The first miracle, Wu Wen man. Mr. Wang received a good education, and his writing style was cautious, and he rarely published long articles, but his articles were the best, criticizing the shortcomings of the literary world, which had never been published by predecessors and recognized by others. Beautiful writing is like the wind in clothes, and it has a feeling of joy. His research on the Book of Changes has become a family statement at home. His Generosity and Curiosity on Books has become a masterpiece in the world today. Mr. Wang is a rare man with both civil and military skills, profound thoughts and profound martial arts.
The second miracle is the miracle of calligraphy. Mr. Wang is a calligrapher with vigorous brushwork and strong bones. His pen is sometimes powerful and unstoppable; Sometimes it's simple and quiet, generous and broad-minded. Most people think of that bunch of power that is concentrated in the center between turning operations, which is both heavy and heavy, advocating openness. The pen is like a god, always at the end of the winding pen, and the strength of the nib and the burr of the needle are drawn out. If there is turbulence pouring into it, you can tell that the gods are vigorous and vigorous, but you don't feel sharp. The so-called unexpected momentum is a miracle.
The third miracle is the uniqueness of personality. Mr. Zhang has a gloomy mind because he can see everything accurately. He is sharp and witty in speaking and writing, and sometimes he will inevitably hurt himself. His rigorous knowledge and education may not be rewarded. However, it is precious to keep it true. It is not embarrassing or straightforward. When it comes to Gao Mei, I am very happy and relieved, complacent, generous and naive. So his study number is "Buddha's Fantasy Residence". Buddha magic is the same, stimulating, entangled in love and hate, but the trial is only in an instant. Mr. Wang used this title to integrate the best and the worst in the world. Not an ordinary person, you should have extraordinary courage and detachment. Between anxiety and comfort, helplessness and introspection, loneliness and romance, it turned into a A Jin-like depression and freedom, and finally turned into an ocean that was popular at that moment.
Kong Zhongqi: Zhang's calligraphy pays great attention to composition and layout. Different strokes and different characters make his works appear diverse and rich, without a single sense. However, this concern is not intentional. It is based on a large number of daily writing classes and needs the support of the author's energetic and lively inner feelings. The rich changes of brush strokes are full of ups and downs of brushwork and rhythm, such as welcoming guests with firm but gentle, and being cool and positive. Like everyone else, he will never please the public in form, so his works are often dangerous, rich and inaccessible. The strangeness of its words can be said to be unique today. It can be seen from his works in recent years that it is his consistent pursuit to pay attention to the charm of natural flow between pen and ink and the sense of rhythm of lines. However, what he seems to emphasize is the opposite beauty of massiness and massiness, the distance and extreme integration of implicature and strangeness, and the pursuit of an ultimate neutralization, striving to conform to his innate self-restraint and cultural character. Mr. Zhang believes that "sense of rhythm" is the vitality of calligraphy and even all arts; Extremely disharmony and harmony are the highest realm of neutral beauty.
He Huaishuo: The biggest feature of Mr. Anzu's calligraphy is that he attaches importance to "writing outside the book". Ancient calligraphers have long found it appropriate to draw lively creative inspiration from nature and real life. And Mr. Wang also has a unique skill, that is, to move his own unique rhythm to the rhythm of dyeing Korean paper, which is another unique skill of Mr. Wang. If you don't practice, when you are old enough to master those sports skills, you can't accumulate these skills, and you can't melt the wonderful truth of these skills in your brush strokes. Other reading, learning and personality cultivation are all "works outside the book" of ancient and modern knowledge. Mr. Anzu is rich in knowledge and accomplishment, not to mention.
Wang Dongling: Teacher Zhang is knowledgeable. His "China Traditional Culture and China Calligraphy Art" is a classic with broad artistic conception and profound thoughts. Teacher Zhang's calligraphy is all four-body, and his attainments are extremely high. I remember when I was a graduate student, teacher Zhang's small regular script was displayed, radiant and unique. Later, I saw that the wall of his study was covered with works in the style of Ode to Shimen, with extraordinary charm and impressive brushwork. Later, Mr. Zhang liked cursive script with a silver hook, which was extraordinary. In recent years, he has made a blockbuster printing with an iron pen. In the past two years, Mr. Zhang's calligraphy has become more simple and vigorous, and more radiant. The real reason is broad-minded, knowledgeable and savvy.
Teacher Zhang, as an art educator, emphasizes positive pulse, learning and cultivation, skill and inheritance, and is pragmatic and indomitable. Perhaps Mr. Zhang's prestige in academic circles is too great, and some people don't know enough about his calligraphy achievements. It can be said that the title of the book is hidden by the scientific name. However, as Gong Zizhen said, "There are three kinds of calligraphers. One is that everyone's books, articles and knowledge, the taste of books, are suppressed in their chests and published on paper. If you don't write a book all your life, you will open a book one day, and you will be better than ancient and modern calligraphers one day. " Therefore, the same is true of Teacher Zhang's calligraphy art.
