Studied under Mr. Xiao Qiong and Mr. Shen Peng. Graduated from the Capital Normal University majoring in calligraphy and received a master's degree from the Business School of Renmin University of China. He studied Chinese studies, Western philosophy, museum public art education, art and finance at Peking University, Central Academy of Fine Arts, and Tsinghua University Academy of Fine Arts.
The works have participated in many national and international calligraphy exhibitions and are collected by the Palace Museum, the Ministry of Foreign Affairs, the China National Academy of Painting and other institutions.
He is the editor-in-chief of "Free Talk on Poetry" (Zhonghua Book Company, 2013). 1. "Ma Kai's Nine-Nine Proverbs" 2006
This work is written in blocks according to the characteristics of the poet's sentence count. Words and words can form a line; every three words form a structure of blocks and blocks, and it seems that they can also form a line. The most important thing is to hope that the Qi can flow through the intervening lines and the weak Qi can be dispersed and condensed. I like to look for new artistic feelings in current materials and the contextual expression of calligraphy itself.
2. "The Supreme Good Is Like Water" 2008
I have written many times before, and I hope to have a new feeling when creating this work. Therefore, I used different calligraphy styles and turned some strokes into dots to run through them. The calligraphy styles are interoperable and have some personality. Mr. Shen Peng once pointed at the work and said "good", and I asked "what's good about it?" "layout". This work is also a unique work written at that time.
3. "Five Plays by Ma Kai Congratulating His Grandson on the Birth"
Viewing Wang Duo's regular script work "Wang Wei's Poems" in the Palace Museum, I was impressed by its simple style and grand layout. Made a deep impression. When he was a child, he studied willow style in the Children's Palace, but he didn't leave behind a single regular script work. It is also very difficult to write well in Tang Kai. On weekdays, I mainly study cursive, seal script, and official script, and work diligently on Wang Xianzhi's "Thirteen Lines". Suddenly I saw Wang Duo's regular script, and I felt very kind to it. I kept thinking about it. I also often hear teacher Shen Peng say that Wang Xianzhi's "Thirteen Lines" can be read as cursive script. At that time, a "Free Talk on Poetry" was held, and my teachers and friends concentrated all their manuscripts on me. Mr. Ma Kai's "Five Dramas Congratulating the Birth of a Grandson" was written in a candid and down-to-earth manner, and very interesting in life, so I wrote it in regular script into a long scroll. I noticed that: the edges of the lines are neat, visually clear and simple, and the quality of the lines is clean, but there are limitations in space; the edges of the lines are blurred, giving people a sense of reverie and extension; if they have both, the work is subtle and spiritual. With a sense of rhythm based on the virtual and the real, I wrote the main text in regular script and the inscription in cursive script, which also has a rhythm change. Yi Xuefeng said that this work has the spirit of pen and ink in "Thirteen Lines". "Good books always contain unexpected meanings." Teacher Shen Peng's postscript enlightened my mind and enabled me to more consciously move closer to the individual and original artistic spirit in my artistic practice, and to comprehend the deep aesthetic artistic conception.
Xiao Lishu's "Five Dramas by Ma Kai Congratulating His Grandson on the Birth" (Part)
4. "Eighteen Screens of the Heart Sutra"
2009 Kuai Zai Ya Collection The weekend before the event, I stayed in Dongba, a suburb of Beijing. After finishing writing at night, I felt that there was too much light ink and not enough thick ink. After I got to work, I hung it up and looked at it for a long time, but decided to overthrow it and start over again. When I finished writing it, the sky was dark, but it still felt like Huai Su said - "a small chest full of breath".
Write it in one go. After I finish writing, I pay attention to water and ink, and the effect it has on the lines when I use pen and paper. I am used to grinding ink, and there is a pool of clear water next to the inkstone. The ink and ink are independent, and water is often needed to activate the ink when writing. The handwriting and ink marks are clearly layered. In terms of brushwork, the center stroke is drawn, and the sharp edge is inserted into the paper. The paper is uneven, like a sculpture on paper, which is natural and interesting.
