But the two kings have been popular in the book world for a long time, and boredom naturally arises. Isn't it? Most learners tend to be weak as two kings, but their temperament is rare. The pursuit of the style of "the wind rules from afar" has led our nation, which always likes formatting and stylization, to pursue the unity of lines and overcome weaknesses with lines with the same thickness. They dismembered the calligraphy font into "lines", and as a result, the integrity of the font method was completely lost, and the scattered structure made the calligraphy work meaningless and completely lost its true colors. This is the result of the contemporary pursuit of the calligraphy style of the two kings, and many people can't escape.
Calligraphy is divorced from the support of China's traditional philosophy, which is also the challenge that the calligraphy style of Erwang faces in the contemporary era. Many people like to associate China's calligraphy with China's traditional philosophy, which has become a format and habit for many people, whether they really understand China's traditional philosophy or not. Keep China's philosophy superficial, just talk, very simple.
"vigorous and consistent" is the inherent essence of Erwang's calligraphy under the charming appearance, which is often used to measure a calligraphy work with Erwang's calligraphy style. Most people can't do it because they don't have enough self-cultivation, which is caused by the formalization of China's traditional philosophy. Some people may say that you can look at any work with this function. Of course, this is understandable. The "charm" of the two kings is well known, and the most important thing is that good scholars can get it. "Consistency" is a good medicine for some learners who are bound by law and form. To do this, you need to be magnanimous and broad-minded, which is also impossible to "cultivate one's morality". Therefore, I put forward the view that "calligraphy is divorced from the support of China's traditional philosophy, which is also the challenge that the calligraphy style of Erwang faces in the contemporary era".
So what kind of prescription should be prescribed in the face of the weak performance of Erwang's calligraphy style in the contemporary era? I think this prescription should be a cursive winning work in the 10th National Exhibition this year, and it should have such characteristics. Let's talk about my personal views on these characteristics of the award-winning works of cursive script in the tenth national exhibition this year.
First, whether the calligraphy works reveal true temperament and true talent.
Award-winning works in previous national exhibitions made people feel that they were just playing with technology. The essential reason for this phenomenon is that the writing of works is not the expression of true temperament and true talent; It is made, with obvious marks and obvious style format. If the works are revealed by true temperament and true talent, then the works created by such authors will vary from time to time, which can be said to be "pointillism." I don't mean to deny that the style of the book needs to be "built". If the expression of true temperament and true talent is lost because of architecture, I think we should think about it.
Second, calligraphy works should be vigorous and smart.
Cleverness and generosity are contradictory. Most calligraphers' calligraphy works lack mellow charm when they are clever and inner agility when they are mellow. This set of contradictions leads to nothing, unless they cultivate themselves. I think Su Dongpo is the best calligrapher in this respect. When I mention Su Dongpo, I think of a book critic named Wang Shu in Qing Dynasty. He commented on Su Dongpo's saying: "No one in ancient times was interested in vulgarity, so he was slightly inferior to Song Shengxian." With this view, I think it's no wonder that calligraphers' handwriting is vulgar. Why did he have this view? It was because he only saw the massiness of Dongpo, but didn't see the agility of Dongpo. If you don't know Dongpo's calligraphy, you don't know what kind of talents are called literati, that is to say, you can't talk to laity. Spirit is the magic weapon to open the distance between the winning works of this national exhibition and previous winning works.
Third, composition is not the main reason, because the paper is free because of time and place, leaving no traces of carving. In recent years, many calligraphers have racked their brains to write compositions. In fact, this is to give up the basics and to strive for an exhibition, which is not what real artists should do. Deliberately clumsy, deliberately coincidental, and losing the ID are the drawbacks of contemporary calligraphy, which fully embodies the misinterpretation of China's traditional philosophy in the field of calligraphy art.
Generally speaking, I think it's time to reinterpret Su Shi's calligraphy style. He should make us realize how important truth and nature are in calligraphy art; He wants us to re-recognize the essence and spiritual connotation of generosity and carefree; He should let us know again what is irrelevant and what is not bound by law; He should let us re-understand the essential feelings of literati. I hope that netizens will criticize and publish high.