how much money the chairman, directors and members are ready to pay. This is official-oriented thinking, but I don't know that some book association officials have high word prices at present, and they will all be lost when they leave office or die, and those who lose money are still immature buyers. Regarding the circulation of works, many people advocate that the less the better, and think that "things are rare", but we must know that without a certain amount of works accumulated, the circulation and circulation will be affected. Only when the calligraphy works form a certain circulation scale and speed in the art market can the calligrapher's artistic achievements be widely recognized by the society, the calligraphy works be generally recognized by collectors, and the appreciation potential and collection value of the works will be further improved.
Fourth, pay attention to the traditional cultural accomplishment and calligraphy thoughts of calligraphy authors. There is a simple reason. Traditional calligraphy is inseparable from traditional culture. Inheriting the tradition of calligraphy needs the foundation of traditional culture. It is really difficult to understand the tradition of calligraphy without traditional culture. The connection of calligraphy history needs to be passed down. If the orientation of personal style is to better "inherit" to future generations, then the cultivation of traditional culture is to better "inherit" the ancients. As for the systematic thought of calligraphy, it is the theoretical basis for calligraphers to position themselves, and it is also the concrete embodiment of contemporary outstanding calligraphers' "keeping promises and standing firm". If we want to collect valuable works, we must pay more attention to these aspects.
The above is a brief analysis of the collection standards of contemporary calligraphy works by the editors of China Brand Calligraphy and Painting Network. Although there are not many works by authors who only outline and meet the four conditions at the same time, if we pay attention, we can already pick out a number of representative figures among contemporary calligraphers.