Yu Changhai's Artistic Features

Yu Changhai was born in Laiwu, grew up in Northeast China and became famous in Jiangnan. At the age of 9, he was famous for learning calligraphy in his hometown. /kloc-went to Beijing to study at the age of 0/6. The following year, I studied under Wang, Professor and Mr. Peking University. He studied Chinese studies with his teacher, Mr. Qi Gong, and enjoyed calligraphy and painting for 8 years. In his later years, he moved to the south of the Yangtze River, specializing in calligraphy, and found a new way in Shanghai and Hangzhou, creating a new generation, researching and creating a plump and beautiful imperial concubine and elegant concave body. Read through Mr. Yu Changhai's calligraphy works to show the legacy of tang style's golden rhyme. What impresses readers most are the five characteristics of "show, elegance, decoration, danger and madness". However, each feature does not appear in the same work at the same time, with different contents, different objects and different calligraphy styles. One is "show". The beauty of the show, the movement of the view, the thought into the paper. These tall and graceful works are mainly expressed in cursive script, mostly in the form of fan, round light and screen, and the content is generally graceful poems in Tang and Song Dynasties. Lin Sanzhi, a famous calligrapher in China, once said the way to learn calligraphy: writing should start from Tang steles and be pushed to Wei, Jin, Southern and Northern Dynasties; From the Han and Wei Dynasties to the Tang Dynasty. When writing, you must learn the brushwork and ink method, and pay attention to writing, fingering, wrist method and elbow method. When writing, keep your fingers empty, hang your wrist first and then your elbow; Posts should be like before, before without me, after maturity, be quiet and dynamic, be intentional before writing, be firmly grasped and let go. Over time, practice makes perfect. The Road to Calligraphy by Mr. Yu Changhai perfectly confirms Lin Sanzhi's theory on the road to calligraphy creation. His work "Xiu" reveals "Yan Liu Jin Gu", which is vigorous, upright and gentle. Some fonts and strokes still have the thin, hard and delicate shadow of the teacher. The middle palace is compact and the four sides are open and closed. Its structure is magnificent, its strength is vigorous and its spirit is awe-inspiring, which embodies the spirit of the times and the author's pursuit of a perfect life. The second is "elegance". Elegant and smart, elegant and smart, elegant and smart between the lines, gentle and elegant rule. Mr. Yu Changhai has successfully developed a unique "imperial concubine style" popular in Jiangsu and Zhejiang provinces, combining the fickle charm of Jin people's calligraphy and drawing lessons from the elegant and luxurious style of Tang people. The main characteristics of this kind of fonts are thin and thick, tall and straight, slightly curved, clear in thickness, full in structure, imaginative, elegant and elegant, detached and selfless, which can not only show noble spirit, but also show the character of literati. His works pursue beautiful and elegant style of writing. In the process of writing, he will deal with every stroke, every line, every point and every turning point very deliberately, so as to achieve the intention of writing first and then responding in one go. This deliberately transcends the glyph, deduces an abstract beauty of flying with the change of point, line and surface and the slowness of pen. The third is "running". Moisturize smart, old but not dry, moist but not fat. Mr Yu Changhai is very familiar with the ancient method of using ink. Pen is bone, ink is flesh, and water is blood. He insisted on the principle of using ink as gold and splashing ink as water in his creation. He knows white and keeps black, and white is black. Seek change in unity and tend to be unified in change. He organically combined the opposing factors such as wrapping and hiding, fat and thinness, sparseness and density, complexity and simplicity, and organically combined the wetness, yin and dryness of pen and ink, so that his books were endowed with bone, flesh, fat and luster, moistened by spring rain and cracked by autumn wind, and the overall ink color was fresh and beautiful. In the distribution of composition, we pay attention to both the overall charm and the local perfection, and look around and echo before writing. Between the lines, there are pros and cons between the lines, with many gestures and liveliness. The external tension of pen and ink impacts the reader's vision and highlights the author's distinctive artistic characteristics. The fourth is "risk". Risk is harmonious, and salvation is extraordinary. The highest artistic realm of calligraphy is to dare to act boldly and strive for progress steadily, and more calligraphers have been exploring it all their lives. Sun's Book Score said: "Beginners learn distribution, but seek straightness. They know that leveling can not only pursue danger but also return to flatness. " There are two kinds of "risks": one is intentional risk creation, and the other is unintentional distress. If you are interested, you have tried to "break" the law when you were "manufacturing", then you can be proud of the wonderful; If you don't mean it, you must make a decisive decision, stop when you are good, and sometimes you can get unexpected results. "Desperate" will make people feel frightened, but if you go beyond the law to the end, you will be in danger of self-defeating and failure. Only by "breaking the danger" can we make a rescue, surprise and get out of danger. In his creation, Mr. Yu Changhai is most afraid of works that are dull, moderate and without ups and downs. He believes that "writing is like looking at mountains and not liking peace", and so is calligraphy. To pursue internal changes and seek great beauty and harmony in changes, poetry and prose should pay attention to cadence, and calligraphers should also have fantastic ideas and superb artistic techniques. Sometimes, he breaks the symmetrical structure law of Chinese radical collocation, destroys the uniformity of local structure and pursues overall harmony. Especially in the lower right of the pen, there are many unexpected, unexpected and exaggerated risks, but they can "break the risks" in the corresponding parts, save the day in the ups and downs, and still do not deviate from the center line of the central axis on the whole, and strive for stability in the risks, so that readers can have beautiful visual effects and infinite reverie. The fifth is "madness". Crazy fashion, passionate and imposing. Pen and ink should keep pace with the times, and artists cannot do without social background and environment. While adhering to the tradition, they should use new technical means and techniques to enrich the connotation of the evolved works and make calligraphy look atmospheric and bold. In his creation, Mr. Yu Changhai grasped the fashion elements such as freedom, boldness, individuality and novelty, boldly innovated and stood out, and integrated the heavy essence of calligraphy tradition into modern free creation. His concave calligraphy style draws lessons from the past, absorbs the present, injects modern calligraphy artistic creativity, emphasizes visual elements and artistic composition, and reveals a curious and interesting modern atmosphere from the strong classical charm. The sea is the world of dragons, and the clouds are the hometown of cranes. This is Mr. Yu Changhai's self-motivated couplet. The unique charm of calligraphy art lies not only in the spatial visual art of line segmentation, but also in the ability to directly or indirectly show the meaning of human life and rationally confirm human nature in seemingly perceptual ink and wash images. Yu Changhai once said: "Who said that official script is boring, writing official script should also be able to fly." Throughout Mr. Yu Changhai's works, all of them are exquisite in body, elegant in statutes and vivid in charm. Whether it's Kai, Xing, Li, Schill, or Kai,, Crazy Grass, they all adhere to the tradition and form their own school. At the same time, he learned from ancient ideas and learned from others, created a unique and changeable new style of calligraphy, splashed ink in the contradiction between quietness and madness, realized his artistic self and smiled at the calligrapher.