Shan Tingjun, who is familiar with each other, adopts excellent methods and elegant style regardless of book printing. Worship Magnolia officinalis, seeking the atmosphere and emphasizing creativity. Tracing back to the source, Fangjue Mountain Pavilion is very good at absorbing and swallowing, so the pen end is composed of Oracle bones, inscriptions, simplified calligraphy, seal script, Cao Zhang, Zhenxing and grass, from giant shoulders to bamboo slips, which are stable and easy to turn over. It is also common to see his own poems and sentences to express his mind and knowledge. Seal cutting started from ancient printing and Han printing, and was widely collected and collected. Bricks and tiles were found in Han Dynasty, but they were found in Zhejiang, Anhui, Wu and Huang Dou, as well as new ones. So you can take me straight with a knife, and you are good at gathering fingers and transporting wire. I can have a look at his calligraphy prints, which are different in forms, interesting and rich in categories, and have a dazzling feeling. From this, we can not only see the artistic realm, but also measure the hard work of Shanting. It is precisely because Shan Tingjun has not been trained by the professional courses of the college system, nor is he a teacher alone, or only keeps one school, so he is not fettered, comes and goes freely, realizes what he can, and coincides with art. However, if we study it carefully, it seems that Shan Tingjun's calligraphy art is influenced by Gaolan region and fashion in the process of digesting the vast traditional heritage. So there is a sense of wandering, the cover is not fixed and immature. It is still necessary to choose one or two kinds of calligraphy as the leading factor, and concentrate on learning indiscriminately to lay a solid foundation. There are some shortcomings in the management of printing calligraphy, so it seems that we should see Gan Kun in a measured place, sort out the turbidity, be cautious and clumsy, and avoid making the details too blunt and unruly. Bai Zhu's space is indispensable to the formation of aesthetic consciousness, but it must be rooted in the essence of tradition and come from internal strength. Wei (art critic, vice chairman of Gansu Youth Calligraphy Association): Shanting is diligent, modest and generous, with good moral and psychological quality, and has spirituality and internal potential in calligraphy art. Shanting has devoted himself to the seal characters in Qin bamboo slips, Chu bamboo slips and Han bamboo slips and the ancient Chinese characters in the Spring and Autumn Period and the Warring States Period for many years. His research and creation of seal characters in Chu bamboo slips has formed a style that has begun to take shape in a short time, reaching the height of studying such calligraphy in the current book circle. The bamboo prints in front of the mountain pavilion are more the result of self-reflection and self-tempering, and the pen is boundless, bold, firm and calm; The structure is carefully constructed, and in the strong contrast between black and white, the modern consciousness is strong; In the layout, the pursuit of great effect, majestic, natural and open posture, simple, atmospheric and modern; The lines have moderate visibility, and the space has the freedom to exaggerate and expand; The original delicacy of bamboo slips' lines has disappeared, the original formality has disappeared, and the original thinness has been greatly improved. Reading the bamboo prints of Shanting can increase people's heroism and enhance their spirit; Can produce a high-level romance and sprout Lingyun's ambition; Can think through the ages and wander to the extreme; If you read history books, if you look at the terracotta warriors, if you enter the vast desert, if you climb the ancient snow peaks. This is a refined and sublimated seal, a natural choice for casting the artist's personality, and a true confession of the broad mind of the soldiers under the weak appearance.
Shanting belongs to the kind of person who is uneasy about the status quo. His works of Cao Zhang, Li Shu and Dacao in previous years have all reached a certain level, and his frequent participation in national exhibitions and awards can also be confirmed from one side. However, there are no famous or unknown calligraphers in Shanting who go into darkness like an ordinary road in the book world. The road is getting narrower and narrower unconsciously, and they lack the mind to learn from others. On the contrary, Shanting has a strong sense of openness, a keen artistic vision and a wide range of activities. It can constantly adjust its research and creative direction, do all kinds of calligraphy experiments and explorations, effectively sort out and refine in a very spoiled scene, and choose Jane seal as its main goal, making progress despite difficulties. This requires not only great courage and perseverance, but also sensitive cognition and unique judgment on the art of calligraphy. From his thick collection of simplified Chinese characters arranged by a dictionary through systematic research, from his temporary research and variation on simplified Chinese characters, from his crazy enthusiasm for simplified Chinese characters, and from the fact that he won the national prize in the seventh national calligraphy seal cutting exhibition, Gansu book circle achieved a breakthrough in the national exhibition, we all have reason to say that the choice before Shanting is an ideal choice. Lu Mingjun (young calligrapher art critic): Whenever a series of events are reproduced by a symbolic means, and the arrangement of these events is "traceable", this symbol means that the process is narrative. Taking Zhao Shanting's Songs of the South as an example, this paper makes a narrative analysis. For many years, Zhao Shanting has been focusing on Chu Zhuan, which has been widely recognized by contemporary calligraphy circles. How to interpret this ancient prose in contemporary times has always been a difficult problem in calligraphy circles. In the contemporary art world, it is either too far from the essence of tradition or too far from modern consciousness. Zhao Shanting, with his unique keenness and persistence in calligraphy, has been reading and writing this passage. Whatever the result of the explanation, the meaning of the explanation itself has gone far beyond the present.
The carrier of narrative is narrative text, not material works. When we look at Zhao Shanting's works, he is not here, only Zhao Shanting, and his inscription is there. The personality, psychology and spirit constructed by his works are not all of him, but perhaps only a part of him. Therefore, the fluent, exquisite and graceful structure and lines in his works can be attributed to one aspect of Zhao Shanting spirit. For example, the understanding of the narrative relationship in the original works of Chu Ci is based on the profound understanding of history and philology itself. Through the long-term study of Chu people and Chu culture, Zhao Shanting has a profound understanding of this narrative relationship.
In narration, Zhao Shanting used ancient Chu Xi as a discourse to convey his meaning, which was inevitably influenced by the discourse itself. Why did you choose Chu Yin? We can attribute it to Zhao Shanting's aesthetic consciousness, realistic strategy, or other reasons. Generally speaking, Chu seal script belongs to the Yuan Dynasty in ancient times, which objectively does not conform to the creative orientation and reading orientation of contemporary people. However, Zhao Shanting's misappropriation did not make any substantial deformation, but caused a gap between his works and the current aesthetic orientation. In other words, the personality, psychology and spirit corresponding to the text have widened the gap with the narrator and made it more artistic.
Undoubtedly, some of Zhao Shanting's Chu seal creation is usually a rational practice, because it is too rational and full of various expectations for possible readers. Some works have also made a modern interpretation of the text content in the draft withdrawal, so that all kinds of readers can understand it. The limitation of some of Zhao Shanting's works is that they are too close to the original. The problem lies in how to gradually turn to artistic narrative, so as to be closer to the original itself in narrative. The meaning of art is presented through narration. How to make the works more artistic may be a question worthy of reflection by Zhao Shanting and even all contemporary calligraphers.