Baihe's calligraphy is broad and straight, and all kinds of calligraphy can be served on the table, and the creation is rigorous and meticulous. It is not easy to maintain a calm state of mind in today's vigorous publicity of personality.
One day, at the "I Lian Zhai" pen meeting, several book lovers caught up with Baihe and began to write. They are so quiet that you are surprised. They were so absorbed that no one paid attention. Seeing his writing style is like an old woman's meditation, writing quietly and thinking quietly. Don't worry, you don't think he is too calm. In fact, the evolution of various forms has penetrated his understanding, and he is already familiar with some means such as overlapping brushes, so the success rate is extremely high. Unlike me, every time he performs, he is as complacent as writing Zhang Xu's Abdominal Pain Sticker, but nine times out of ten, he is in the wastebasket.
His brother Wang Jinquan predicted many years ago that the crane would be ahead in calligraphy, but I didn't agree with him at that time. However, after he won the National Award of the 7th National Exhibition, participated in the 8th China Youth Exhibition, the 3rd Joint Exhibition and won the nomination of the 2nd China Calligraphy Lanting Award, I have to admire Brother Jin's extraordinary vision. This reminds me of a sentence in the Tao Te Ching: "A sergeant smells and works hard, a sergeant smells and walks, and a corporal laughs." Brother Lily's attitude towards calligraphy is exactly what the staff sergeant did.
Osawa and the sky are the joy of cranes and the hometown of unforgettable return. What are you looking for there? I'm afraid ordinary people seldom know it. Perhaps it is the base of happiness and love and a rich spiritual home.
Zhang, a famous calligraphy critic and curator.
White crane calligraphy sketch
For many years, I have been paying attention to the calligraphy creation of Baihe. As a young calligrapher with great strength in contemporary calligraphy, his understanding of calligraphy, his exploration of calligraphy creation and his perception of art are unique.
Contemporary calligraphy aesthetics is often troubled by official positions or other birthrights, and it is difficult to achieve art first. Therefore, calligraphy critics have sharply criticized this phenomenon. In such a social phenomenon, cranes strive to move forward and win the respect of readers with their outstanding talents. I am one of the readers.
As I said, no matter how many unsatisfactory phenomena exist at present, these phenomena will be washed away by the water of history sooner or later. Just like many "famous" calligraphers can't write well, they will be washed away by time sooner or later. It's a good thing that cranes don't wear flower feathers. He is not worried that "Dai Huayu" will disturb people's evaluation of his calligraphy. On the contrary, he just conveyed his "voice" with clean handwriting.
As long as it is your own "voice", it is naturally valuable.
The white crane entered the calligraphy world with full preparation. To this end, we can see the movements of white cranes in various books. For a real calligrapher, "knowing all four styles" is a natural accomplishment. But it is difficult for a calligrapher to achieve accuracy and harmony in the "four-body". Therefore, those excellent calligraphers in the history of calligraphy must be extravagant if they make achievements in one or two calligraphy styles. Such as Wang Xizhi, Yan Zhenqing and Su Dongpo.
I am deeply impressed by the crane's "four-body", but I prefer the crane's official script. On the investigation of the current official script creation, I found that Baihe's official script is outstanding. Based on Han Li's broad, open, bold and vigorous expression, we feel rigorous, relaxed and broad-minded. This is the "from the beginning to the end" of the white crane in the style of a book. In this state, we can see that the calligrapher Bai He transformed the calligraphy resources in the depths of history into his own artistic creation power, and then realized the breakthrough of contemporary people in the field of calligraphy.
According to my judgment standard, the significance of Lily official script lies in the following three aspects. First of all, the crane was not influenced by the thought of quick success and instant benefit, nor did it take a horizontal approach by luck. Instead, we should focus on Han Li, especially the famous stone carvings in Han Li such as Shimen Fu and Xixia Fu, grasp the regular artistic elements, dig deep into the emotional strength, and combine our own writing style to activate the charm of official script and reproduce the artistic brilliance. Secondly, Baihe grasps the writing of official script with the idea of neutralization, never exaggerates the font, rejects the visual effect and artistic tendency of so-called "artistic calligraphy", and focuses on writing, which reflects the reading charm of calligraphy art. Thirdly, Baihe is extremely restrained in using pen and ink, and all focuses on the needs of font, and does not approve of the "cry" of "light ink" and "contrast" of "heavy pen and ink" to realize his own personalization. His official script firmly remembers the natural artistic implication of traditional inscriptions and his own emotional investment in calligraphy, showing the memory of contemporary history and the touch of calligraphy.
