Han Liang's official seal is neither the standard Han tablet in the Eastern Han Dynasty nor the large and small seals in the Zhou, Qin, Han and Ming and Qing Dynasties. His official seal is a combination of Oracle bones, mirror tripod, Miao seal, silk script, bamboo slips, running script, cursive script and regular script. The snail flat seal created by the late painter Master Lu, I call it the official seal. His seal script takes seal script as the bone, takes the appearance of seal script, and uses the method of grass to get the ink of painting, forming a unique style of calligraphy that looks like seal script rather than seal script, which is noble and atmospheric, with strong ability to lift the tripod and strong taste of gold and stone. His official seal is divided into three parts: official intention and official taste, which is different from the ancients and modern people. Let's call it "the official seal of Han Liang".
Followed by cursive script.
Han Liang's cursive script is based on solid regular script. Two-thirds of the monument is solid, so it can be written with penetrating power. This is essentially different from the impetuous generation's dismemberment of Chinese characters, exaggeration and distortion, and crooked use of words to cover up the lack of technology. His cursive brushwork is based on steles to strengthen bones and posts to enrich spirit, so it has both form and spirit.
Han Liang is not only good at calligraphy, but also good at seal cutting.
His prints are full of freehand brushwork, and he doesn't like exquisite carving and is a toddler. This is directly related to his personality and the inheritance of teachers. He used to be my art friend, Mr. Fu Jiayi's high foot. It is inevitable that he has some marks, which look familiar to me. On the whole, Han Liang's seal cutting belongs to the bold school, which is a "river of no return" and not graceful, such as "Xiao Feng can support the moon".
Specifically, Han Liang is a leader in the printing industry today with its extremely broad printing road, changeable styles and flexible techniques.
—— Yuan Guangxi University students, who can abandon fame and fortune and play a game between Jinshi Hanlin, are awe-inspiring. Han Liang's seal cutting is unique in cutting and natural in composition. The heart attacks, sometimes heroic, entering and leaving the no-man's land, vaguely smelling the sound of jade breaking; Sometimes calmly, between a few millimeters back and forth, you can still see the traces of steel knives marching. Incomplete places are full of ambition, and wet places are full of affection. The view can understand the vicissitudes of the world, and the caress can solve the yin and yang variables. If you look at the boundary carefully, you will see the real meaning: only if you wander outside things can you become a smiling Buddha.
-Zheng Xiaoping look at Han Liang's calligraphy, it can be seen that he has made great efforts in both aspects of inscriptions and absorbed the "nutrition" of many "inscriptions" in previous dynasties. His cursive brushwork is lively, and his brushwork is also flickering, just right. The lines are elastic, dexterous and vigorous, the words are easy to stretch, graceful and steady, which can be described as the charm of "Minnan dialect". The author especially likes his seal script and finds it particularly wonderful. It can be said that it is a masterpiece of comprehensive attainments of calligraphy in Han and Liang Dynasties. It has the shadows of Oracle bones, Zhong Ding, stone drums, Han tablets and Han bamboo slips, but it can be digested and integrated, which has become the "style" of Han and Liang Dynasties today. Han Liang is well versed in the spirit of "Song Shu Shang Yi" and can skillfully and flexibly apply it to his seal script creation. His favorite taste is to use official meaning into seal script, and even use cursive script into seal script. His clumsy taste of official script is integrated with the childlike interest of seal script, which is unique and interesting. His interest in pen and ink is fully displayed in the lines, which makes his personality more picturesque and contains the taste of stone. Pen can be round, Fiona Fang has both ability and feasibility, and stops at what he should do. He is full of new ideas, bizarre and changeable, and not crazy. The strokes are long, straight and astringent, dry, vigorous, bold and energetic. Words gather and disperse in an orderly way, the density is appropriate, and the change is extremely oblique, flat and dangerous. The strokes between the lines echo each other and welcome each other. In a word, appreciating Han Liang's seal script works has a feeling of being indulged by the fluency of God and Xu Yuansheng, and the most rare thing is that there is a kind of grandeur and boldness in it, which gives people a natural beauty without artificial carving. This is everyone's atmosphere. It can be said that Han Liang's seal script works, in my opinion, can at least rank among the "exotic flowers", which is at least one level higher than that of many calligraphers in Guangdong today, especially those who only stay between the traditional stereotyped calligraphy and have no creativity but only "ability". -Buyi scholars
Han Liang has deep feelings and deep research on calligraphy. Especially in the Wei and Jin Dynasties, I have a good understanding. Most of his seals are Wei inscriptions, simple and simple; But in his cursive script, it clearly casts the bones and muscles of the monument, which is tough and powerful. Coupled with the rhythmic structure and layout, he has a tendency to lie in the phoenix pavilion. His seal cutting should be varied in different aspects, which shows that he learns from the ancient times instead of sticking to the ancient times and pays attention to the creation after mastering it.
Han Liang's calligraphy is not only for self-study, but also for bringing calligraphy closer to the public, so he chose "Influence" series as his new attempt and creation. Through the series of Influence, readers, especially young readers, not only appreciate the colorful charm of calligraphy, but also go further into Chinese and foreign history and culture and accept the edification of truth, goodness and beauty. As an educator, I especially appreciate his popular way of "entertaining", which is really a good thing with infinite merits. Han Liang is a native of Guilin. Although I live in Tianhe, Yangcheng, I seldom get together. He only met at some elegant collections or calligraphy and painting exhibitions, and then he greeted and spoke in his hometown dialect. This time, after reading his two representative works, Impression of Famous People in the History of China 100 and China Youth 100 Calligraphy Works, we can further appreciate the talent of Brother Han Liang and the ingenuity and intention of cultivating his daughter Meng Yancheng as a doctoral student in calligraphy and painting. Guilin has always had a tradition of painting and calligraphy creation. The prosperity of calligraphy and painting and the emergence of celebrities have added more charm and charm to this historic city. I sincerely wish Brother Han Liang always smiles and is always new in his calligraphy and painting creation, and becomes a Buddha through laughter.
