When I look at Yang Xiupin’s calligraphy works, I feel that he has courage and courage to write, he can open up and hold back, the momentum and charm are well grasped, the writing style feels novel, and the exaggerated changes are all within the rules. The lines of the pen and ink are agile, and the lines written by the long edge and the changes in black and ink gas cleanse the impetuous air in the moisture. The "themeless calligraphy" he created is a major contribution to calligraphy and calligraphy theory, one of the quintessences of Chinese culture.
The concept of "unwritten characters" is thorough and open-minded. It not only creates a new form of calligraphy - "themeless calligraphy", but also adds another genre to today's calligraphy and clarifies many entangled issues. The blinding fog and miscellaneous vines in calligraphy give calligraphy its own household registration and seat, sublimating it from a traditional dependent art to an independent art.
Yang Xiupin is not only good at calligraphy, but his ink landscapes are majestic and elegant, and his colorful landscapes are vast, majestic and like a symphony. His plum blossoms, orchids, bamboos and chrysanthemums have a strong bookish flavor.
In today's world of social transformation, impetuous people, and pursuit of diversity, some people cannot control themselves. As an influential calligrapher in the Chinese calligraphy circle, Mr. Yang Xiupin, with his leisurely nature and peaceful The mentality, the mind of emptiness and tranquility, the path of inaction, the profound insight, have achieved extraordinary achievements.
Mr. Xiupin’s calligraphy art became a blockbuster in 1979, when he won the first national first prize for calligraphy. After that, he won five international awards. In 1999, he was awarded the title of “99 Outstanding Chinese Calligraphers” by the China Federation of Literary and Art Circles. , his calligraphy works are included in the "Selected Works of Outstanding Figures in Contemporary Chinese Calligraphy in the 20th Century". It can be said that he has made great achievements, has received honors one after another, and has more and more part-time jobs in society. In addition to serving as a professor at the School of Liberal Arts of Yunnan Normal University, Mr. Xiupin has also served as a director of the Chinese Calligraphers Association, vice chairman of the Yunnan Provincial Calligraphers Association, director of the Yunnan Provincial Government Award for Literature and Art Calligraphy Review Committee, and president of the Yunnan Zhongshan Calligraphy and Painting Academy. Mr. Xiupin pioneered "themeless calligraphy", which is a new genre of calligraphy corresponding to abstract painting, untitled music, and plotless dance. Monographs include not only "Calligraphy without a Subject", but also "The Analects of Aesthetics", "Love is Beauty", "Aesthetics" and "Calligraphy Aesthetics".
Mr. Xiupin defines calligraphy as four elements: character, shape, writing and beauty. Words are the carrier, form is the essence, writing is the method, and beauty is the purpose. Mr. Xiupin believes that calligraphy is the simplest and most difficult art category. The difficulty is that it is too simple. This seems to be an illogical statement, but this is where the fun and mystery of calligraphy lie. He also believes that what can be explained is technology, and what cannot be explained is art. Words sublimated their aesthetic value from their original practical meaning and became an art, thus giving birth to calligraphy. The teacher advocated that calligraphy should be spiritual and pay attention to tradition but not only tradition. He proposed that tradition should be integrated into me, and I should not be integrated into tradition. Highlighting the style of calligraphy, I believe that without style, there would be no life of calligraphy, and writing means writing "I". He advocates the use of calligraphy to cultivate one's character, convey one's feelings through calligraphy, and realize Zen through calligraphy. His calligraphy is written in Zheng, Cao, Zhuan and Li, and his thinking is broad and eclectic. It is not only based on the stele studies of the Han and Wei dynasties, but also draws on the strengths of other schools to create great poems by itself, forming a style that is as elegant as a crane and as formal as a dragon. The overall aesthetic realm is "heavy, clumsy, big, and lively", and it is grand. Changeable and victorious.