The regularity and rigor of official script make it difficult for contemporary calligraphers to surpass in art. For this reason, we see that contemporary calligraphers are willing to go their own way in the field of cursive script and try to compete with the ancients. In fact, there is no need to blindly emphasize transcendence and innovation in calligraphy art. This kind of art, which is closely related to China people's cultural psychology, does not rely on form to show its importance, but shows the charm of calligraphy, an art with high cultural comprehensive value, with cultural connotation, even the combination of calligraphy and characters.
White crane is an important calligrapher in contemporary times. His rational discussion on the creation of official script has set a good example for us, and it is also the basis for me to maintain aesthetic demand for official script and have full confidence in the creation of contemporary official script.
(Zhang, a famous calligraphy critic and curator)
Every ounce has its power, and every ounce has its own power-cranes, people and books.
Zhang
Baihe is a powerful calligrapher in the contemporary calligraphy field, with a unique style and fame. Ten years ago, we studied in the calligraphy advanced class of China Renmin University. At that time, young people who won many awards at important national calligraphy exhibitions forgot to study. In class, the spirit of studying hard and the attitude of communicating with classmates seriously caught my attention. White crane-a name with poetic image, naturally gives people the feeling of soaring. Students' calligraphy works are hung in the classroom, and Bai He's official script, regular script and running script works are full of the unique emotional appeal of this talented person from Anhui, which is open-minded, soothing, relaxed and simple, and shows the aesthetic language of China's calligraphy.
A work is an expression of the artist's soul and temperament. Many times, I stopped in front of the calligraphy works of Baihe and looked at the charm, echo and structure of a word and a line, as if the old warmth was slowly coming. Art, of course, but it has a higher spiritual character than art; Of course, it is creation, but each stroke is clearly the breath of life and sigh. I try my best to understand crane's calligraphy.
It is also reasonable that the contemporary calligraphy evaluation system always favors people who hold certain positions. China advocates the official standard, and often most social elites have to work within the system, so more opportunities belong to them. After all, now is the era of reform and opening up, and some stereotypes are naturally broken. Therefore, some young calligraphers with strong breakthrough ability will stand out, and the white crane is one of them. My thinking in the field of calligraphy tends to social problems. For Baihe, I can see his persistence in calligraphy learning and his unique talent in calligraphy creation. Although we haven't met for several years, I still remember his elegant appearance, long hair fluttering with the enthusiasm of young people, always smiling face, optimistic and generous. In Beijing, I didn't have a chance to talk about calligraphy with him in detail, nor did I have time to listen to his overall understanding of calligraphy. 20 10 at the invitation of Baihe, I went to his hometown of Taihe, Anhui Province to participate in a painting and calligraphy activity. In that famous ancient city, I can tell each other how much I miss each other, and I can take calligraphy as a long topic and talk freely with him.
White crane is a legend. He had a decent job in Taihe, but left because it affected his pursuit of calligraphy. From civil servants to diaosi, it is not a cost-effective choice. Lily chose this because he has a bright future in his heart. The crane laughs like a Buddha and walks like a Buddha. Simple and generous. I quite like this state. Life is far and near, and the crane's dream is "beyond the horizon", which of course underestimates what is in front of him. What is in front of us is not ordinary. Without the ability to control the present, the future will not last long. The young crane embraced calligraphy more closely. Taking the classic works in the history of China's calligraphy as a model, he sought the feeling of empathy with himself in different calligraphy styles. He searched step by step, advanced step by step, and determined step by step, which laid a solid foundation for a calligrapher's essential occupation. The exploration of any art form is inseparable from the talent of the explorer, and the calligraphy talent of Baihe is obvious to all. For example, for the understanding of the classic calligrapher, he will look for the answer from this calligrapher's different styles and works. Different styles of calligraphy and different works have differences and similarities. In the similarities and differences, Baihe gradually approached the core of calligraphers, deeply understood the characteristics of brushwork and word formation, and understood the influence of temperament and cultural accomplishment on the style of calligraphy works. In the creation of regular script, he carefully explored the regular script works of classic calligraphers of past dynasties, that is, two kings and one series. Even a slight slip, a small flaw, will still be his way into the hearts of the ancients. So when we look at Bai He's regular script works, we can see at a glance his fetal interest in classic works, but one thing is extremely important. He didn't get lost in the spoony pregnancy. He tried to truly write today's charm and even complexity with modern brushwork.
Wandering in ancient and modern times seems to be the fate of the white crane.
