Later, Qian Shuiqing worked as an educator in Wuhan. He is honest and conscientious, and won the honorary titles of "model teacher" and "model class teacher" in Wuhan for three consecutive years. 1978, in response to the national policy, Qian Shuiqing was admitted to Wuhan Institute of Water Resources and Electric Power for further study as a freshman. Although the school leaders and students were unwilling to give up, Qian Shuiqing came to work at the Three Gorges Hydropower Station and participated in the construction of the Gezhouba water conservancy project in the Three Gorges. He also made great contributions and was received by the leaders at the central level.
Zeng Guofan once said: "Learning Chinese characters is expensive in constancy". Apart from his busy work, study and life, Qian Shuiqing has never given up his love for calligraphy. Visited the famous posts of Yan Zhenqing, Liu Gongquan, Ou Yangxun and Erwang. And I have understood them carefully and persisted for decades, laying a very solid foundation for traditional calligraphy. From 65438 to 0995, 50-year-old Qian Shuiqing was instructed by his friends and decided to learn calligraphy from his teacher. He won the favor of teacher Tian Yingzhang with a letter from his teacher. Later, Mr. Tian Yingzhang introduced two masters, Qi Gong and Liu Bingsen, to show Qian Shuiqing the maze, which opened the door of the art hall. Then he became a scholar and made great achievements in the art field.
The creation of the artistic realm of calligraphy is nothing more than six words "in and out". By copying the calligraphy posts of ancient sages, we can try to figure out everyone's calligraphy realm, accumulate precipitation, find a way that suits us from the experience of our predecessors, integrate the essence of ancient and modern calligraphers and form our own style system. These six words are easier said than done.
Qian Shuiqing studied books in Linchi since he was a child. He can write, write, pass on, seal and write, and has a deep foundation. However, Mr. Tian Yingzhang is still very strict with him and will criticize the overall composition, structural brushstrokes and unreasonable brushstrokes of a work. He suggested that Qian Shuiqing put aside his past achievements, choose a new pen to re-enter and then come out. Tian Yingzhang said, "If you want to achieve something in calligraphy, you must have your own system and a proficient system. This is the personality of calligraphy. " Qian Shuiqing is convinced of the teacher's words.
In the next year, he chose to start from the European style and carefully ponder and study from the four strokes of point, horizontal, left and right. A year later, when Qian Shuiqing handed the work to the teacher for review again, it was finally recognized and evaluated as "entering". Later, Qian Shuiqing also re-studied official script, regular script and running script, and finally every little makes a mickle, forming a unique style.
Qian Shuiqing's calligraphy structure is as tight and loose as Qigong book, dignified and calm. As the calligrapher Wang Xizhi pointed out, "the situation of Chinese characters should not be wide at the top and narrow at the bottom, so it is disproportionate to emphasize light." Divide the room into white, the distance should be even, natural and steady. "Strive to brush, if the swan flies high, graceful and graceful, and integrates the strengths of many families, which has been affirmed by readers and calligraphers.
In 2009, Qian Shuiqing, together with famous calligraphers Shen Peng and Ouyang Zhongshi, published Three Masters of Calligraphy, which affirmed his position in the calligraphy field. However, he still practices calligraphy hard every day. "When I am 70 years old, I plan to go to cursive script." Qian Shuiqing said with a smile. There are only a handful of nationalities with calligraphy art in the world, among which only China's calligraphy has the longest history, the widest spread and the closest relationship with national culture. China's calligraphy has a long history, which constitutes the historical track of the development and evolution of China's calligraphy aesthetic thought and consciousness since ancient times. The development of calligraphy style and aesthetic consciousness is the representative of national culture and the embodiment of aesthetic fashion and taste of the times. Generally speaking, from the point of view of history and theory, the development of China's calligraphy aesthetic thought can be divided into eight parts, namely, Han people advocate qi, Wei and Jin dynasties advocate rhyme, Southern and Northern Dynasties advocate God, Sui and Tang dynasties advocate law, Song people advocate meaning, Yuan people advocate state, Ming people advocate interest and Qing people advocate simplicity. This is only a summary of the main trend of calligraphy aesthetic thought in a certain era, mainly in terms of its most concentrated and concrete calligraphy spirit. The aesthetic thoughts of calligraphy in any era are rich and varied, but each era has theoretical thoughts that represent the aesthetic characteristics of this era.
