As a calligrapher, he should have three main abilities in creation: the ability to reserve calligraphy for calligraphy by famous calligraphers, the ability to comprehensively absorb artistic nutrition from multiple categories, and the ability to innovate in unifying text and writing creation. In addition, there must be inspiration and temperament.
Calligraphy creation is primarily about copying. Posting is the best basic training for creation. Whether it is confrontation, silence, intention, etc., its function is learning and accumulation, which can also be said to be a reserve for future creation. The most important thing to avoid when writing calligraphy is that when you have a certain foundation for copying, you can no longer deliberately imitate without distortion or imitation; after you have mastered one or several calligraphy styles, you must strive for more. When you are ready, reserve more. You cannot hold on to one thing until the end. In today's world, with the rapid development of culture, the rapid spread of information, and the increasingly frequent exchanges at home and abroad, the accumulation of knowledge brought to mankind is also changing with each passing day, providing an unprecedented broad world for calligraphy creation. Therefore, one must also have the awareness of accumulation and reserve when writing posts, which is also the basic condition and foundation for multi-faceted cultivation. After I accumulated some basic skills in writing calligraphy, when I read Dong Qichang and Wang Duo, I not only read their own works, but also the main styles of calligraphy that Dong and Wang involved in the process of learning calligraphy, and experienced their calligraphy together. The process of accumulation and evolution of calligraphy. Of course, no matter what calligraphy style, as long as there is one style of calligraphy that can be used easily, it has similarities with other calligraphy styles. The writing techniques can basically be connected, and the writing can be smoother and mastered faster. Being able to read it many times not only accumulates the memory of learning posts, but also compares various posts with each other, making it easier to understand the characteristics of each other and achieve twice the result with half the effort. For example, both the Wei stele, Zheng Daozhao and Zheng Changyou, Zhang Ru's epitaph and Zhang Menglong stele have their own characteristics. Only by carefully looking at them will it be clear. At the same time, the richer the reserve, the stronger the ability to adapt to changes, and the easier it will be to use it in future creations. Only then can you be qualified to innovate, otherwise it will just be an empty wish. Those who are just eager or keen on innovation but lack this kind of accumulation and reserve will at most become a temporary passer-by in the world of calligraphy and will not become a true calligrapher.
The original intention of calligraphy creation is to express a kind of cultivation and writing cultivation, at least in ancient times. Creation is writing. Ideas come first, writing comes second, and temperament is also involved. Usually, the expression of words is considered first, and then the beautiful writing is considered. This is determined by the fact that calligraphy uses words as a carrier. Many ancient manuscripts of letters can illustrate this point well. People nowadays also admit that calligraphy expresses a kind of cultivation, but they always want to express temperament as the first purpose of calligraphy, emphasize the subjectivity, dominance, and initiative of creation, and advocate that today's calligraphy is created for creative talents. exist. I don't disagree with this view, but I don't think the reason is entirely sufficient. Nowadays, I sometimes copy old poems and manuscripts that I wrote on the pages of framed albums. I don’t mean to create anything intentionally, but it still feels good. Since ancient times, at least until the Ming Dynasty, calligraphy has been created around writing. The training of creative skills, the accumulation of creative abilities, the enlightenment of creative consciousness, and the completion of the creative process are all accomplished in one stroke. Therefore, The random notes, letters, and drafts of manuscripts written at that time have become very rare art treasures today. Being able to write randomly, naturally, fluently, unrestrainedly, and full of charm, to a large extent, does not come from the so-called arrangements and creativity before writing, but from years of accumulation and cultivation. I started studying calligraphy with Yan Liu, and then gradually studied the inscriptions of Qin and Han Dynasties. In the past ten years, I have devoted myself to the study and creation of cursive calligraphy. I have studied Wang Xizhi, Zhang Xu, Huai Su, Mi Fu, Yang Ningshi, Huang Tingjian, and Dong Qichang. Famous cursive calligraphy masters such as Wang Duo and Wang Duo repeatedly tasted and carefully studied the cursive script, which laid a solid foundation for the creation of cursive script and led to today's creation. In addition to calligraphy, I have developed a strong interest in art, photography, music, writing, especially Chinese classical literature. If you pick it up occasionally, you can get a taste of it. If their works express a passion, an impulse, and an extraordinary artistic idea, it is better to say that they express the aesthetic intention and basic skills accumulated by a calligrapher for many years, and convey the emotions of the inner world. . Therefore, I believe that calligraphy is first of all an art that expresses self-cultivation. It is the absorption of various artistic practices and the integration of various artistic methods. It is not a fashion, but a necessity. It is what a mature calligrapher should possess. Basic requirements.
In the creation of calligraphy, I believe that innovation in calligraphy should be vigorously promoted, but we should not be eager for quick success. Calligraphy creation should have a sense of the times, promote the exploration of various artistic styles, and create works that have both the characteristics of the times and personal style. Therefore, the art of calligraphy is both expensive and difficult to innovate. As people say, the foundation of innovation lies in inheritance. To learn from the ancients, you must first learn from the ancients, pay attention to the rules, get the essence of tradition, and learn from the ancients without following them. A calligrapher's style should be based on inheriting tradition and absorbing nutrients, focusing on the integration with the flavor of the times, and paying attention to the nourishment of folk cultural connotations. With the development of calligraphy, calligraphy as a work of art is increasingly entering art halls. More and more attention is paid to and the functions of display and appreciation are brought into play, and the writing process is integrated with passion and turned into a creative process. This completely conscious entry into creation is transforming calligraphy creation from the past way to a new way. Calligraphy uses words as the carrier, and carefully considers the relationship between text content and calligraphy style, the relationship between calligraphy style and writing style, the relationship between content writing and emotional expression during the creation process, etc. If a skilled writer cannot use words correctly in a work and cannot convey the feelings between the lines, no one will applaud him even if he has superb skills. Innovation is a gradual process, a process that can be continuously verified and widely recognized by historical practice. Excellent calligraphers should advocate and have the ability to innovate. Without this ability, it means losing the motivation to move forward. But having the ability to innovate does not mean that one has reached the level of innovation. If these conditions are met, a certain volume is formed, a certain style is formed, and it is relatively stable and recognized for a period of time, then innovation is possible. In my opinion, the inheritance and innovation of a style, just like the formation of a style of calligraphy, is usually not accomplished by the advocacy and creation of one or a few people. It is the result of a calligrapher of the era or a group of calligraphers. The result of the joint efforts of everyone, and the origin of innovation that has no practical significance can only be counterproductive.
In the true sense, calligraphy innovation should be based on learning from many masters, accumulating thick and thin, and using macro to extract essence. We should strive to learn from the strengths of various schools, constantly enrich and nourish ourselves, and build on the vast ink marks of our predecessors. Explore the subtleties in the grand view to find, cultivate and accumulate your own style. My father was born in Jiangning and was nourished by the graceful and spring-like literary style of Jiangnan. I was born in the Northeast and was influenced by the rough and vigorous ink charm of the North. I was able to feel the breadth, vastness, and majesty The magnificent, bold and frank style also strives to integrate elegance, simplicity, simplicity, gracefulness, smoothness, elegance and natural charm into the pen and ink. In the intertwining of Qi and rhyme, it is deliberately in the wind and clouds, and the rhythm is in the infinite momentum; it expresses its feelings in the magnanimity of the mountains and seas, and its broad-mindedness in the state of peace of mind and distant mind. I think that no matter how hard every calligrapher tries, history will come to the most fair and just conclusion.