Comparatively speaking, Baihe's official script is more modern. For a time, I liked to open the calligraphy collection donated by Baihe, among which the official script works were intriguing. I thought at that time, if the ancients were kite-fliers, if the lines in their hands were far away, the figure of the kite would be weak, but no matter how weak, the kite still belonged to the kite-fliers-the ancients.
Baihe's official script has modern interest, just like my "weak kite". However, if you look closely, the legacy of the ancients is obvious. The undulating lines sway the elegance of Shimen Fu, the dignified structure extends the narrow style of The West Chamber, and the meticulous stippling reproduces the ritual monument and the simplicity of Shi Chenbei. It's just that the white crane skillfully combines these "veins" and "bones" with the feelings of a modern person, and the brushwork is style and soul. The official script of Baihe deserves attention and study. Its value lies in his constant innovation and his persistence in "ancestral training". He did not make a fuss about artistry, but made his own calligraphy creation and innovation by pen and ink. Secondly, the dignified beauty and lyrical beauty of official script are particularly obvious in Baihe's official script works, with vivid lines, perfect opening and closing, and rich creative emotions, reaching the most beautiful and true artistic realm. "Calligraphy comes from the root of wisdom and should be understood from the depths. The cat spilled a pool of water and every drop became a leak. " This is a poem written by Lin Sanzhi, a native of Baihe. I think the crane who loves poetry has read it.
Facing the vast ocean of calligraphy, I often compare her to a symphony. Indeed, different fonts, different styles of writing, different means of expression, different cultural interests and personality characteristics of calligraphers have played different voices, different melodies and different rhythms rooted in the land of China. Charm is the inquiry of life, the revelation of nature and civilization.
If the Iron Blood Series represented by Two Kings is the main melody of China's calligraphy, calligraphers who try to transcend this melody will try their best to explore it with their indomitable spirit and cultural accomplishment. Ni, Huang Daozhou, Xu Wei and Zheng Xie are all "pioneers" of China's calligraphy. Their works, as unique chapters in China's calligraphy symphony, are artistic existence that cannot be ignored. As a mature contemporary calligrapher, Baihe highly respects the practice of "pioneers". Art is taboo. China's calligraphy needs to stick to the rules for a long time before it can take its own step. This is the profoundness of China culture. Bai He is also an innovative calligrapher, who is outstanding in cursive writing. By investigating Bai He's official script creation, we can see his nourishment and inspiration in Shimen Fu and Xixia Fu. We know that Cliff Pear's wild indulgence needs a big hug. The white crane faced difficulties for a long time and cracked the artistic essence of Shimen Fu and Xixia Fu. In the study and creation of cursive script, Baihe also has his own vision and choice. For the two kings, his enthusiasm is undiminished. However, the misunderstanding of the two kings will also lead to the deviation of the understanding of calligraphy. Therefore, Baihe is willing to look further, and those calligraphers who shine with details of calligraphy history have become hot figures in his heart. Like Xu Wei. Xu Wei is a long story, but as far as calligraphy creation is concerned, Xu Wei has provided us with enough enlightenment. Of course, it also provides enough enlightenment for the white crane.
The cursive script of the crane has wisdom and brains. The former is reflected in the crane's accurate understanding of calligraphy, while the latter is the crane's expansion of the emotional system as an artistic calligrapher. Knowledge includes skills and abilities, which are indispensable for every successful calligrapher. Mind belongs to the category of emotional intelligence, which acts on artistic creation in a silent way, and the effect can only be understood but not expressed. The crane knows. Therefore, the crane's cursive script is clear and refreshing, with occasional exaggerated glyphs, ups and downs of the main pen, vivid details of life, and emotions that resonate with the words, which spread the crane's awe of life and sincerity in art one by one. What Xu Wei did, he tried to do, and what Xu Wei didn't do, he has already done. After all, modern people, the brilliance of human nature and the significance of personality are extremely important.
I miss cranes very much. In recent years, we have been running around on the road and have no chance to sit together and talk about calligraphy. Of course, talking about calligraphy is a very luxurious and noble thing, and I am also looking forward to this day.
"ShangCai began to change, and LangZhong is also typical. Everything is effective and the first line is independent. The stone shook its paws and ran back to the spring. When you see Yun Hui, you listen more. " This is a poem on calligraphy by Yan Fu, "Every point is valid, and the first line is independent", which is very suitable for my judgment on the crane book. So quote.
(Zhang China, Executive Vice President and Secretary General of Writers Painting and Calligraphy Institute, contemporary writer and art critic)