Ma Yongan, 1956, a native of Shangcai County, Henan Province, joined the work in 74 years. 8 1 After graduating from university, he worked as a reporter and editor in People's Daily, Ministry of Radio, Film and Television and Ministry of Culture, and served as deputy secretary-general and secretary-general of China International Painting and Calligraphy Research Association and China ATV Painting and Calligraphy Institute. During this period, he published several literary works and calligraphy and painting works. In 2002, he published Ma Yongan's discovery rate, and in 2003, he wrote the PH value of SARS nemesis. After 2003, he was mainly engaged in the creation, research and teaching of calligraphy and painting, and was responsible for the daily management and administration of calligraphy and painting. In 2005, he was hired as a professor of Huaxia Art College, consultant of Nanchang Tengwangge Cifu Research Institute in 2006, secretary-general and vice-chairman of China Calligraphy Artists Association in 2007, vice-chairman of China Artists Association in 2008, chairman of China Art Collectors Association and curator of Longshuncheng Art Museum in 2009, and executive chairman of China Calligraphy Artists Association. In July 2009, calligraphy was named "Horse Calligraphy" by China Calligraphy Xintiandi Research Center, and was included in the modern book spectrum. On February 10 and 10, Ma Yongan's calligraphy was confirmed by experts, passed the registration certificate of China National Copyright Administration, and was officially named "Yan Shu Calligraphy", which became the sixth calligraphy style after the five major styles of China's calligraphy: running script, cursive script, official script, seal script and regular script. Yan's calligraphy has a profound influence on China's calligraphy, which will be more and more clearly recognized in the future development.
The structure of Yan calligraphy is based on the original book, supplemented by the side book (not mentioned before, but relative to the original book), and the front and side are interactive and vivid. Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front is clear and slightly dull.
The trend of Yan's calligraphy is high on the left and low on the right, following the trend, stretching smoothly, conforming to the mainstream aesthetic orientation and attracting more attention. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.
Yan's calligraphy style is characterized by little pause and no folding. He uses the cursive brushwork of seal script, which goes with the flow, is smooth and natural, and is not pretentious, which opens up a broader aesthetic space for calligraphy art. Traditional calligraphy, because it moves against the trend, can only be written by folding the pen, which is more than one stroke and lacks flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.
There are many kinds of stippling in Yan calligraphy. Compared with traditional calligraphy, it is an invention. Yan calligraphy, the pen in the pen, the pen in the plate, as thin as silk, the front of the pen. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing. Traditional calligraphy, a method throughout the ages, wants to be right first and then left, and wants to be up first and then down, and accepts everything. Everyone is stuck in a rut and lifeless.
Mi Fei, a great calligrapher in the Song Dynasty, said, "A good book is enough." . Yan calligraphy has formed its own unique style in structure, posture, brushwork and stippling.