Zeng's famous saying

Wang Chaowen (famous aesthete, vice-president of China Artists Association and vice-president of China Academy of Art): "I am not an expert in calligraphy, so it is difficult for me to accurately tell the good impression that Zeng Laide's calligraphy gave me. As if listening to moving music, his unexpected brushwork and composition can also cause pleasure. " (Inscription for Ceng Laide) Shen Peng (famous calligrapher and chairman of China Calligraphers' Association): "Ceng Laide has a straightforward personality and tells you his own opinions. He bluntly said:' I like cursive script, because cursive script can express emotions best.' Cursive script, whether Cao Zhang or Jin Cao, is simple and urgent when creating. From the perspective of calligraphy art, it can best achieve its temperament and form its sadness and joy. There has been a lot of discussion before. The so-called spirit, charm, artistic conception and temperament of calligraphy will be greatly reduced if cursive script is abandoned. It is natural for Ceng Laide to write and admire cursive script. However, as a calligrapher, cursive script can best express emotions, of course, which shows an opinion, a kind of courage and a kind of intention. However, whether this function of cursive script can be embodied in practice and to what extent, it needs the actual play of creativity, which belongs to the category of direct reality. A real calligrapher is good at putting the shapes, joys and sorrows of all things in the world in books (Han Yu). In this direct reality category, knowledge, accomplishment, genius, quick understanding, etc. Are measured by actual creativity. (Preface to Ceng Laide Calligraphy) Zhu Naizheng (professor and former vice president of the Central Academy of Fine Arts): "Ceng Laide, a native of Shu, joined the army as a teenager and later moved to the northwest. Tianfu's aura has been tempered by the plateau, and his calligraphy is indifferent. He is addicted to books all day, and he was born to solve books with concentration. All Oracle Bone Inscriptions, Zhong Ding, Bamboo Slips, Inscriptions, Scriptures, and Zhuanli real cursive scripts are in sight. In the future, God will carefully absorb all the leaders, understand the truth, be good at using nature, follow the law and seek laws other than the law. Therefore, I can move my pen vertically and horizontally: paradoxical, skillful in using clumsy methods, insipid in danger, indulgent and disciplined, and Fiona Fang is a good one. As small as an ordinary piece of paper, roughly two huge buildings, or as small as a line, are all colorful; If you let go, you will be full of energy and pride. I won't be confused until the end of the year. There are countless calligraphers called calligraphers in Gaiguo Middle School, but I don't know how many can really create their own world. Lai Dejun often uses a seal to say' Come to Germany, go to Germany'. Exploring its profound meaning is almost the connection between ancient and modern times, the connection between subjectivity and objectivity, and the pure feelings of the boat of art, so it is happy to come and go. Wang Yong (Professor of Central Academy of Fine Arts, a famous artist): "A strong sense of creation is another advantage of Ceng Laide's calligraphy. In fact, the core of traditional art is creative spirit. He has a sense of mission to his career. In this regard, he is outspoken: if art leaves the new exploration and development, it will only follow the old path of predecessors, which will inevitably be monotonous and will inevitably become worse from generation to generation. Based on this, he wrote the motto of' shape me, destroy me', trying to make every work innovative. If you lack the courage to surpass yourself, I'm afraid you dare not make this difficult choice. Zhou Shaohua (famous painter, director of China Artists Association, chairman of Hubei Federation of Literary and Art Circles): "Zeng's outstanding feature lies in grasping the key of calligraphy art means. He started with different writing methods, cut into the ever-changing experiment of lines, and made a visual revolution with the attitude of Wang Yang. His understanding of the first factor that determines the essence of calligraphy-writing; The understanding and experimental spirit of the first element of calligraphy language-line, as well as the unique performance effect of line, will have Wang Yang's creativity in calligraphy structure. " Cheng Dali, a famous painter and deputy editor-in-chief of China Fine Arts Publishing House, said: "Zeng's paintings and calligraphy works are the full display of the author's inner world, the true feelings rather than the affectation, and the natural licentiousness in his eyes. The author is not learning from art, nor