I like calligraphy since I was a child. I learned from Ann in my early years, and then from Shen. I studied Wei Bei and followed the brushwork of the Tang Dynasty. Calligraphy style is unrestrained, natural and easy to escape. He is currently a director of China Calligraphers Association, vice chairman of Liaoning Calligraphers Association, member of the Standing Committee of Shenyang CPPCC, president of Shenyang Printing Society, editorial board of China Modern Calligraphy and Painting Newspaper and editorial board of China Calligraphy Series.
His works participated in the first, second and fifth national calligraphy exhibitions organized by China Calligraphy Association; The first, second and third national calligraphy exhibitions for young and middle-aged people; The first and second international calligraphy exhibitions.
Participated in (1980) Singapore Calligraphy Exhibition, won the silver prize, participated in (1976, 1982) China-Japan Calligraphy Exchange Exhibition, and was included in the collection of Chinese and Japanese calligraphy works. 1986, 1988 held individual calligraphy exhibitions in Japan, and 1992 held calligraphy exchange lectures in Japan. Personal calligraphy exhibition was held in China Art Museum on 1992, and his works were collected by more than 20 institutions and libraries, including the Palace Museum. 1994 works were collected by the Great Hall of the People and Zhongnanhai.
His works have been included in dozens of collections such as China Modern Calligraphy Works, Hundred People Ink, Contemporary Celebrity Ink, Contemporary Hundred People, Collection of Works in 1997, Modern celebrity calligraphy and Calligraphy Collection, and his biographies have been included in dozens of dictionaries such as Calligraphers Dictionary and Literary Celebrity Dictionary.
Exhibition chronology
1976 and 1982 participated in the China-Japan calligraphy exchange exhibition twice;
1980 participated in the Singapore Calligraphy Exhibition and won the silver prize;
1986 held personal calligraphy exhibitions in Sapporo, Japan, 1988 in Izumi, 1993 in Sapporo Expo, and 1098 in Koyasan, and exchanged calligraphy.
1988 participated in the calligraphy exhibition of self-written poems held in China and Japan;
1992, zhecheng county Calligraphy Exhibition was held in China Art Museum.
1997 —— In 2000, he was selected as one of the top 100 calligraphers in China for four times;
1999 won the Bai Jie gold medal in calligraphy;
65438-0999, zhecheng county Calligraphy Art Exhibition was held in the exhibition hall of Lu Xun Academy of Fine Arts.
In 2003, he participated in the invitation exhibition of China's representative calligraphers invited by Japan;
Publishing collection
He has published five sets of personal works, including zhecheng county's Calligraphy Collection, zhecheng county's Calligraphy Couplet, zhecheng county's Calligraphy Collection, Yao Zhi's Selected Chinese, and zhecheng county's Thousands of Running Poems. His works were included in China Calligraphy committee of 100 and Collection of Works in 1997 by Liaomei Publishing House. It was included in China Bai Jie Calligraphy Collection by Henan Fine Arts Publishing House, included in China Top Ten Contemporary Calligraphy Collections by China Federation of Literary and Art Circles Publishing Company, and published in Hongkong. Introduction to Biography has been included in nearly 100 dictionaries in China. His works are collected and printed by hundreds of famous mountains and forest of steles, and his works are collected by the Palace Museum, the Great Hall of the People, Zhongnanhai and provincial museums.
Art of calligraphy
If China's calligraphy is divided into two styles, one male and one female, one graceful and restrained, then Mr. zhecheng county's calligraphy can be said to be both North and South. At the beginning of his study, he started with the North Monument, especially the Zheng Wengong Monument, which has a sense of grass and a sense of seal. After that, Mr. zhecheng county sought to change from ancient seal script to cursive script, involving two kings, Mi Fei and Wang Duo, and was also very fond of folk calligraphy. Ask many teachers for help, and you can get the best with macros. His pen style is Weibei style, which makes his works have a simple and rich flavor of life. He seems to be practicing the artistic ideal of "Ning Zhuo is not clever, rather ugly than flattering, rather the fragments are not smooth, rather straightforward and not arranged". His pen is dominated by long strokes, which means that the movements between wrists are decisive and affirmative, and his control ability is also extremely strong, so his sense of modeling is very rich. Perhaps what he let us appreciate is the fun of flexibly adjusting the calligraphy space in the free extension of the rhythm. He often changes the composition and structure of the dotted line with the change of mood. He seeks change in all the places that can be changed, stands by the side and is brilliant. He avoided the neatness that was deliberately emphasized in traditional calligraphy, and deliberately presented uneven levels, which is Mr. zhecheng county's unique personality. From Mr Zhecheng's calligraphy, we can see his skill and spirituality.
Looking at Mr. Zhecheng's works, whether it is lines or grass, most of them are high-spirited, naive, extremely fast with pens, without any sense of delay, and so excited. Its structure is flexible and generous, enjoying itself, and dripping fun overflows from time to time. Mr. zhecheng county's works are full of northerners' breath and elegance from tradition. In the handling of rules and lines, the breath in my chest is naturally revealed, and all the fun is natural. In some hard explorations, I finally created my own style. This style is that he is always careless, intent on brushwork, skillful brushwork, and dry brushwork, which is touching.
Appreciation of calligraphy works