Mr. Xiupin has a profound foundation in Chinese studies. Mr. Liu Wenxiao accurately evaluated it by saying, "Heaven and earth are all paper, all things are pens, blood is ink, life is writing, there is no way to achieve perfection, and a big tool is not a tool!" Mr.’s artistic creation and charisma. Over the years, his writing, painting, writing, writing, and lecturing all reflect his profound cultural and traditional accomplishments. Using Chinese and Western culture to "cultivate oneself and sharpen one's character" is the key to his becoming an outstanding artist. He said: "I am very casual about reading and learning. I regard them as hobbies. Although I have a wide range of interests, I will not pay attention to the boring opinions in the society and insist on doing what I like." It is in this sense that he does not seek utility or fame, and truly embodies the personality charm of an artist. In today's materialistic society, it is obviously very valuable for Mr. to be awake all the time. He cultivates calligraphy, painting, literature and people through learning. In the final analysis, his success is due to the richness of cultural cultivation. The teacher is not just a calligrapher. He is elegant and versatile. He is good at poetry, calligraphy, painting, and seal printing. He is not only good at pen and ink paintings, but also can recite poems and make poems. He is a "dancing master" and a fan of Peking Opera. , and can play musical instruments, compose music, and conduct. He is a cultural person who combines the quintessence of Chinese art.
Mr. Wang has extensive knowledge in the cultural field, including ancient and modern times, Chinese and foreign heaven and earth, or integrating poetry, history, literature, lyrics, and music into one, or integrating theory, miscellaneous feelings, scattered opinions, jokes, and insights. He talks wildly, is ambitious, and speaks without hesitation. He often writes about history, culture, and aesthetics using sentences that are neither poetry nor theory but are arranged in separate lines. He uses a free and loose writing style to describe his soul and life. His articles are all concise and short, written from his feelings, casually and casually. He does not seek to be systematic and rigorous, but seeks to be witty and expressive.
Mr. Xiupin is not only a famous calligrapher, but also an esthetician. He said in the preface to "Aesthetics": "I heard that there is a subject called aesthetics, and I really want to go into this palace to have a look. But people who go in always follow other people's footsteps. I think it's boring, so I don't go in. Forget it, just go for a walk outside." He added, "The world outside is not only huge, but also very interesting. Plus, I have a wide range of interests, so I can see something interesting about it. See, when I am excited, I not only dance with my hands and feet, but also feel uncomfortable, so I sigh and talk to myself in front of the manuscript paper, some write about art, some write about life, and some write about characters. Some people write about events. No matter what, they always use one sentence as their purpose: I look for beauty in places that others think are inconspicuous.” In his artistic practice and aesthetic research, he loudly stated that “love is beauty.” ” viewpoint, and used his own writing style to elaborate on the argument and publicize it widely. It should be said that the view of "love is beauty" strips away all superfluous ingredients and additional factors, probes directly into the inner meaning, points directly to the source of the heart, and points out the heart's likes and dislikes, desires, tastes and emotional tendencies, which determine whether it is beautiful or not. The fundamentals exist, and the rest are just minutiae, so why not ignore them. Because he is permeated with the three tastes of beauty and art, he dares to defy the rules and regulations of existing theories, break superstition, and create innovative arguments.
Under the guidance of his original spirit, Mr. Xiupin was unconventional, taking "unwritten characters" as the core of calligraphy, and creatively put forward the theory of "themeless calligraphy". Clearly point out: The essence of calligraphy is how you write, not what you write. The art of glyphs is calligraphy, and the art of pronunciation and meaning is phonology and literature. This perspective is so thorough and open-minded that it not only creates a new form of calligraphy - "theme-less calligraphy", but also adds another genre to today's calligraphy; it also clarifies many of the blinding fog and miscellaneous vines entangled in calligraphy. Let calligraphy have its own household registration and seat, sublimating it from a traditional dependent art to an independent art.
Mr. Xiupin’s teaching method is unique, advocating inheriting tradition and boldly innovating on the basis of tradition. In terms of the choice of learning path, it is advocated to learn from the best of others, learn from the best of others, and make a honey from hundreds of flowers. In terms of teaching, the priority is to guide students to improve their aesthetic level, lay a solid foundation in Chinese traditional studies, use knowledge and insight to penetrate into the mysterious essence of calligraphy, rather than discuss specific techniques, and integrate the thoughts and spirits of Confucianism, Buddhism, Taoism and Confucianism. Treat the law that is impossible as the law. He inspires and induces our future students, using Zen allusions to point the way. He attaches great importance to the students' understanding and aura, allowing students to understand things that the teacher cannot say and truly understand the true meaning of art, rather than starting from the techniques seriously. .