Ma Yongan, whose real name is Huaiyi, is from Shangcai County, Henan Province. Graduated from Beijing Normal University and Renmin University. Worked as a journalist and editor, and published several literary and artistic works. Accustomed to reverse thinking and creative thinking, he has unique introductions in many disciplines and fields and made outstanding contributions. He used to be consultant of Nanchang Tengwangge Cifu Research Institute, professor of Huaxia Art Institute, curator of Longshuncheng Art Museum, vice chairman of China Artists Association, chairman of China Calligraphy Artists Association, president of China Art Collectors Association and president of People's Art magazine.
Ma Shu, also known as Ma Ti and Ma Ti calligraphy, is the result of decades of painstaking research by contemporary calligrapher Ma Yongan. Abstract: The formation of Ma-style calligraphy has a profound historical and cultural origin, which is the inheritance of thousands of years of traditional calligraphy art in China. The achievement of Ma calligraphy lies in his great breakthrough in traditional calligraphy and his great contribution to the development of calligraphy art in China. Traditional calligraphy can be divided into five styles: cursive script and seal script. Strictly speaking, horse calligraphy is not among the five styles. Horse calligraphy can learn from five kinds of calligraphy structures, stippling and turning pen, but its solid foundation and premise are orthography. Whether horse calligraphy is the "sixth style" after the five styles is not discussed for the time being, but as far as its style characteristics are concerned, it is indeed once in a thousand years and unprecedented. In the book "Horse Calligraphy", the artistic characteristics of horse calligraphy are fully demonstrated.
The structure of horse calligraphy is based on the original book, supplemented by the side book (not mentioned before, but relative to the original book), and the front and side are interactive and vivid. Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front is clear and slightly dull.
Horse calligraphy follows the trend, with high left and low right. It follows the trend and stretches smoothly, which conforms to the mainstream aesthetic orientation and is more concerned. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.
Horse calligraphy is smooth and natural, without any affectation. The cursive brushwork of seal script has opened up a broader aesthetic space for calligraphy art. Traditional calligraphy, because the pen moves against the trend, can only fold the pen to write, with an extra pen, lacking flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.
There are many kinds of stippling in horse calligraphy. Compared with traditional calligraphy, it is an invention. Horse calligraphy, pen in the pen, pen in the plate, as thin as silk, with the nib outside. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing. Traditional calligraphy, a method throughout the ages, wants to be right first and then left, and wants to be up first and then down, and accepts everything. Everyone is stuck in a rut and lifeless.
Mi Fei, a great calligrapher in the Song Dynasty, said, "A good book is enough." . Horse calligraphy has formed its own unique style in structure, posture, brushwork and stippling. It can be seen that horses are one of the attractions.