Chinese name: Wei Zhe.
Alias: pen name Lao Tie, owner of Ma Tie Yan Zhai.
Nationality: China.
Ethnic group: Han nationality
Place of birth: Harbin
Date of birth: 1950
Occupation: painter and calligrapher
Main achievements: national first-class artist, director of China Calligraphers Association.
Representative works: book spectrum
Personal life
Wei Zhe (1950-), male, Han nationality, pen name Lao Tie, owner of Ma Tie Yan Zhai. 1950, Harbin native, originally from Gai County, Liaoning Province. National first-class artist, director of China Calligraphers' Association, member of judging committee of China Calligraphers' Association, professor of training center of China Calligraphers' Association, vice chairman of Liaoning Calligraphers' Association and director of creative committee, member of Liaoning Federation of Literary and Art Circles, vice chairman of Huludao Federation of Literary and Art Circles and chairman of Huludao Calligraphers' Association. He used to be secretary-general of Jinzhou Calligraphy Association and director of Jinzhou Fine Arts Association. Published a collection of sketches of Wei Zhe.
Achievement honor
Director of China Calligraphers Association, judge, member of cursive professional committee.
Professor of Calligraphy Training Center of China Calligraphy Association.
Vice Chairman of Liaoning Book Association and Director of Creative Committee.
Member of Liaoning Federation of Literary and Art Circles.
A first-rate artist.
His works have been selected for dozens of national large-scale exhibitions, and won the "National Award" in the 6th National Calligraphy and Seal Cutting Exhibition.
First prize of the first national fan calligraphy exhibition.
His works have been in the Palace Museum, China Art Museum, Zhongnanhai, China Revolutionary Military Museum,
Guangdong Art Museum and many other art galleries and museums collect them.
Wei Zhe likes painting and calligraphy since childhood. Calligraphy is guided by Yang, pays attention to tradition, and draws lessons from the "two kings" and the Tang, Song, Ming and Qing Dynasties.
His works have been selected into the second and third national calligraphy seal cutting exhibitions, the first and second national calligraphy seal cutting exhibitions for young and middle-aged calligraphers, the international calligraphy exhibition in Henan, the calligraphy exhibition in three northeastern provinces, the calligraphy exhibition for fifteen people in Liaoning, previous calligraphy seal cutting exhibitions in Liaoning and calligraphy exhibitions held in Japan. His works won the "National Award" in the 6th National Art Exhibition and the first prize in the 1st Fan Calligraphy Exhibition. His works have been included in various albums such as "The Essence of 100 Kinds of Calligraphy and Ink in China" and collected by Zhongnanhai, many museums or art galleries and Japanese museums.
1990 was awarded as an "excellent expert" by the Liaoning provincial party Committee and government, and 1999 was awarded the title of "literary worker with virtue, art and double heart" by Liaoning province. 1999 was rated as "the best young calligrapher" by Youth Calligraphy Newspaper. In 2000, he was awarded the title of "Virtue and Art" by China Calligraphers Association.
Calligraphy characteristics
On Wei Zhe's Calligraphy
There is such a passage in Wei Zhe's Calligraphy and Painting, which sums up his calligraphy history in a more appropriate way-
Wei Zhe's calligraphy art has a profound traditional foundation. He used his best ability to break into the tradition and absorb the essence from it. He is mainly cursive, immersed in the statutes of Tang and Song Dynasties and the demeanor of Wei and Jin Dynasties, and then broke through the elegant wind, clinging to the wonder of Zhang Ruitu, the pride of Xu Wei and the weight of Wu Changshuo, and gradually formed his own vigorous, lofty and fantastic personal style. Looking at Wei Zhe's works, he uses both the middle and the edge, the deviation and the scattered front, which are varied and varied. There are risks in the use of words, the contrast of composition is strong and natural, and the ink method is rich in painting.
Yes, Wei Zhe's cursive script has formed a strong personal style. It can be said that he is a contemporary calligrapher who has made an early debut and achieved remarkable results. Although many people have followed suit and made great achievements in recent years, Wei Zhe's works are his, not others', and there is no reward.
