The close relationship between China's traditional calligraphy and ancient literature is one of the characteristics of China's calligraphy aesthetics. Even today, calligraphers still follow the habit of writing poems, combining the rhythmic beauty of calligraphy with the rhythmic beauty of poetry. Liu Jiake is uncharacteristically. He tried his best to explore the expression resources of rural memory and transformed the familiar passages of prose readers into another art form, thus realizing the "reconstruction of the relationship between literature and calligraphy" (Liu Jiake's words).
"Expressing my literature with my calligraphy" is Liu Jiake's artistic goal in the exhibition hall. He showed his writing and calligraphy in four units: calligraphy and contemporary prose, calligraphy and rural folklore, calligraphy and rural inheritance, and calligraphy and the spirit of rural times, with the help of rural folklore and rural relics. In order to deepen the theme, Liu Jiake invited Qing Yu Cheng, a clay sculpture master, Fu Shunfu, a pottery master, and Chen Hongying, a miniature craftsman, to exhibit together, which greatly highlighted the local charm and rural flavor.
After all, it is a calligraphy exhibition. When we marvel at the uniqueness of "Liu Jiake Calligraphy Exhibition of Rural Memory", we certainly need to objectively judge the calligraphy of a writer or a celebrity. I have been paying attention to the calligraphy of modern and contemporary writers for many years. I have suggested that the calligraphy of writers after Lu Xun, Guo Moruo, Mao Dun, Shen Congwen, Yao, Zhou, and Liu Zheng is no longer a literati word related to tradition, but a celebrity word lacking cultural foundation. The difference is that contemporary writers have not invested a certain amount of time in copying, nor do they understand the artistic characteristics of China's traditional calligraphy, and the artistic feeling and skills of writing. The only thing I can boast about is my interest. This is an artistic sentiment objectively brought by the writer's literary accomplishment and life experience. Obviously, Liu Jiake changed my understanding of contemporary writers' calligraphy to some extent. At least, Liu Jiake's calligraphy creation practice proves that his writing is far from celebrities and basically enters the core field of traditional calligraphy aesthetics.
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What is the core field of traditional calligraphy aesthetics? I think we should abide by the artistic laws of traditional calligraphy, observe statutes, respond to the structural laws and artistic characteristics of different calligraphy styles with a neutral aesthetic psychology, and discover the light of civilization and the brilliance of art in the process of writing. Therefore, I am opposed to ignoring the temporary posts, unrestrained publicity of personality, externalization of ink interest and hollowing out the essence of calligraphy. Investigating Liu Jiake's calligraphy creation, we know that his immersion in calligraphy and his exploration of literature go hand in hand. In other words, before he became a literary celebrity, he began to study calligraphy consciously. The mentality of cherishing word paper and yearning for cultural ideals, accompanied by Liu Jiake's teenagers, makes their rural life full of brilliance and vitality. In Liu Jiake's calligraphy works, it is not difficult to see the character of Wei and Jin dynasties and the charm of Tang and Song dynasties. Reading is extremely important for writers. Reading is a writer's cognition of classic works, and his feelings about others' narration can be equated with calligraphy. If writing skill is an illusory existence in the writer's brain, then the calligrapher's skill is externalized and can be touched. So I didn't read the copybook alone for a long time, and I didn't have technical training to learn the copybook. The words I wrote were all celebrities' words, and the style naturally became vulgar. Liu Guke knows this. He devoted himself to mastering the structural features of China Chinese characters as a part of art, distinguishing different styles and schools with lines, and strengthening the regularity and artistry of writing. Of course, Liu Jiake knows the profundity and mystery of China's calligraphy. He didn't set up an "ambition" to pursue individuality prematurely, but he always writes in an appropriate way, which is extremely rational and conscious.
Many contemporary writers are accustomed to grandstanding because of their differences in understanding and lack of endowment, and even enter the edge of calligraphy entertainment and calligraphy worship, which casts a shadow on contemporary writers' calligraphy. Liu Jiake's calligraphy creation provides reference for contemporary writers who are interested in calligraphy learning.
However, it cannot be said that Liu Jiake's calligraphy is mature. The lines are often loose, the texture is not strong, and the writing of the structure is also debatable. The acute angle and ink stagnation revealed by the lack of Cao Zhang's writing style drowned its simplicity and elegance. However, Liu Jiake, who can be called a calligrapher, I believe that he can overcome these weaknesses in his future creation and stride into the cultural depth of calligraphy art.