-Jiang Shuzhuo
Han and I are old friends. We have heard about Xiang Xian's great artistic talent for a long time, but we haven't had a chance to talk for a long time. Fortunately, Guangdong had the opportunity to meet each other. The two exchanged books and printed copies, and the rest were orders, enjoying his artistic image and chatting. Guiping, known as Zhou Xun House in ancient times, is a blessed land in the south, which gave birth to Han Liang's artistic source. Later, due to the need of work, he settled in Guilin City, where the fragrant osmanthus trees, the strange peaks and jade belts, the cold world and the heavy accumulation of historical sites inspired him to swim in calligraphy and epigraphy. For decades, I have adhered to the road of art, pursued the ancient method, consulted famous artists, indulged in the pool, and immersed myself in playing with knives, all of which turned into relaxation, happiness and great achievements, but I was helpless and full of weather. Within a square inch, it is full of simplicity of time and richness of space, warm luster and quaint charm, which is fascinating. In the Qing Dynasty, Baweizu said, "The ancestors of seals in Qin and Han Dynasties, such as Kunlun Mountain, sought for mountains and Xinghai for water". The "a little spirit" in the printing method of Qin and Han dynasties lies in the flowing natural interest. In an ideal environment, it is muddy and heavy, simple and elegant, ancient and ancient. From the Qing Dynasty, He Zhen to Cheng Sui and Deng, from the rise and fall of Zhejiang School and Huizhou School, and from the development trend of new seal cutting since the late Qing Dynasty, we can see the trend of worshipping seals in Qin and Han Dynasties. Han worked hard to lay the foundation stone in Han and India, and pursued it with his heart and hands, with artistic nutrients such as inscriptions, ancient seals and Han bricks, which made him have a different taste. In a word, seal cutting is a perfect combination of seal cutting, composition and knife cutting. First of all, seal cutting with calligraphy, the spirit of intentional writing should run through the whole process of printing, and the foothold of seal cutting is pen feeling and ink interest, which is the foundation of vivid seal cutting. Zhong Ding bronze inscriptions in Han Dynasty are simple and elegant, bold and unconstrained, with unique calligraphy and seal cutting, rich lines and great appeal. Thick calligraphy gave him a strong breath. For schema management, it is painstaking and full of tension, and the "potential" of form itself makes the static world become a space full of people and echoes. Later knife techniques, such as the ups and downs of the pen, the turning point, the lightness and heaviness of the pen, the appreciation of the Han dynasty and the kindness of the seal, the anger of the stone, the longing and interest of the spring, suddenly, if the wind sweeps away the fog, the linear knife marks seem to be connected, rising and falling, forming a unique sense of frustration, which is both relaxed and relaxed.
Who is the Indian? Heart also. Melting and casting realm is the highest aesthetic ideal of Indians. To be a seal of the mind is to create a "realm" of self-life experience in Zen, settle the mind and get comfortable. In the microscopic art circle of heaven and earth, as Yi Zhuan said, "its name is small, but its kind is big", Han's Dao is simple, magnificent, refreshing and freehand, rarely carved and naive, wrapped in wind and rain, magnificent and magnificent, showing profound characteristics. Touching the stone shows boundless scenery, and playing with a knife shows desert wind and smoke. In the variation of knife and stone, it is either urgent or violent. In this dripping knife, I look for the stone pen for the seal. Savor those natural lines and rusty shapes carefully, and take their profound and far-reaching life experiences, and sail endlessly between the sea and the sky in this leaf boat.
You can see the heart of the vast sea in the spoon water, and there are also vast depths between pebbles, which opens a bright window to the infinite wonderful realm and contains the natural universe. Pray that Han Liang can continue to explore the pure artistic realm, wait for another day, go straight to Yunfeng, forge the strange stone of Nuwa, wander around the barren land, engrave the soul in the seal and shine on Kyushu alone!
-its official seal is based on the official seal, taking the appearance of the seal, using the hair of grass to get the ink of painting, and taking advantage of the change of the seal to form a kind of unofficial seal, which looks like the wind of Dapeng, the long whale spraying waves, the cliff falling into the valley, and the light of electricity. Tracing back to the Qin and Han Dynasties, preparing for the Jin and Tang Dynasties is very similar to a broadsword array, with a unique taste of epigraphy. There were naughty times in ancient times, but there are different disadvantages today, so it is called "Biography of Li Hanliang". Its cursive brushwork is based on steles to strengthen bones and posts to nourish the spirit, so it has both form and spirit, which is irrelevant. Han Liang is not only good at calligraphy, but also good at seal cutting. It gives the impression of freehand brushwork, not small and exquisite. Envy the stone of Zhou and Qin dynasties, look at the shape of Han and Wei dynasties, and look at the bones of Han, Bai, Qin and Song dynasties. It is the god of Shang and Yi. On, Golden Melody and Innocence of Shu Dao. It is the leader of the bookstore printing industry today.
The book is deep, and it has been like this for thousands of years. There is no limit to calligraphy, and there are ways to write. In fact, it is always an interesting sentence that tells the mystery. "Fun" is an eternal call, and artistic exploration will never end with completion. "Fun" is always on the road of climbing, in the progressive tense, facing the beautiful front of twists and turns.
Generation after generation, books are constantly being read.
-Bai Xuesheng