Enlightenment from Wei Zhe
Wei Zhe succeeded. His success has inspired us a lot, which can be summarized as follows:
1, other books must be in Jin, Tang, Ming and Qing dynasties.
Many people in the calligraphy circle stubbornly believe that the only way to learn cursive script is to take the method since the Jin and Tang Dynasties, which is the right way. The following is not credible. Of course, Wei Zhe also worked hard during the Jin and Tang Dynasties. In his early years, he wrote Shu Pu and Two Kings, and participated in many exhibitions, becoming one of the representatives of cursive style in Liaoning at that time. However, Wei Zhe often thinks about the lack of strong personal style, and often worries that this casual writing is not in line with his own mind. When he turned his eyes from the Jin and Tang Dynasties to the Ming and Qing Dynasties, he found that the handwriting of calligraphers such as Zhang Ruitu and Xu Wei was more suitable for himself and closer to his own mind. He found the gap left by our predecessors to overcome, threw himself into it wholeheartedly, gradually got rid of his small figure, and formed a magnificent book style with iron painting and silver hooks, which shocked the book world again and became a representative figure of the book style in Ming and Qing Dynasties.
2, don't ignore technology or it will be difficult to succeed.
Wei Zhe has always cherished tradition, emphasized the importance of copying ancient posts, and paid attention to stippling, structure, composition and ink painting. So he studied a lot of inscriptions and dabbled in cursive script, but all of them were written with ideas and needs, especially the famous cursive script, which focused on painting, writing, ink and composition. All of them were carefully pondered, summed up the rules and used them for me, making its techniques more solid, richer and more refined.
Don't divert your attention, but concentrate on solving the problem.
Although Wei Zhe learned from others, he still focused on one or two calligraphers and several representative works. He wrote other inscriptions to solve difficult problems or what he lacked in his main attack. Taking care of the house, with no distractions, made Wei Zhe embark on a "shortcut". Compared with those who constantly change their minds, he naturally saves a lot of time and allows himself to approach the goal as quickly as possible.
Don't just stare at the calligrapher's words and ignore the painter's words.
Calligraphers' handwriting is more rigorous and methodical, while painters' handwriting is more interesting and relaxed. For calligraphers who mainly write in Ming and Qing Dynasties and are good at cursive writing, it is obviously not enough to talk about dharma without tolerance. Therefore, focusing on the calligraphy of painters such as Wu Changshuo, Qi Baishi and Huang, we draw nourishment from brushwork, letters and paintings, so as to enhance the fluency and richness of brushwork, strengthen the agility and openness, and emphasize the composition of composition, the change of brushwork and the appeal of brushwork. When we read his books, we can vaguely see the shadows of these painters' words. The special nature of the painter's words adds an appearance, a sense of transparency and a sense of freshness to his works.
5, don't be paranoid, it's okay to have big and small words at one end.
This is a point that Wei Zhe often talks about orally. He often lists calligraphers of all ages, saying that they are good at both big and small characters. He also listed the disadvantages of paranoia of some contemporary calligraphers: if the big characters are well written, the small characters will not be written, or they will not be well written; The fine print is well written, but the big character is obviously insufficient. He thinks that the lack of the same is definitely not everyone in the real sense. Wei Zhe's recognition by most people in contemporary book circles is closely related to the fact that his characters, big and small, have been written to a certain extent. His big characters are full of wind and coolness; The fine print is warm and subtle, elegant and chic. He practiced his artistic concept with his own works.
6. Don't just write books, but also pay attention to absorbing nutrition from sister art..
Wei Zhe has always emphasized that calligraphy is a science. In addition to calligraphy, he also manages printing and painting, focusing on capturing inspiration from literature, history, philosophy, nature and life, absorbing nutrition and forming his own artistic view. Every composition or dialogue is often unexpected, deep, high, operable and predictable. It is particularly worth mentioning that his Chinese painting creation has reached a high level, with artistic conception and interest, and is by no means an ink painting play by literati. His cursive script is related to the details of his paintings, which is another advantage of Wei Zhe.
Wei Zhe is in the heyday of his artistic creation. In addition, he is "brilliant, knowledgeable and knowledgeable" (Lu Shao Yan). I believe he will remain angry all the time, swallow Wan Li like a tiger and create more good works.