Ma Ti, also known as Ma Shu, Ma Shu Ti and Ti, is a new book style created by contemporary calligrapher Ma Yongan. In 2009, Ma Ti was named "Ma Shi Calligraphy" by China Calligraphy Xintiandi Research Center, and was included in the modern book spectrum. On February 3rd, 20 10, 10, it was officially named "Ma Calligraphy" with the approval of People's Republic of China (PRC) National Copyright Administration, and it was called "the sixth calligraphy style". Compared with the five traditional calligraphy styles, six of the seven standards are completely different. This is beyond the reach of any traditional calligraphy style. Since the Tang Dynasty, there has been no new calligraphy style in China, and people began to doubt the existence of the "sixth calligraphy style", which has experienced thousands of years of depression. Chinese characters have carried thousands of years of Chinese civilization. The development of Chinese characters has always been influenced by the writing style. The development of calligraphy shoulders an important historical mission. The appearance of horse body is not only a solid welding point between contemporary calligraphy and history, but also a great contribution of contemporary calligraphy to China's calligraphy! At the same time, it will bring a calligraphy revolution, reactivate China's calligraphy and bring new miracles to the development of Chinese characters in China. 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 interaction is 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.
There is still hope.
There is a great difference between horse calligraphy and traditional calligraphy, which is also the fundamental and key to learning horse calligraphy.