His calligraphy works have participated in exhibitions sponsored by China Calligraphers Association for many times, and won the second prize of the first national fan calligraphy exhibition, the nomination prize of the seventh national youth calligraphy exhibition, the calligraphy silver prize of the world China calligraphy exhibition, the second prize of the eighth national youth calligraphy exhibition, the third prize of the fifth national couplets calligraphy exhibition and the nomination prize of the first national cursive calligraphy exhibition.
Now he works in the intangible cultural heritage protection center (Sheyue) of Shaoxing County Wenguang Bureau.
The Artistic Features of Zhu Xiaoshu
Qi yuxin
Shaoxing has been a literati since ancient times. According to the positioning of contemporary literature and art, Zhu, as a new generation of calligraphers, was shrouded in the noisy exhibition of contemporary calligraphy. With his unique and elegant small letters, he launched an impact on the contemporary calligraphy world ruled by cursive script, won a place in the contemporary calligraphy world and established his own position. In the past two years, his lower case calligraphy has won the silver prize in the first national fan calligraphy exhibition, the nomination prize in the seventh China Youth Exhibition and the second prize in the eighth China Youth Exhibition. In the long and large system exhibition hall, in front of the dazzling works of stippling, under the long spear and short halberd of cursive script, the works in lower case letters are so weak and slender in form and shape. However, Yong Fang, a young calligrapher under the age of 30, has been killed, so his lower case has been highly valued by the book circle in recent years. It should be of great significance and value to study his lower case calligraphy from the perspective of calligraphy art research, regardless of the external factors and objective phenomena in contemporary calligraphy circles.
In history, everyone has his own distinct artistic personality. You's style of writing is simple and elegant, Jin's two kings are simple and ethereal, Tang's short book is represented by strict statutes, Yuan's short book seeks tenderness in the legacy of the two kings, and Chong and Huang Daozhou trace back to the Wei and Jin Dynasties to escape. For thousands of years, China's calligraphy method in lower case has been to establish his own style from Zhong Wang. Yong Fang's lower case is still going this way, but on this road, he has his own cleverness and wit. Together with Zhong, he first laid a solid foundation for his own calligraphy art palace in small letters, and based on the small letters in Wei and Jin Dynasties, he boldly explored nutrition from the inscriptions of the Six Dynasties, sought his own expression techniques and temperament, and formed his own unique expression language-Wei and Jin Yi Zhi, and the style of inscriptions. Since the late Ming dynasty, especially since the Qing dynasty, the replacement and progress of culture and the continuous expansion of civilization have brought unprecedented impact to calligraphy. China's calligraphy began to evolve and develop from pure to inclusive. Contemporary Calligraphy Exhibition has made an indelible contribution to the great changes and development of contemporary calligraphy in China. Calligraphers' pursuit of exhibition hall effect is actually the pursuit of individuality and the pursuit and publicity of personal expression language.
The combination of seal script and official script, seal script and official script, regular script and cursive script, etc. All kinds of calligraphy styles show unprecedented prosperity and all kinds of techniques show unparalleled richness in history. However, it is not new to combine lower case calligraphy with the ideas of "Li" and "Cao Cao". However, since the rise of calligraphy of inscriptions in the late Qing Dynasty, especially the combination of calligraphy of inscriptions and lower case calligraphy has been rare since ancient times. Yong Fang's small script calligraphy has achieved this, and it is very successful. In the title of one of his works, which is similar to academic school, he wrote: I seem to have gained a lot from learning from Wei Bei. My grasp of the pen speed naturally changed from fast to calm, and I also had a lot of experience in tempering the line quality. Today, I do this to show the origin of my book.
Yong Fang is good at all kinds of calligraphy, but small block letters should be the treasure of his calligraphy art, and his small block letters, with sharp lines and the feeling of cutting with a knife and axe, are the typical expression language of calligraphy of inscriptions. Contemporary calligraphy has a lot of interest in the brushwork of stone tablets, but most of them absorb the brushwork or texture of stone tablets, which is too vigorous and dry, and the sense of decay of ruins and walls is too strong. On the brushwork of taking stone tablets, Yong Fang's Xiao Zhuan pays great attention to the interest of square folding knife carving, and is sharp and neat at the same time. Therefore, the pen is very strong, the visual effect is very clear, and the shape of the strokes is also very exquisite. The thick brushwork of Zhong You's Table of Ji is skillfully used, so the lines are plump and dignified from time to time, and the contrast between thickness and thickness is strong, which makes the whole structure interesting. The formation of an era's aesthetic tendency is closely related to the social environment, culture and economy of that era. In today's era, I always feel that people's aesthetics tend to be bright and simple for the appearance of objects, and their preference for the shape of objects is straight and square, while their understanding of the inner beauty of objects tends to be an easy-to-understand strangeness, and things should be deformed but not too much. The formation of this aesthetic psychology may be due to the appearance and packaging design of modern commodities and modern foreign design concepts.
