Ma Script, also known as Ma Script, Ma Script and Ma Script Calligraphy, was created by contemporary calligrapher Ma Yongan. In 2009, it was named "Ma's Calligraphy" by China Calligraphy Research Xintiandi and included in the compilation "Ma's Calligraphy". Modern calligraphy. On February 13, 2010, after expert argumentation, it was registered by the National Copyright Administration and officially named "Horse Calligraphy". Horse Calligraphy is known as the "Sixth Calligraphy Style" of Chinese calligraphy. Horse-style calligraphy is a new style of calligraphy developed and evolved on the basis of traditional calligraphy. Among the six comparative standards of Chinese calligraphy, five standards are completely different from traditional calligraphy and are a completely new concept.
Ma Yongan, courtesy name Huaiyi, was born in Shangcai County, Henan Province. Graduated from Beijing Normal University and Renmin University. He has worked as a reporter and editor and published several literary and artistic works. He is accustomed to reverse thinking and creative thinking. He has unique profiles in many disciplines and fields and has made outstanding contributions. He also serves as consultant of Nanchang Tengwangge Ci Fu Research Institute, professor of Huaxia Art Institute, director of Long Shuncheng Art Museum, vice chairman of Chinese Art Artists Association, chairman of Chinese Calligraphy Artists Association, president of Chinese Art Collectors Association, and president of People's Art Magazine, etc. position.
The structure of horse-style calligraphy is based on the main script, supplemented by the side script (there was no such term before, it was relative to the main script). The front and side scripts are used interchangeably, making it vivid and lively. In traditional calligraphy, regular script is regular script and cursive script is cursive script. The front and side are clear and slightly dull.
The momentum of horse calligraphy is high on the left and low on the right. It follows the trend, stretches and flows smoothly, conforms to the mainstream aesthetic orientation, and is more eye-catching and inspiring. Traditional calligraphy, which has remained unchanged for thousands of years, is always low on the left and high on the right. It goes against the trend, seems to be blocked, is not smooth, and does not conform to the aesthetic ideal of human beings' longing for beauty.
The strokes of horse-style calligraphy have few pauses and no folds. The strokes of seal script and cursive script are used to move the strokes smoothly and naturally without any artificiality, which opens up a broader aesthetic space for the art of calligraphy. In traditional calligraphy, because the pen movement is contrary to the trend, writing can only be completed with a folded pen. There are too many folded pens and there are too many pens, which lacks suppleness. Formal writing is just over death, while cursive writing is at the other extreme. These are not in line with traditional philosophical thoughts and fundamentally violate the aesthetic consciousness of the subject.
The stippling of horse calligraphy is rich in changes. Compared with traditional calligraphy, it goes in the opposite direction and is a kind of invention and creation. Horse calligraphy, the pen is inserted into the pen plate, as thin as silk, and the tip of the pen is outside. The strokes are as light as heavy, as light as hairs, as heavy as clouds, and all the hairs are emitted. The brush strokes are not closed, and the momentum is like breaking bamboo, dripping with joy, and flowing thousands of miles, giving people a sense of pleasure. Traditional calligraphy has the same method through the ages. If you want to go right, go left first, if you want to go up, go down first. Everyone sticks to their old ways and is lifeless. Mi Fu, the great calligrapher of the Song Dynasty, said, "Those who are good at calligraphy have enough strokes." Horse calligraphy has formed its own unique style in terms of structure, momentum, brushwork and stippling.