The concept of the Perfect Way in the history of Chinese thought believes that the movement and changes of all things in the universe are characterized by reciprocating cycles. "There is no going back, and there is no return between heaven and earth." ("Book of Changes") The order of creation of Chinese characters also reflects the characteristics of reciprocating cycles. There is a saying in the constitution that "one word is the final word." In the brushwork, the hidden edge goes in reverse, if you want to go left, go right first, if you want to go down, go up first. "Nothing hangs down, nothing shrinks, nothing goes, nothing shrinks." The brushwork and composition controlled by the calligrapher's "intention" cycle back and forth on the rhythm, which is also the concept of Qiyuan Tao. You need to gather your energy when writing.
Simplicity has always been an aesthetic orientation of mine. Writing is about subtraction, and writing is pure and tranquil. For repeated characters, the shape of the characters is not deliberately changed, but is naturally adjusted as the body posture develops.
Most calligraphers don't choose words with few strokes or too many repetitive words, but I like them. Select the strips to be arranged in an orderly manner to form a word array of 260 characters, which is visually stunning. Vigorous, even more so in the word "hun". Using force and vigor to create emptiness and tranquility can also be seen as a cosmic view of "harmony of yin and yang results in life".
5. Xiao Lishu’s self-composed poem
After I finished writing the eighteen chapters of the Heart Sutra, I slowly came up with an idea to use the grand method of the Taishan Sutra and the Shiyu Diamond Sutra. It is a symbol of fairness and integration with cursive script. "It's genuine, it's cursive, it's seal, it's official. It's a little deliberate, a little random." Teacher Shen Peng pointed out the characteristics of this work.
I realize: Uprightness and tranquility, stillness and movement, calligraphy styles are interoperable. Just like the way of yin and yang, we must grasp the inner rhythm of transformation. This piece is written with a peacock quill pen.
Explanation:
Every ten years I dream about my past,
It is also true to write about haze and grass.
Mr. San Xie awarded the Phoenix Feather.
He is also expressive even though he is a master of pointillism.
6. "Public Welfare·Memory Series"
After I wrote the "Heart Sutra" in large characters in 2009, Mr. Dong Wenbiao suggested that I write some small-sized works and give them to my friends. So, try to retain its momentum and incorporate the grassy meaning. After years of thinking and accumulation, on the winter solstice in 2012, which was also the afternoon before the establishment of the Minsheng Chinese Calligraphy Charity Foundation (December 21), I wrote the "Public Welfare·Memory" series of works using Changfeng Yanghao. People have personalities, and so does the pen. I try to give full play to the characteristics of his writing style: the pen tip is long, and it can store a lot of ink, reflecting the rhythm of the ink; It has a certain regulatory effect. Use different pens to write new feelings, think deliberately, and write intentionally or unintentionally.
If an artist wants to express his feelings freely, it requires both effort and thought. There must be passion and continuous passion. You also need to have excellent basic skills, which are the laws of art itself. We must have a humanistic spirit. Seeking truth and beauty, learning both inside and outside the book. A cross-border mix of finance, art, communication, marketing, and architecture. "Those who are different will see the liver and gallbladder as clear and bold, while those who are the same will see everything as one." "There is nothing in the world but cursive writing", it is everywhere, the important thing is whether you are in this state. There is no entry. Artistic creation and product innovation must dare to deny, overturn and start over. In the process of sublation, there is creation based on inheritance. Calligraphy directly addresses people's hearts. Only by entering the art itself with a sincere and useless mind can we reach the height of aesthetics and exert the value of aesthetic education.
7. "Family Gua"
"The Book of Changes - Family Gua" says that "a woman is always stingy when she is happy," which is very reasonable when talking about a mother's attitude towards her children. It happened that a friend became a mother, so I wrote a family hexagram. Although the characters are small, I hope that through the rise and fall of the characters and the openness of the brushwork, I can achieve the aesthetic pleasure of making the small characters wider than enough.
8. "So Many Beauties in the Country"
I admire Xiao Xian and Xiao Qiong for their ability to write with great ease. After writing the four words "The country is like this", the remaining two words were difficult to deal with, so I boldly emphasized the words. Although the pen and ink are heavy, air can penetrate here, an unexpected treatment, which feels a bit interesting and characterful. The last stroke of the word "this" is also slowly turned out after twisting the pen. Teacher Xiao Qiong taught that the pen should be retained and the last stroke of the pen should be delivered slowly to make the line sink and feel smooth. "Stay" and "travel" are two aspects of the same thing, and moderation is good.