Mr. Chen Mowu's artistic creation is rooted in tradition, life and culture. Over the years, he has gradually formed a unique artistic context, whether it is calligraphy, painting or seal cutting. As far as his calligraphy art is concerned, first of all, we can see his skillful pen and ink skills from the texture and morphological changes of his works, which combines the charm of lines in the Han and Wei Dynasties, clean and refreshing, generous and natural, concise and agile, and highlights the organic integration of modern emotions and traditional pen and ink. Second, the points and lines in the overall layout are in a state of motion. Through various changes, such as astringency, weight, density, neatness, gathering, scattering, yin and dryness, they maintain a harmonious balance with each other, pay attention to the coherent reaction of the atmosphere and the shifting operation of the glyph, and arrange skillfully and unconventional. Thirdly, works always contain rich emotional connotations, which are endowed with emotion, used with pen and caused by temperament, making people strongly feel that there is a strong and freehand feeling between the lines. Fourth, the works before the Han and Wei Dynasties were simple, naive and lofty. At the same time, a close study of his book reveals Yan's vigorous brushwork and Ni's exquisite, mysterious, detached and vigorous brushwork, which coincides with Xu Wei's vigorous brushwork. I like to use thick ink when I start writing. The lines are vigorous and powerful, and the composition is bold and clever. My works are magnificent and hearty, and I can rationally control the layout. Its outstanding point is that it can converge vertically, and it shows a good artistic consciousness in the treatment of composition and structure.
No matter what style, Chen Mowu pays great attention to the performance of seal cutting, composition and knife cutting in his seal cutting creation. Although the number of words is between square inches, the characters are vermilion and printed with sizes. The printed strokes are dense, uneven, balanced, echoing, shifting, light and heavy, clutch, Fiona Fang and artful. All these can be considered as a whole, which embodies "caring for each other without contradiction" China landscape paintings created by Chen Mowu have profound China cultural connotation and aesthetic value. Every painting he draws is good, his lines are free and easy, and every line runs through the existence of vitality. Looking at Chen Mowu's landscape paintings, his charm, brushwork, layout, color and objective materials are all very individual. He is an artist who thoroughly understands the relationship between nature and human beings.
Mo Wu and folk calligraphy
Author: Lu
As an important regional cultural branch of China traditional culture, Bashu culture shares the same cultural spirit with Central Plains culture and Qilu culture, but there are obvious differences. Central Plains culture and Qilu culture show practical rationality with Confucianism as the core value, while Bashu culture still retains the cultural characteristics of witchcraft culture and apotheosis root, which makes Bashu culture reflect the wild, idle and romantic regional cultural spirit characteristics. In this special cultural environment, artists, poets, painters and calligraphers with romantic, free and open spirit were born, such as Li Bai, Su Dongpo, Guo Moruo, Chen Zizhuang and Xie Wuliang.
As an artist who can best represent the spiritual characteristics of Bashu culture, Chen Mowu's calligraphy art all embodies the spirit of bohemian and carefree. Therefore, his calligraphy value is oriented to folk calligraphy, including brick carving, brick and tile, epitaph, cliff stone carving and so on. This provided him with a broad creative space, established the aesthetic value of calligraphy as clumsy, thick, wild and scattered, and really found the vigorous vitality and natural truth, goodness and beauty that ordinary literati calligraphy did not have, so folk calligraphy became the embodiment of Mo Wu's artistic free will. Under the influence of He, He and other Bashu calligraphy styles, Mo Wu's calligraphy is quite different from the above-mentioned calligraphy styles and forms its own family. The above is mainly composed of Han steles and cliff stone carvings, and the style is characterized by Apollo's wide and easy rocks. Mo Wu mainly takes the method from the epitaph of folk calligraphy, taking clumsiness, wildness, leisure and dispersion as his interest. In fact, this is not only influenced by the aesthetic fashion of contemporary calligraphy, but also by villagers Gong and Heng. Due to moderate exaggeration and deformation, the alienation and strangeness of leisure beauty are produced. Because Mo Wu attaches importance to both folk calligraphy and literati calligraphy, he has an inherent restraint and rational optimization in pursuing the clumsy, wild and scattered aesthetic taste of folk calligraphy and the new spatial order, so that his calligraphy is not barren, naive or crazy. Because his books are often short and bald, which hinders the exertion of line elasticity and tension, resulting in monotonous language and lack of hierarchical changes.
In my poor eyes, Mo Wu is famous for his articles, and calligraphy is only the remnants of his knowledge. Therefore, he did not appear as a professional calligrapher in contemporary book circles, which is different from the above scholars. As a scholar, his attention and energy to calligraphy are obviously lower than those of the above scholars. Therefore, he treats calligraphy purely with the mentality of literati pondering, with obvious characteristics of idleness. Thus, it embodies the unremitting pursuit of literati's will and has a historical sense of folk calligraphy value orientation.