Tamia Liu: Mr. Qiu Nong's self-titled "buddha magic Residence" takes the meaning of "buddha magic is the same body", which is probably a body from the substantive point of view. Needless to say, this realm. "Buddha's Fantasy Residence" is engraved with big characters in running script, which is wonderful, full of ink and meaningful. The inscriptions on several lines of running script are wonderful. Mr. Qiu Nong was trained in classical literature and cultivated in traditional philology. Moreover, he has been teaching calligraphy in Zhejiang and the United States since 196 1, and he has a general grasp of calligraphy culture. For many years, Mr. Qiu Nong has been guiding doctoral students majoring in calligraphy, and his interest in writing is even stronger. I have received two long volumes published by him, one is Poems of Huangshi and the other is Poems Written by Ma Yifu to Shen. The words are not big, the stippling is solid, the momentum is very heavy, and it looks like a strong sense of writing. I have seen his calligraphy in the Han Dynasty and his own regular script. One example is that he is full of brushwork and rich in spirit and form. I have never seen Mr. Qiu Nong write, and I feel that his words and strokes are not smooth, like sticking to paper, and the brushwork focuses on the whole stroke. Mr. Luo Hengguang named it "Nuo". Seeing the turning point of his strokes is also the best gesture. Mr. Qiu Nong appreciates the sentence "Method is the combination of strokes" in Da Zhongguang's Book Raft. When he writes, he probably uses the method of "combination of potentials".
Bai: A poem says: "The article is eternal, and the gains and losses are well known." Dong Xiangguang said in the book cloud: "You can't help choosing books or playing games in the window. There is a spirit, but I can't finish answering when I eat. This is the most disgusting thing. I will think about it when I meet pen Yan in the future. None of the ancients was afraid of being criticized by future generations for thousands of years, so they became famous. " I have recently read through Mr. Zhang's collected works, some of which were reread more than 20 years later. I deeply feel that they have stood the test of time and become excellent theoretical works of our time. Teacher Zhang regards learning as an eternal thing, but isn't it the same when he makes and engraves books? We look at his ode to Shimen, the small print of the rhyme of Huangshi Zhai, the magnificent list book, and his seals such as "buddha magic Residence" and "buddha magic", but they are calm and vivid, and their pens and knives are "all spiritual".
Liu Heng: The most intuitive feature of Mr. Zhang's calligraphy is that his pen is solid and affirmative, and his stippling is vigorous and vigorous. Except where he started and closed his pen, he rarely changed his strokes, especially his habit of showing ink and turning his head, which all had typical calligraphy style characteristics of stele school. At the same time, Mr. Zhang has his own way of using a pen. For example, when writing, he does not focus on the front, but uses the front and abdomen. When encountering strokes from right to left, he often pushes the pen back and writes paper on his front abdomen at the same time in order to be powerful. In 2008, he had a special explanation for this, which he called "shovel pen" and was praised as creation. The calligraphy style of stele school pays more attention to strength and momentum than meticulous painting, and so does Mr. Zhang's calligraphy. His works are not only thick and heavy, but also full of twists and turns, supplemented by setbacks. Even if the pen and ink are dry and tortuous, it has formed a unique boundless and slow interest. In terms of brushwork, Mr. Zhang melted regular script, running script, cursive script and official script into one furnace and used them instead. His calligraphy is mostly cursive, but his appearance is different from ordinary calligraphy style, which incorporates many elements of official script and even Cao Zhang. For example, the vertical axis "Calligraphy is a slowly maturing art", "Ambiguous but refined", the plaques "Jian Shuo Building" and "Si Qi Residence" and other works, the strokes are stretched and extended, the words are dignified and concise, and the posture is simple, giving people a feeling of being clumsy and old. Faced with such a work, the viewer's attention is no longer on the exquisiteness of the pen or the beauty of the font, but more on the writer's understanding, choice and personality. In Mr. Zhang's works, stippling and glyphs are no longer the purpose of expression, but become a medium, and the works really express the author's aesthetic style and temperament.
Qi: From time to time, Mr. Zhang's calligraphy shows a playful interest, which is obviously different from the characteristics of calligraphy style, such as vigorous, graceful and elegant, but something beyond its scope. I think it is an interest full of the writer's life sentiment. Without sufficient academic self-restraint and artistic self-confidence, it is difficult to have such a great realm. ..... I think these "clear, thick, strange and ancient" interests can be felt in Mr. Zhang's calligraphy, but I even think that Mr. Zhang's calligraphy is more cultured and less bookish. Rising to the level of Chinese studies, its study is like the study of mind and nature, not the study of Chinese and Confucian chapters and sentences and the study of textual research of Qing Confucianism.
