"No matter how high the skill is, it is still at a low level", "Staying at the technical level" and other layman words appear very frequently. There are many people who say that "the technique is very

"No matter how high the skill is, it is still at a low level", "Staying at the technical level" and other layman words appear very frequently. There are many people who say that "the technique is very simple and you can learn it once you learn it". What's more, he actually publicly claimed in newspapers and periodicals that all skills were no longer a problem for him. This kind of arrogant statement was actually the language of a layman. Some scholars who do not write calligraphy talk about calligraphy culture in a profound way. Young people are frightened at first and then confused. The art of calligraphy cannot bear the weight of all cultures. There are a large number of theorists who are not good at writing, and the main body of calligraphy is pressed in the corner and trembling. Whether it is joy or sorrow, you will wait and see. In this context, Bai Dijun's "Calligraphy Space Theory" was grandly launched by Rongbaozhai Publishing House, and it was believed to be of special significance. Bai Di, whose real name is Zhao Aimin, is known by his pen name Bai Di. A native of Shaoxing, Zhejiang. In 1987, he entered the China Academy of Art (then known as the Zhejiang Academy of Fine Arts) to study for a master's degree in calligraphy. He studied under Sha Menghai, Liu Jiang and Zhang Zu'an, and was a close disciple of Mr. Sha Menghai (excluding those of Mr. Shu Sha). In 1996, he was admitted to the calligraphy major of the China Academy of Art from Shanghai. Congyu studied for a doctorate in calligraphy theory research. In 1999, he passed the defense and received a doctorate in fine arts and calligraphy theory. He was the first generation doctorate in calligraphy at the China Academy of Art. "The Theory of Calligraphy Space" is the dissertation he defended and was rated as an excellent dissertation by the defense committee of the college. It is now published after revisions and supplements. Bai Di's strong penmanship is mainly due to his diligent study and practice; his strong spatial awareness in calligraphy is mainly due to his talent. The topic of his thesis was chosen, firstly, because of his closeness to his nature and his skill; secondly, because of his wisdom. The latter specifically means that Bai Di realized that the spatial composition of calligraphy (knotting, whitening, moving Qi, etc.) has a great relationship with the uniqueness of the work; and the ancients have left us a lot of room for pursuit and exploration. . I immediately talked to him about the calligraphy space consciousness of Master Wei Zhao and Mao Zedong. During his master's degree, Bai Di had developed a strong ability to construct calligraphic space, which was clearly reflected in his works, and he later emerged in the calligraphy world. Therefore, his doctoral thesis was all introduced to the ancients and flowed out from his own practical experience. He did not discuss it in general terms, but discussed it in a unique and systematic manner. "On the Space of Calligraphy" is actually the first monograph on the space of calligraphy. do. At the end of Wang Meng's speech mentioned above, when talking about his love for Chinese food, he said: "After all, delicious Chinese food must first appear on the dining table, not in my speech." He ended with these words. Now I will follow Wang Wen's format and conclude by saying: "After all, elegant calligraphy culture must first appear in calligraphy masterpieces, not in theorists' articles." And allow me to add another sentence: How can you make your own works a masterpiece? , it may be slightly helpful to read Bai Dijun's "Calligraphy Space Theory".