looking for tradition from tradition, but looking for himself, showing himself, finding a bridge between himself and nature, and then rushing over in one go. Wang Yuechuan (Professor of Chinese Department of Peking University, Doctoral Supervisor, Literary Theorist): "Ceng Laide is an artist who struggles with norms and destiny. He and his calligraphy have made me feel deeply sorry for meeting each other. At a meeting in Xishan in the early winter of this year, I talked with a young man with a loud voice and military temperament about contemporary China calligraphy and modern post-modern calligraphy in the room. The poet Ouyang He Jiang told me that this is the calligrapher Ceng Laide. When I saw his works and went to his studio to watch him splash ink, I personally felt the lines hovering in the atmosphere, the exotic space composition in the' paper and pencil movement' of pulling, dragging, collecting and folding, and even felt his straightforward and arrogant temperament, as well as his intoxication and extraordinary investment in calligraphy creation. " The famous calligraphy theorist and editor of Gansu Daily said: "From the standpoint of art, it is meaningful not to tear down the infighting of the' tradition' wall: it at least provides a real example for us to study the next complex problem: to what extent has the' tradition' been transformed or not; How far can' tradition' and' tradition' go? " Teng Shouyao (a calligraphy text): "Zeng's dialogue transcendence is multifaceted. For example, he broke the strict boundary between' rational impulse' and' perceptual impulse', realized the blending of rationality and sensibility in the game state, and finally entered a transcendental divine realm. It is in this "reverse action" that his personality constantly enters the transcendental realm of divinity, revealing the fantasy, strangeness, mystery and freedom that the dragon has never seen the tail. His calligraphy is no longer the calligraphy in the eyes of ordinary people, but an unattainable method and becomes an unattainable calligraphy. "Guan (a famous art critic and executive editor of China Modern Art Literature of the 20th Century Cultural Research Center in China, Peking University):" These German paintings are from book to painting, from painting to reason, from reason to Taoism, and finally to initial heart and confusion. "This alone broke the traditional painting. After reading Ryder's paintings, a friend said that the pen and ink are vivid and the paintings are popular, which can be regarded as the words of knowing people. The paintings I saw in Germany, like Zhuangzi's so-called "carefree tour", wandered between Cangshan Sea of Clouds, Gully Desert and Linhai Snowfield, meaning "The sky is gray, and its positive color is evil? Far away and everything is extremely evil? It's too easy to look down upon. If it is, that's enough. "Among them, although tourists are not specific mountains, mountains, rivers and rivers, they feel an atmosphere of mutual blowing, shaking and singing. Wang Cheng (director of China Calligraphy Association, member of the Creative Review Committee of China Calligraphy Association and vice chairman of Henan Calligraphy Association): "Ceng Laide has given me the feeling that he is not a calligrapher in the general concept, but a phenomenon, a calligraphy phenomenon and a cultural phenomenon. This phenomenon strongly shocked the contemporary calligraphy circle, even the whole literary and art circle, so that all those who care about the survival and development of oriental art, whether they agree, oppose or question, can't ignore his existence and influence. This is my basic point of view, probably not exaggerated. Zhou Junjie (academic member of China Calligraphy Association and vice chairman of Henan Calligraphy Association): "The richness of his creation is manifested in his comprehensive observation and practice of traditional calligraphy, neoclassical calligraphy, modernist calligraphy and calligraphy marginal art, and his comprehensive absorption and multi-faceted integration of literati calligraphy, folk calligraphy series and inscription series. He never rejects any aspect of tradition. Moreover, they will not confine themselves to a certain monument, a certain post, a certain family, a certain brushwork or a certain pattern. Those "calligraphers" who lack a comprehensive view of the history of calligraphy and the history of Chinese and foreign art and an objective grasp of the development of calligraphy are only obsessed with a certain brushwork of a certain genre. Their works are placed in front of their works in Germany, just like dwarfs facing mountains, which are so wretched and stingy. Their pale thoughts are even more unfortunate and sad in the book world. (Reading Zeng Laide's Book)