Tang Yinfang: Mr. Zhang is not a calligrapher in the general sense. His writing emphasizes "Tao", "reason" and "sex", which is embodied in concrete works. His handwriting is clear, his appearance seems simple, his inner quality is extremely rich, and he pays attention to the atmosphere of calligraphy. His brushwork is also based on internal quality, so his writing is a comprehensive presentation of technology, form and spiritual connotation. After the death of the older generation in Zhejiang, only a few people, such as Mr. Zhang, can follow the style of their predecessors.
Bai Di: At first glance, Mr. Zhang's calligraphy is not attractive, so many people think that Mr. Zhang is mainly studying literature and history, and calligraphy is second only to calligraphy. However, if we simply comb Mr. Zhang's calligraphy road, especially some representative works in the 1980s, you will find that at the beginning of the new period, when most calligraphers were still stuck in the interpretation and research of basic laws, Mr. Zhang was already writing from the height of traditional cultural spirit. Today, Mr. Wang's calligraphy embodies the pursuit and practice of traditional calligraphy everywhere. In recent years, its aesthetic concepts of "rough", "black" and "big" have become more and more obvious. ..... Mr. Wang always adheres to the principle of "making the past serve the present" in his treatment of the ancients. That is to say, his method choice completely falls on his own aesthetic consciousness, that is, whether it is Yan Zhenqing, Zhang Menglong monument, Han monument, Huang Daozhou,, Lu and so on. All of them serve his aesthetic ideals of being thick, big, black, pure and ancient. ..... In today's era when computer culture has generally replaced traditional culture, keeping a close eye on calligraphy, a home with profound traditional culture, and continuing to explore and develop, Mr. Zhang may be a typical case-calligraphers need education, and at the same time, this education needs to be directly reflected in the form of calligraphy creation.
Xu: In my limited understanding, Mr. Qiu Nong mainly pays attention to two aspects of calligraphy: one is to combine the situation with the pen, and the other is to understand nature. Of course, this is only a means, "to make the Chinese characters in the book have a sense of life, and not only the whole sense of life, but also every part should have a sense of life, that is, every stroke should reflect the rhythm of life" (Preface to Zhang Calligraphy Collection). His latest work "Pine Wind Terrace" is a model that fully embodies this artistic pursuit. Look at the pen next to the word "pine" and "wood". The pen moves up and down, just like the twigs of an old tree, swaying in the wind, graceful and vigorous; The "public" department is arrogant, with a thunderous trend, and the pen is straight to the paper, and the image is unexpected. This is simply a genius move. Another example is the word "feng" and "tai" and calligraphy, which "makes it turn vertically and horizontally" and "makes the painting messy" (in the words of Shu Pu). Even if there is a slight setback, the nib firmly grasps the paper and penetrates the back of the paper. This is not only an outstanding figure with ups and downs in brushwork, but also an elegant figure who sings night pavilions, which is also Mr. Qiu Nong's housekeeping means. Mr. Qiu Nong, who knows the essence of traditional culture, once wrote about "appreciating art" and "four styles"-clear, thick, strange and ancient, which can be said to be a "night singing pavilion" worth a try.
Sun Jiafu: Mr. Zhang's calligraphy is famous for its strength. This kind of power contains a domineering spirit, but it is beyond his conceit. At the moment when books are all the rage, what is lacking is high-spirited heroism. Full of heroic spirit and great anger, bullying the weak and fearing the hard is actually one of the ways to achieve it. Mr. Pan Tianshou has a saying that "bullying the weak and being afraid of the hard", and his heart is also a powerful confession. As the successor of Mr. Pan Tianshou and Mr. Lu, although Mr. Zhang is strong, he said in the inscription of his recent flagship work "Nothing is conducive to enrichment": "There is nothing in calligraphy works, which is called infinite enrichment." It can be seen that Ba Han and Xiong Qiang just set up a stage for their calligraphy development. This makes people marvel at its great achievements and full of infinite expectations for it and the history of calligraphy.
Xue Longchun: Mr. Zhang's calligraphy is very famous, especially the running script. I went to see a page of four poems by Huang Daozhou, which implicitly contained the legacy of Su Dongpo and Huang Shizhai, and briefly referred to Mr. Ma Yifu's late purport; See Ding Hainian's The Night Pavilion Singing. The inscription shows the monument of the Northern Dynasties. The ancient rhyme is mellow, but it is a bit dull to write, which is quite different from the so-called strong man. The early style of Master Hongyi is faintly visible. Mr. Zhang once said: "Among modern calligraphers, the highest style is" publishing Feng Ying, quietly not eating fireworks, without Li Shutong. "From Mr. Wang's book, it seems that his knowledge can also be confirmed. If the above works reflect Mr. Zhang's "sitting alone", then Mr. Zhang's large-character works in recent years pay more attention to momentum, which has the effect of "shocking four banquets". In addition, Mr. Wang's copying of Han steles (such as "ritual steles") and seal cutting (such as "Buddha magic") are profound and outstanding, which can not be praised by those who are not scholars.