Calligraphy is the soul of China's art, and the beauty of calligraphy is nothing more than "reality" and "emptiness". The "real" aspect is tangible. Including pen, structure, composition and so on; The aspect of "emptiness" is intangible, including spirit, charm and artistic conception. The two aspects depend on each other and learn from each other. * * * shows the aesthetic value of calligraphy works. Pen, structure and composition are all visible forms. The pen is divided into delay, ups and downs, twists and turns, the front of the pen is different from the hidden dew, the shape of the strokes is square, and the pen power and gesture are also particular; The structure is odd, dense and inconsistent; The rules include subject and object, reality, avoidance, coherence of qi and pulse, and the form of ranks. The three are different and complement each other. Spirit, charm and artistic conception are all intangible things, which need to be expressed by tangible pen, structure and composition.
Spirit is the soul of calligraphy. The ancients commented on calligraphy, saying that "God is the highest, followed by form and quality", but at the same time pointed out that "without rules, God would be gone". The beauty of spirit can only be expressed through formal beauty and qualitative beauty. Charm is the life of calligraphy art, the bridge between form and spirit, and the medium to express emotion. Calligraphers have mastered skillful skills and reached the extreme of luck. They use qi to write, the qi and pulse between stippling are interlinked, and the verve and charm are only shown. Artistic conception is also the inherent beauty of calligraphy art, including artistic conception, emotional appeal, expression, personality and other connotations. Compared with charm, he pays more attention to the expression of the author's subjective spirit, which is a higher level of calligraphy aesthetic content. Looking at China's calligraphy, it is a good calligraphy work, but it feels heroic, giving people a free and easy, moist and magnificent artistic feeling. The concept of "China Calligraphy" firstly refers to the words written in ink on paper, although there are no fewer books carved on stones than those written on paper or silk in the classical period of China's calligraphy history. Because of this, it is difficult for some people to regard Oracle Bone Inscriptions and bronzes as calligraphy works. China's calligraphy refers to all handwritten hieroglyphs. In other words, no matter what materials and tools are, there is no time limit. Therefore, China artists have actually included all the inscriptions, such as bronzes from Oracle Bone Inscriptions in the Yin Dynasty (in the middle of 2000 BC) to the Zhou Dynasty. From the perspective of European aesthetics, calligraphy is first related to the inscriptions on paper, but has little to do with the inscriptions on other materials.
Calligraphy looks very simple, as if anyone who can write Chinese characters can participate. If you can write Chinese characters on Xuan paper with a brush, you seem to be a calligrapher. Actually, it is not. Calligraphy, as an artistic creation, is mysterious and difficult. It is easy to write Chinese characters, and not many calligraphers really enter the realm of calligraphy art. Calligraphy is a meaningful black-and-white composition on white paper, relying on the flexibility of brush strokes and the richness of ink and wash. Therefore, calligraphy is the art of composition; The calligrapher's pen is an extension of his fingers, and its sharpness, slowness, flying and frustration are all driven by subjectivity, which becomes the outlet of his emotions, and that is the essence of flying like a phoenix. Therefore, calligraphy is also an art of expression; Calligraphy can quietly reflect the writer's personal life feelings, knowledge, cultivation and personality through his works, so there are usually sayings that "words are like people" and "books are paintings for the heart"; Calligraphy can also be used to write inscriptions and plaques, so it is also a practical art. In short, calligraphy is a relatively comprehensive art, and it tends to express subjective spirit. Calligraphy and painting are dominant in other kinds of fine arts in China, ranking first in China. Putting calligraphy and painting together puts calligraphy in front of painting, which is called "painting and calligraphy", such as "painting and calligraphy are of the same origin", "Qin Qi painting and calligraphy", "painting and calligraphy" and "can write and draw" and so on. Calligraphy is closely related to Chinese painting. Especially after the emergence of literati painting in Song and Yuan Dynasties, painting with pen pays attention to calligraphy, and ink painting is similar to calligraphy. China's ancient sculptures also contain the characteristics of calligraphy. The texture of ancient sculpture in China is a combination of lines, and the decoration of modeling is intrinsically related to the seal script in calligraphy. The layout of ancient buildings in China follows the principles of symmetry, balance and master-slave relationship. The implication and borrowing scenery in garden architecture, as well as the ethereal and flying pursuit of pavilions, terraces, buildings and pavilions are closely related to the structure, composition, rhythm and charm of calligraphy. As for arts and crafts and folk arts, they are also influenced by calligraphy to varying degrees. Calligraphy is the soul of China's art.
Plastic arts are all composed of visual image factors. The smallest unit of image elements is "point", and the trajectory of "point" is "line". The organic combination of points and lines constitutes calligraphy, the trajectory of lines forms a "face", the organic combination of points, lines and faces forms a painting, and the trajectory of faces forms a volume, thus forming a sculpture.