Appreciation of Calligraphy Works of Gansu Calligrapher Zhang Ying
Pictures of calligraphy works by Gansu calligrapher Zhang Ying 1
Picture 2 of calligraphy works of Gansu calligrapher Zhang Ying
Gansu calligrapher Zhang Ying's calligraphy works Figure 3
Gansu calligrapher Zhang Ying's calligraphy works Figure 4
Zhang Ying's personal data
Zhang Ying, pen name Liu Cheng, male,/kloc-0 was born in Longnan, Gansu in 1965. Now he is a member of Gansu Calligraphers Association, Gansu Calligraphers Association, Gansu Poetry Calligraphy Association, senior calligrapher and lanzhou railway administration Federation of Literary and Artistic Workers, working in lanzhou railway administration. I like calligraphy since I was a child. After years of study and repeated tempering? Er Wang, Sun, Huai Su, Huang Tingjian, Wang Duo? And other famous posts, and gradually form their own unique artistic style. He is good at cursive writing, absorbing the experience and artistic essence of his predecessors, learning from others and making bold innovations. Advocate? Art comes from life? He is good at digging up materials from ordinary life and getting creative inspiration. In recent years, he has created a large number of excellent works praised by people.
Han Li's calligraphy is becoming popular.
When discussing calligraphy in Han Dynasty, we must grasp two key points: First, the times. In the two stages of the Western Han Dynasty and the Eastern Han Dynasty, there were more handed down works in the middle and late Eastern Han Dynasty, and fewer handed down works in the Western Han Dynasty. So generally speaking, the Han Dynasty is not enough to show the difference between the former and the latter. The second is the official script style. Of course, the official script of the Han Dynasty is mainly official script, but it is not limited to the Han Dynasty. In the past, people thought that Han Li was a descendant of Qin Zhuan, but in fact there were official scripts in the Qin Dynasty. Not only the names of official scripts in Qin Shu's Eight Styles, but also the Qin bamboo slips unearthed in Yunmeng Crouching Tiger Land in Hubei Province and even the earlier Sichuan Qingchuan wooden slips are all evidence of the existence of official scripts before or after Qin Dynasty. Han dynasty is not the period of official script, but the period of development and heyday, which are two basic conclusions.
From the perspective of style comparison, Han Li can be compared with Qin Zhuan.
What changes have been made in the works in the official script period compared with those in the seal script period? First, the structure grows from long to flat. Second, the circular brush path becomes a square folding brush path. This so-called Fang Bi is very obvious in some outstanding works. Third, the thickness has changed. The change of thickness is only a phenomenon, but it means that the form of human life movement is gradually projected into calligraphy and expressed in calligraphy works. People's life process and movement process began to look for the corresponding relationship of lines in calligraphy works. The rhythm of lines is beautiful, which is the coincidence of law and freedom. In the official script works, we found that people began to pursue a kind of interest of liberation, release and freedom, and began to get out of formality. Of course, compared with Qin Zhuan, the imperial edict is also a kind of liberation, but compared with Han Li, its typical significance is not great. Both Qin and He are free, but the most fundamental difference between them is that they begin to pay attention to the freedom of lines. From the freedom of shelves to the freedom of lines, this is an important historical feature. As mentioned earlier, the form of double lines is a special phenomenon when characters developed to the Qin Dynasty. Compared with stone carvings, imperial edicts are double lines, while (Qin Li) is also double lines compared with Qin stone carvings and imperial edicts. Then the second point is that calligraphy lines are gradually active on the stage of calligraphy art.
China's calligraphy art is the most important to a foreigner. The first thing they see is lines, and China's calligraphy is the art of lines. The value of lines is vividly displayed in calligraphy, and lines are the life of calligraphy. The lines of calligraphy move towards waves, which means movement and rhythm. The definition of rhythm is regular movement, and the lines change when they move, and this change is in a rhythm. This simple truth was realized by our ancestors after a long time of writing training.
In fact, before this, the writing lines of Jin Wen and Oracle Bone Inscriptions also changed, but this change was not actively controlled by the writers, but produced in the process of revision and production, and the change of official script was based on people's psychological movement and modality, which was unified with people's rhythm. So this change reflects people's active consciousness. Why do we pay special attention to official script lines instead of emphasizing the changes of previous calligraphy lines? It is precisely because people consciously control the lines of the latter that they have essential differences and different aesthetic meanings. In the calligraphy lines before Lishu, Oracle Bone Inscriptions's lettering was to draw a straight line with a knife, and bronze inscription calligraphy had to go through six or seven processes in the casting process, each of which had a problem that could not be reasonably controlled. In the official script stage, the changes of lines can be controlled artificially. There are few official scripts, only two processes: writing and lettering, so people can play their subjective intentions in the line movement. This infiltration of subjective artists may be transformed into conscious artistic expression, whether it is local or whole, it is artistic expression anyway. It is very important that calligraphy will eventually move towards artistic expression. The change of calligraphy lines shows obvious value in the official script stage, but it is not the peak, and the peak is still in the cursive form behind. From long to flat, official script means to show the left and right, which is also a kind of freedom, while cursive script is a combination of up and down. Under the condition that every word is arranged neatly, swinging left and right is of course a free craftsman. Therefore, writing official script from long to flat is a pursuit of freedom. This exhibition of spatial freedom, coupled with the unique wild goose tail wave of official script, makes official script a very strong artistic style. Moreover, according to the different emphasis of pursuit, it shows completely different style characteristics.