Learning calligraphy is inseparable from pioneering films. "The basic means of learning traditional art is to learn from it. Be sure to copy the ancients, or you won't have your own way. Mr. Xie said that the way to learn it is that the deeper you learn, the higher you will be. " For example, Deng is a representative figure of calligraphy in inscriptions, and his works are often used as learning models by learners of seal script and official script. When he was young, he had the opportunity to see a large number of rubbings, often 500, which reflected his hard work from his calligraphy lines. In Liu Yiwen's view, the hard work of copying is also the only way to learn calligraphy. The deeper the research, the greater the creative gain.
For the ordinary audience, to improve their calligraphy appreciation ability, they need to read more inscriptions of predecessors, even works that they can't understand at the moment. When Liu Yiwen was working in the calligraphy hall of Shanghai Museum, he was often stopped by the audience to ask various questions. For example, some viewers pointed to Su Dongpo's works and asked if his words were hung here because he was a great writer. Many viewers can only read regular script and linger in front of Zhang Jizhi's handwritten scroll, but there is a work by Xu Wei in the calligraphy showcase of the Ming Dynasty. People often ask, "Is this word good?"
"Su Dongpo's handwriting is really good, but you can't see much effort on the surface, and the contents are deep. Xu Wei's handwriting is really good, but it is difficult to explain where it is. " Liu Yiwen believes that when calligraphy reaches a certain level, when communicating with each other, people often use "breath" instead of "kung fu" to evaluate their works, which requires learning and cultivation behind them. "Xie once said that art needs ingenious means and profound knowledge, but if it is not studied, it will be superficial after all, which will greatly inspire future generations. Only by reading more books can we have a complete perspective on the art of calligraphy. "He pointed out that the current calligraphy exhibitions often take writing big characters as the fashion, but the first element of calligraphy is not arrogance. An excellent artist pours out what he wants to say to readers and audiences through his works. "The quality of calligraphy is not the size of momentum, but the content and style."
Innovation should do what others can't.
In order to sort out and publish the couplets collected by Shanghai Museum, Liu Yiwen sorted out the famous inscriptions and works of Shanghai calligraphers since the Qing Dynasty and left a deep impression. "Calligraphers are unprecedented, it's too difficult. It is difficult to meet Zhang San or Li Si along the way, and it is difficult for others to recognize it. " This also shows that calligraphy innovation is not easy through the ages.
When we appreciate the official script works of Yi Bingshou, an important calligrapher of tablet calligraphy, we will find that he did not adopt the traditional calligraphy style of "silkworm head swallowtail". Yi Bingshou uses the brush strokes of seal script, and it is very difficult to write official script with seal script, which is his innovation and also comes from the cultivation of stele science. In the preface and postscript of his works, many books are mixed together, but there is no mixed feeling, which seems appropriate and natural. Yi Bingshou's bold innovation has also created the unique style and superb artistry of his works, and created a new situation of calligraphy in the Qing Dynasty.
To innovate a new road, we must first have rich accumulation of epigraphy and post-study, and draw nutrients from the experience of our predecessors. Shanghai calligraphers Zhao and Shen are both like this. Zhao is good at calligraphy, painting and printing. He transferred some brushwork of calligraphy to printing creation, which created a new situation of seal cutting. His style of combining Beibei's calligraphy with running script and cursive script is unprecedented. Shen also has an artistic significance. He moved Cao Zhang into his writing and changed his writing style into a new one. "Artistic creation is also cruel. If innovation fails, the industry will be strongly criticized, and many people will be penniless until future generations. " Liu Yiwen pointed out that under the banner of contemporary calligraphy, there are many innovative measures, such as writing on the human body with a brush or writing with a huge mop. Although acceptable as an experimental art, they are increasingly deviating from the traditional calligraphy art. "In a writing material or writing tools, in fact, there is no difficulty. There is no essential difference between writing on girls' skirts and writing on rice paper. It is meaningful to innovate and do things that are difficult and others can't do. "