Chu Suiliang's calligraphy font is called Chu Style, which is a very beautiful font. What kind of calligraphy taste does Chu Feng have? The following is what I
Chu Suiliang's calligraphy font is called Chu Style, which is a very beautiful font. What kind of calligraphy taste does Chu Feng have? The following is what I arranged for you, I hope it will be useful to you!
appreciate
Picture 1
Picture 2
Picture 3
Picture 4
Chu Suiliang's Artistic Creation
The Tang Dynasty had a highly developed culture, which, on the whole, was higher than any previous era. Under the influence of this culture, a large number of first-class politicians, literati and connoisseurs have emerged. They are polite and thoughtful, with excellent artistic accomplishment and noble aesthetic taste.
The purpose of the study of art history-as Wolfling said in Principles of Art History-is to imagine style as an expression, an expression of the times and national temperament, and also a manifestation of personal temperament. Chu Suiliang's calligraphy just embodies these points. In other words, in his calligraphy art, we can not only see the ethos of his time, but also see the aristocratic atmosphere of his class, and at the same time, we can also see his own aesthetic attitude which can be called "aestheticism". Like him as a politician, he embodies the temperament of an artist.
Unfortunately, Chu Suiliang's works on calligraphy have hardly been handed down, so that we can't see his thoughts on calligraphy at a glance. However, Chu Suiliang's father Zanliang is friends with Ou Yangxun and Yu Shinan, which will inevitably affect his calligraphy style.
There is a conversation between Chu Suiliang and Yu Shinan: "Chu Suiliang also took the book as his own name and asked Yu Shinan,' How can my book be as wise as ever?' Answer:' I heard that he is 50 thousand straight. How did you get it?' Say, "Who is it?" Yue:' I heard that I didn't choose paper and pen, but I got what I wanted. How did you get this? Sui Liangdao: "So what?" ? Heather said,' If you have good handwriting and good writing, that is really valuable.' I am very happy. "* * * The Book of the New Tang Dynasty 198 The Biography of Ou Yangxun * * * may have inspired Chu Suiliang.
Since the beginning of calligraphy, people have explored its beauty in various ways: during the Han and Wei Dynasties, people praised its "potential"; During the Jin and Southern and Northern Dynasties, people talked about "brushwork". During the Sui and Tang Dynasties, people began to appreciate the "structural" beauty of calligraphy. However, they obviously didn't touch on a more critical issue: the relationship between "heart", "hand" and "pen" in calligraphy creation. If so, it may have started from Yu Shinan. Yu Shinan is the author of "The Essence of Pen", in which the "wonderful" section says:
"Words have attitudes and hearts are complementary; Understanding the heart is not the heart, but it is also wonderful. Borrowing copper as a mirror is not the understanding of craftsmen; It's a wonderful thing to change your mind with a fake pen. Must be between pure heart and exquisite thought, God should think deeply, and be born with drums and nylon fingers at will; Hold the tube and make the front, but escape the country. A reader's mind is enlightened by the supreme Tao, and a book is bound by inaction. If you get involved in glitz, you will eventually be ignorant! " This is the fundamental sign of moving from art form to art, so Chu Suiliang, like Yu Shinan, pays more attention to the cultivation and creation of art, and the problems they face with "Shangyi" calligraphers are obviously the same, which is a progress in the history of China's calligraphy creation. Then quote two paragraphs from Yu Shinan's On the Essence of Pen to illustrate the truth and lines, and try to figure out Chu Suiliang's calligraphy creation;
..... If the wheel is flat, you can learn from your heart and your hands, but your mouth can't speak. Sweep light and heavy, if it is cloudy on a sunny day; Waves are like a breeze swaying on the blue sea. As neat as a horse hook. Change comes from the heart, but the wonderful use depends on the hand. However, the body is about eight points, with the same potential as Cao Zhang, but each has its own interests, and there is no difference between them. What a lyrical and brisk style this is! "About eight points", doesn't it contain a strong sense of official script? "Everything is empty", isn't that how Chu Suiliang moved from material to emptiness in his later years?
If you pull your wrist straight according to the front, it will rotate inward and expand outward, and turn around to untie the knot. There is no end to the rotation, and the internal turning front is also; Put pen to paper, stone breaks jade, naturally. It is also like a hairspring in the sky, which can drag and walk; It is also like a worm network wall, solid and complex. You Junyun said, "It's naive to break the hairspring and continue. It is the same as a flat wheel. " Another cloud said, "Every time I paint, I hang it up to make it open and natural." From the beauty of the image of calligraphy to the beauty of the brushwork of calligraphy, Chu Suiliang's beautiful calligraphy style has been created.
The most prominent feature of Chu Suiliang's calligraphy is "ethereal". Guo Liang said in the book "storytelling": "Chu Shu's pen is empty, and its pen is clever. Thin and hard is a must. " The ethereal spirit of calligraphy is embodied by carrying and lifting the pen.
We can't find any obvious writing trace in Ou Shu or Yu Shu. But Chu Suiliang is different. He doesn't hide the trace of his pen, and even likes to emphasize this trace to show the lively rhythm he loves. When he touches it, it will produce an unusually bright rhythm. Like Sun's Book Score, "Between a painting, there are ups and downs; In short, it is the most thoroughly expressed in Chu Suiliang's calligraphy.
Chu Suiliang has a better chance than Yu Shinan or Ou Yangxun. He can lead a leisurely life, and his pen and paper are excellent. When facing a piece of paper, he can carefully consider how to deal with every point of painting. Therefore, his calligraphy shows an elegant, subtle and erratic mood change.
When we look at Chu Suiliang's works in this way, we will be surprised to find that none of them is not a masterpiece: it is a world and a whole. When Chu Suiliang pushed his calligraphy art to the peak, he built his own calligraphy realm with all kinds of beauty: nothing extravagant, everything was so simple, natural and calm, and he didn't require the unexpected intensity of art, but required the use of pens, shapes and lines to have novel effects. It's just a beautiful dance when the pen tip falls on the paper-its beauty makes people feel that it's just a realm of smile and a delicate taste.