The following 30 years are the 30 years of China's reform and opening up, the 30 years of rapid development of calligraphy art and the 30 years of Mr. Xu Chi's brilliance. Over the years, Mr. Xu Chi's calligraphy practice and research have never stopped. Faced with many temptations of the times and life, Mr. Xu Chi is determined to continue to learn from his post step by step, and then explore Wang Xizhi from Yan Zhenqing. He is knowledgeable and comprehensive, and his reason, behavior and cursive script are wonderful.
The truly successful calligraphers have different personal experiences, different educational environments, different inheritance orientations, different aesthetic tastes and different regional influences. However, to sum up, there are only two levels: one is skill and the other is talent; One is innate talent, and the other is acquired efforts. When talking about the growth of calligraphers in the Ming Dynasty, calligraphers said "standing at the age of 30" and Sun said "at the meeting, people and books are old", which is both a law and a fact. Mr. Xu Chi has reached a considerable height and width in these two aspects, extremely smart, showing wisdom, doing things quickly and speaking slowly; His art constantly burns ointment and draws lessons from various methods, which has made his unique calligraphy achievements today.
In the decades of calligraphy study and teaching, Mr. Xu Chi has always insisted that the aesthetic creation of calligraphy art is a special practical creation activity, and calligraphers must have exquisite artistic skills if they want to achieve the best artistic realm. Mr. Xu Chi believes that to improve the artistic skills of calligraphy, we must study hard and practice repeatedly. Only by mastering skillful and excellent artistic skills can we achieve the unity of law and freedom in calligraphy creation, so as to achieve the highest state of "doing whatever you want without overstepping the bounds"
Therefore, Mr. Xu Chi's classic calligraphers and works of China's traditional calligraphy are almost ignored, and there are no dyed posts, such as Shi San Pan by Da Zhuan, Ode to Shimen by Han Li, Preface to Lanting in the running script and Book Score in the cursive script, which all leave traces of pondering. In particular, all Yan Zhenqing's works from regular script to running script are not only widely read, but also eagerly sought after and studied day after day. Huai Su collected preface to the holy teachings by Wang Xizhi, and contending for seats by Yan Zhenqing. They are all familiar with everything, even to the extent of rote memorization. The calligraphy works of modern and contemporary famous artists, such as How and Yu Youren, are also infiltrated repeatedly. Even the Japanese mohists, which people are not optimistic about, and the controversial popular book style have been carefully studied. Therefore, it can be said that Mr. Xu Chi's calligraphy art is good in all aspects, and his brushwork is exquisite, and all kinds of calligraphy styles in China's traditional calligraphy can be beautifully displayed in his works.
Post worshipers divide the traditional post study into "three schools": Zhong You's pedigree, "Two Kings" pedigree and Yan Zhenqing's pedigree. (Chen Yijun: Imaginary Postscript Three Genealogies 20 13.9.4 Calligraphy Guidance) Genealogy of Zhong You is generally only a theoretical discussion, and most people have not mentioned it. Genealogy of Two Kings can be called the main rotation of China's calligraphy for thousands of years, and it has flourished from generation to generation. "Yan Zhenqing pedigree" has a long history, but it is not long. Since the late Tang Dynasty, few calligraphers and works based on Yan have been handed down. Mi Fei, who thought that Yan Zhenqing's calligraphy was the "father of evil writing", inherited Yan the most, and Qing Dynasty was only one of them. Mr. Wang Yong put forward a very pertinent point in "Keeping Quality and Seeking Change, Changing the Ancient into the New-Reading Mr. Xu Chi's Book as a Witness": "It is not easy to learn beauty. Because its face is generally familiar, it is difficult to make people suddenly produce' new ideas'; It has been widely studied and used for reference, leaving little room for future generations to improve; Moreover, the spiritual world reached by Xue Yan is very unattainable. " Mr. Xu Chi, on the other hand, said, "The more difficult it is, the more brave it is." "Yu Pingsheng likes Yan's smart pen and wide handwriting, and he is eager to chase after hundreds of posts he can see in front of him." After more than half a century's unremitting efforts, Mr. Xu Chi's calligraphy art is not only out of beauty, but also different from beauty: "The writing style is vivid and simple, and the pen is old and casual. While grasping the characteristics of Yan characters, it is also mixed with the epitaph of Han and Wei dynasties, which seems to be in harmony with each other and adds a little strength. " Mr. Wang Yong thinks that Mr. Xu Chi's calligraphy art is "a rare excellent structure in contemporary learning", that is to say, it is a shame that Mr. Xu Chi's calligraphy art is called the most accomplished calligrapher in the contemporary "Yan Zhenqing pedigree". Xu Chi's achievements in regular script writing are unique. Whether it is the early banners or the later hand scrolls, the statutes are rigorous, loose, meticulous and colorful. Mr. Xu Chi's cursive script is exquisite, which can be described as unique in contemporary China book circles; Mr. Xu Chi's regular script creation is ingenious but not oily, simple but not boring, with both form and spirit, which is more impressed by many calligraphy lovers. Mr. Xu Chi's calligraphy achievements in these two aspects are the best interpretations of "skill" and "talent". "China's calligraphy art has a long history, with a history of more than 3,000 years. In the meantime, famous artists came forth in large numbers, with various schools and rich expression techniques. In this case, it is very difficult to inherit the tradition and find another way. After long-term efforts and research, Mr. Xu Chi has a unique aesthetic view on the use of pen, structure and composition layout. In particular, on the issue of calligraphy, he broke the old saying that "the pen must be centered and the pen must be straight", advocated the aesthetic significance of using the pen from many angles, and created his own unique magnificent calligraphy art style.
