Shen
Brother Tao Quan would be over eighty years old if he were alive. When the Jiangsu Book Association was founded in the late 1980s and early 1990s, he was the director-general in his fifties and I was a member in my twenties. After knowing him, I often go to the provincial art museum to play with him. My brother likes my seal very much and often asks me for it. Even many of his ordinary seals are from my hands. Although we are very different in age, status and fame, he has no shelf at all and is commensurate with his brother. 1995, the provincial book co-organized the book fair. He knew I was going to Guangxi and gave it to me after writing it in the office. It has been hanging on the wall of my old house. 1998 At the end of April, when I came back from Guangxi, I went to see him. He said that he had been under great pressure at work recently and was not feeling well. He also showed me his trouser legs, saying that his legs were swollen badly. I told him to go to the hospital at once, and he said to wait until he was busy for a while. After that, he spread out Xuan paper on the big book case in the office. The book case was huge and filled with picture books. He wrote a big "tiger" for me and said, Brother, the Year of the Tiger gave you a "tiger". After work, I stopped by to accompany him to Changfu Street, and we said goodbye at his door, but I never imagined that this farewell would become a permanent tactic. Three days later, Brother Tao Quan ascended to heaven. In the past twenty years, every time I think about it, I can't help crying. ......
Brother Tao Quan's calligraphy, both inside and outside Weibei, especially benefited from the "two hexagrams"-Baozi tablet and Yanlong tablet. His calligraphy style is not only inherited by teachers, but also independent creation, which integrates ancient and modern times and reaches a very high level. The ancients said that "the realm is in harmony with nature", and Er Bei's simple Gu Zhuo style and his simple and easy-going personality complement each other. When he was young, he followed his heart, grasped the charm and interest in the tablet, and in the long-term reading process, he showed his wisdom and knowledge, and participated in the feelings of inscriptions such as The Book of Rites Tablet, The Preface of the Holy Education, and The Ming of Liquan, and gradually formed his own distinctive personal style. After some tempering, his structure and brushwork have changed by leaps and bounds, and he has written his own mental outlook. His brushwork is both from Fiona Fang and Guangdong. The strokes are vigorous, the fonts are flying, and the beauty of masculinity is everywhere. Its glyph is big or small, quite individual, and its word structure is close and changeable. Judging from the whole work, it is rigorous and lofty, naive and simple, strong in proper limit and elegant in temperament. His pen is mostly centered, firm and late, emphasizing the unity of pen power and rhythm; Its point plan is: take advantage of the situation from the side and seek danger from stability; Knots are shaped by words, gathering and dispersing, and changing greatly; Rules are like paving stones, scattered in size and fluctuating. Looking at his calligraphy, it can be said that it is clever to hide, silent to move, strange to rise but not crazy, and activates the "two-headed"
As can be seen from his works, rigor reveals agility and majesty is full of childlike interest, which won universal praise from the domestic and foreign book circles at that time. Today, we say that his calligraphy art is unique in Jiangsu and even in China. As far as the height of learning the "two hexagrams" is concerned, few people can beat him today. ......
Taoquan
1936 was born in Wuxi, Jiangsu.
Member of China Calligraphers Association, Secretary-General of Jiangsu Calligraphers Association, director of Jiangsu Hard Pen Calligraphy Association, and national first-class artist. Full-time painter of Jiangsu Art Museum, director of business office and director of exhibition office.