On the one hand, ancient culture and art, which are too abstract and abstruse, may require high academic qualifications; on the other hand, people have no time to understand and accept the tense pace of life. Yong Fang's small writing brush coincides with the contemporary aesthetic tendency, which is bright and simple, but there is no lack of elegance in Wei and Jin dynasties. In the conclusion, his lower case has three obvious characteristics, one is the interest in Wei and Jin Dynasties. He treated the structure of some words as "dull", "dull" and "stupid", which happened to be the overall style of Wei and Jin Dynasties-lofty, quiet, peaceful and diluted. The second is the fun of the tablet. This feature is the most remarkable feature of his writing in lower case letters, which is mainly manifested in his handling of the types of words with a strong sense of sideways, either left or right, which completely draws lessons from the characteristics of calligraphy in inscriptions, so that the center of gravity of words is always in an offset position, thus giving people a sense of beauty that words are always moving. Even the structure of some words often escapes from the pen, which is bold, smart and intriguing. This structural feature can not help but remind people of Zhang Menglong, Yan and ancient cliff stone carvings. The third is modern taste, which is also a personality of Yong Fang's lower case. In terms of receiving characters, Yong Fang used the characteristics of contemporary popular calligraphy styles for reference, and treated some characters at an oblique angle, which was unconventional and very avant-garde, which could not be found in ancient traditional lower case calligraphy. The above three writing characteristics constitute Zhu Xiaoke's unique characteristics in Wei and Jin Dynasties and the style of stone tablets. In addition, it should be pointed out that on paper, he is good at writing with something similar to newsprint, which may be a good way for him to find his own performance in fine print. In this regard, I think it is very good for a calligrapher not only to innovate in calligraphy itself, but also to explore the road of innovation in tools and carriers on the basis of inheriting tradition with great concentration. The use of base paper in Ming and Qing dynasties made the expression of calligraphy appear the realm of rich ink color change and clever pen and ink skills. In recent years, I have been writing about the development of hard pen calligraphy, pointing out that it is difficult to improve the artistry of hard pen calligraphy, not all of which are limited by the performance of tools. We should also study and consider the innovation of tools and the use of paper. If the brush is written on cooked paper now, I'm afraid the artistry of the brush will be discounted.
The impetuous mood and the sense of quick success and instant benefit in contemporary book circles are very strong, so few people can calm down and engage in lower case calligraphy in the sound of cursive script. But Yong Fang, who is in his twenties, sat down. I think his heart must be calm and his mind is smart, so he succeeded. He found a new landscape on a road that few people walked, and drew it for everyone to see. As for his research on lower-case calligraphy, Yong Fang himself said in "Three Shocks on My Way to Learn Books": The first shock was 1990, and cursive script was shrouded in habit, so I tried to write lower-case calligraphy when I was miserable. The second shock began in 1994, and he won one, mixed hundreds and many times. Instead, I benefited from some posts that I didn't like, and found my feelings from these posts. The third influence is that in recent years, we have begun to pay attention to the method of learning books, paying attention to accurate copying, analytical copying and memorizing. The success of calligraphers is multifaceted. Methods, understanding, qualifications, diligence, environment, learning from teachers and writing methods are all factors that may make a successful calligrapher. Yong Fang may have these conditions, and he is enviable among the new generation of calligraphers.
Aesthetic grasp of Zhu calligraphy
Liu xianbin
The exhibition hall phenomenon of contemporary calligraphy is the product of calligraphy aesthetics, which highlights the visual feeling of works and the author's creative psychology, and forms the trend of contemporary calligraphy in the replacement of exhibitions. In such a "calligraphy humanistic" environment, the creation of lower case letters may be the most "hit". It has no "visual impact" and "exhibition hall effect", so it is likely to be ignored because of these "non-artistic factors" ...
Whenever I think about this, I will lament the fact that Zhu won the lowercase letter award at the 7th and 8th China Youth Exhibition. If it weren't for the inherent quality of fine print works, the once all-powerful "China Youth Exhibition" would not favor him again and again.
I have never met the Yong Fang brothers, and I have never seen his works. But judging from the breath of his works, there seems to be a rapid wind between his pen and ink. So should what he wrote in lowercase letters. In the process of fast writing, the size, structure, ink color and correctness of words are ignored. However, the result is a long-distance running between vertical and horizontal, light and smooth. It gives people a fresh feeling of watching the scenery in the forest, not being blown by the wind, but shaking immediately. Brother Yong Fang's little book inherited Wei and Jin Dynasties and was captured by the sages of Yuan and Ming Dynasties. I believe he is familiar with the classics of past dynasties. This skill of reading before realizing is the source of calligrapher's spirituality and the most precious creative potential. The artistic appeal of Zhu Xiaoke's works is convincing!
From the rational pursuit of calligraphy to artistic style, I think Zhu's lower case benefited from his "reliance" and "admiration" for Wang Yayi's lower case. He likes Yalushan people's natural and unrestrained detachment, simplicity and broadness, and adds Ni Yunlin-style vigor and brilliance. So its small letters can make the pen fly and make it ethereal. He doesn't care about the word formation and arrangement order of lower case letters, but pursues its vividness and harmony with emotion. This is the true feelings of calligraphy creation, but it tests the nature and cultivation of calligraphers. Brother Yong Fang gained enlightenment and success by his diligence and thinking.
Zhu's writing in small letters is free and easy, so that people can really enjoy the pleasure of artistic creation in their relaxed and casual situation. I believe Brother Yong Fang was also in this period. What's more gratifying is that his works convey the excellent comfort of traveling to the appreciator-if one enjoys this meeting, what else can one ask for!
It is difficult to write fine print in a graceful way like a calligrapher. What will his cursive script look like? Zhu cursive script is full of energy, and the pen is decisive and informal; The rhythm is lively and dense, with both "lines" stretching like dragons and snakes; There are also heavy and fierce "dots" affixes, which make the overall atmosphere of the work present rhythmic charm. Zhu has a bold pen and ink ideal, and his romantic feelings are galloping in the search for points and lines.
Brother Yong Fang has won many reputations in contemporary exhibitions. When we examine his works in the exhibition, we can also find that Zhu does not pursue the "brilliance" and "dazzling" of his works, but attaches great importance to the aesthetic power of his works. He hopes to express himself with pure pen and ink language and confident way. His originality in composition not only continues the artistic beauty of his works, but also makes people feel his artistic quality of keeping watch on the calligraphy tradition and unremitting exploration.