Mr. Xu Chi's artistic achievements have a wide influence in the book world. Mr. Zhong Yuan Li called his calligraphy "a masterpiece of contemporary China calligraphy" (Calligraphy, No.2 1997). Yang described his regular script as "the style of a general with a strong pen" (Yashu Art 65438+ Liaoning Daily 0996). Mr. Wang commented on his calligraphy and cursive script: "I have been swimming in Yan's Competing for Seats and Sacrificing My Nephew for many years, benefiting from many teachers. I went to Lanting step by step, and I gained the vigorous and beautiful beauty of Xihe River. I am sincere and natural, and I am mixed with elegant and elegant wisdom. Yang Ningshi's simplicity and far-reaching and elegant and handsome Mi Fei (Old Tree in Deep Spring) have been washed over time.
Looking at Mr. Xu Chi's calligraphy works, calligraphy textbooks and calligraphy theory's works, we can draw a conclusion that Mr. Xu Chi's calligraphy art is unique in the contemporary China calligraphy pattern. This is mainly manifested in
The following aspects:
1. Elegant style and profound artistic conception. Mr. Xu Chi praised Confucianism in philosophy, taking morality, faith and loyalty as the foundation. In his later years, he gained the "samadhi" of Buddhism. He is generous, honest, kind, indifferent to fame and fortune, and willing to be lonely. As Guo said in the Northern Song Dynasty: "The character is high, the charm is high, the charm is high, and the charm is obtained. The so-called god is both god and essence. "
Second, the composition is novel and magnificent. It's refreshing to watch Mr. Xu Chi's calligraphy works. Mr Xu Chi is unique in the composition of his works. He is good at grasping the space and creating momentum, making the picture ethereal, magnificent, magnificent and full of connotation. Proper handling of the relationship between reality and reality, opening and closing, interpenetration, concession and density in composition and layout makes the work present an extremely natural and harmonious rhythmic beauty. Where there are words, the dragon and the phoenix dance, and where there are no words, it is full of fun.
Calligraphy is easy to win with strangeness, but difficult to win with flatness. Mr Xu Chi is good at "creating risks" and "breaking risks". He handled "strangeness", "danger" and "equality" very appropriately. See plain in danger, see strange in plain, changeable, patchwork, elegant style, strange down, natural artistic conception, full of fresh rhyme.
Third, there are poems in the book and paintings in the book. Mr. Xu Chi can draw nutrition from China's traditional poems, moisten the spirit of his works, absorb and apply the brush and ink techniques in Chinese painting, and add beauty of modeling and rhythm to calligraphy. In his long-term artistic practice, Mr. Xu Chi has created a unique and extremely high-quality pen and ink language with rich, vigorous, straight, round, spicy and concise lines.
Reflected in a work, it brings great artistic enjoyment to the viewer. In his works, the calligrapher's passion and pen and ink are integrated, and various techniques such as realism, seclusion, simplicity, density, shading and irregularity are used to emphasize the exaggeration of opposites and contradictions, while making them harmonious and unified. The ink line seems to be broken, straight or not, and the thickness is arbitrary. See the ethereal in the dense, and see the far-reaching in the enrichment.
Fourth, forget things and mess things up. In his later years, Mr. Xu Chi's calligraphy art reached the state of perfection and lawlessness, and entered the realm of free art. During this period, Mr. Xu Chi's calligraphy works showed different styles due to different moods when writing: plain and harmonious, bold and unrestrained, round and vigorous, or simple and vigorous. Although it is changeable, it is handy and handy. "Yoga Yu's carelessness is the best". It can not only convey the god of natural images, but also enrich the calligrapher's subjective spirit. The unity of the two gods has reached the highest artistic realm of selflessness and material travel, which makes the appreciator imagine.
Mr Xu Chi, who is about to enter the eighties, can be described as "the old man and the book". This is an outstanding calligrapher and calligraphy educator, not only belonging to Liaoning, but also to the whole country; It belongs not only to the present age, but also to the history. Over the past half century, Mr. Xu Chi has created a large number of excellent works in the pursuit of calligraphy art, and his artistic style and achievements are also outstanding.
Author: Dong Ling, Senior Editor of Hu Zhonghui Shenyang Daily, Professor of Shenyang Normal University.