He has repeatedly warned students to pay attention to the roundness when writing about Fang Bi and Weibei. Only round can be thick, round can be alive, and round can be rich in connotation. When writing Weibei with a round pen, we should pay attention to its Fang Xiong side and rely on Fang Xiong to reflect the strength and spirit of Weibei. In fact, Sun Boxiang's so-called circle in the square and square in the circle is not necessarily the stippling feature of the original inscription, nor the control ability of the calligrapher of the Northern Wei Dynasty, nor the intentional modification of the seal engraver, but mostly his personal understanding of Wei Bei's creation, which is the ups and downs of his decades of research. Wei Bei's works written by him are not a deliberate imitation of the original tablet, nor a simple copy of the original tablet, but a combination of his own understanding and his own creation. Compared with the original tablet, his stippling works are thicker, richer in connotation, more varied in changes and more distinctive in style. This is Sun Boxiang's exploration and development of tradition.
Sun Boxiang's position and influence in the world of calligraphy comes from his breakthrough in Weibei brushwork, especially in Weibei brushwork, which he achieved after more than ten years of repeated practice and exploration without previous experience. With a soft long wool, he dared to twist while writing, and wrote the artistic effects of Wei Bei's axe chopping, chopping and casting steel while the iron is hot, which truly reached the artistic realm of both form and spirit and reproduced Wei Bei's magnificent and peculiar artistic style. His Fang Bi and Weibei is a great painting.
Sun Boxiang not only has his own unique creation in the brushwork of Weibei, but also has his own unique views on the study of Weibei. In the book How to Learn the Statue of Stone, the light of his thoughts shines everywhere. This is the result of his hard study, deliberation and epiphany, which has never been mentioned before. In calligraphy, Sun Boxiang's personality is well known. He is upright, honest and kind. Regardless of age and position, he treats people equally and honestly. He is never conceited, nor does he despise others. He is always pious to tradition and predecessors. Although he is famous all over the world, he still works quietly in the inkstone field like an industrious farmer. Although his calligraphy has a great influence, and many people are private, he often warns people to learn more from tradition, not to follow his example directly, and to give full play to their creativity and initiative according to their personal hobbies. He never wanted to create a "sensational effect", but "wanted to make it clear in front of rice paper". He is broad-minded. Despite so many twists and turns and hardships, he is still optimistic and open-minded. He devoted most of his energy to the exploration and innovation of calligraphy art, rather than the expectation and pursuit of fame and fortune. This can also be said to be the secret of Sun Boxiang's admirable achievements.
"Work is easy to be partial, it is difficult to find the best, good at small but not good, and good at many things." The word 16 is very suitable for Sun Boxiang.
Sun Boxiang specializes in Weibei for decades, using paper as a truck to learn statues and cliffs. This kind of specialization is difficult to talk about in contemporary times, even compared with everyone in ancient times. It is this specialization that makes his Weibei brushwork and line quality not inferior to any other stele writer. This profound skill makes him stand out from 99% calligraphers who pursue short and quick, and he has the first condition to become a master-skill.
Compared with many calligraphers who wrote tablets since the Qing Dynasty, Sun Boxiang's unique positioning and early positioning is another outstanding feature, which requires great wisdom. At an early age, he decided his different ways of writing tablets, that is, pushing Wei Bei's hegemony to the extreme and pursuing health, weight, thickness, hardness, strength and clumsiness. This aesthetic pursuit distinguishes him from He, Zhao, Kang Youwei, Yu Youren and others in writing tablets, and it is also better than countless contemporary books writing tablets and stickers tomorrow, writing grass today and following the trend tomorrow.
Sun Boxiang's efforts were not in vain. In order to create his vigorous and straightforward Weibei calligraphy, while suffering from Weibei, he deliberately increased and emphasized the exaggerated deformation and contrast of lines and structures, the avoidance between words, and the connection between qi and qi. These changes are not fabricated out of thin air, they are fundamental and profound, seemingly modern and popular, but actually all originated from ancient inscriptions. Today is really naughty.
Sun Boxiang's integrity and kindness in life and calligraphy theory's incisiveness and profundity have made Sun Boxiang stand firm in the past 20 years. This is not opportunity and ingenuity, but real skill and kung fu. This is not easy and amazing!
Sun Boxiang's fatal wound lies in the planting of grass in the monument he has been striving for, which makes him far from Yu Youren and Zhao. At the same time, he is good at North Monument and Grassland. There are wires in the monument, and there are monuments in the grass, which blend with each other and have their own styles. Zhao's "Elegant North Monument" is unique in the grass planting on the monument, and the grass planting on the monument is mature and harmonious. Although Sun has also made a long-term exploration on stele grass, it is a pity that his exploration has not found the opportunity and link of transformation so far, and it is still a simple grass mixing.
One of the main reasons why Sun Boxiang has been unable to successfully write a cursive tablet for more than ten years is that the rigidity of Sun Boxiang's regular script and the continuous agility of cursive script are inherently difficult to coordinate grafting, and even the cleverest people can't kiss each other. The second reason is the limitation of some of Sun's works. Except for regular script and Wei Bei's calligraphy works, there is little cursive script but no substantial change. Sun Erwang's cursive script and seal script series are hardly seen, and the single method will inevitably affect his vision and vision and his further achievements. The third reason is his lack of education. Sun is very insightful about calligraphy, but it is not enough for Gao Miaoguang to have a thorough understanding of calligraphy, but also to be nourished by bookishness.
In a word, the value of Sun Boxiang's calligraphy lies in regular script, not in Weibei cursive script. The height reached by Weibei is undoubtedly one of the best in the contemporary era. For the ancients, it can be compared with the Taoist Zeng peasant women, but it still lags far behind Zhao, He and Yu Youren.