Heng zhengan
After nearly 30 years' development and perfection, China's book circle has reached a new historical development stage in terms of creation, theory and education. Especially in calligraphy creation, various artistic schools, aesthetic styles and artistic ideas are diverse and active, which provides us with a broad display space. The exhibition form of contemporary calligraphy works has changed from elegance between ancient study and literati to competition exhibition hall for the society and the public, and has become the main exhibition form. Therefore, for a long time to come, it will be the main way and important form of calligraphy to promote the development of calligraphy in this way and introduce calligraphy talents, and it will also be the main choice for every calligrapher to gain social recognition and success. As a young calligrapher, Yu Jialin can be said to have demonstrated his calligraphy talent through such media, and also stepped into the world and success of calligraphy step by step in this way.
Yu Wen Jialin's calligraphy aesthetic characteristics and aesthetic orientation should be based on "two kings". In his early years, he was deeply influenced by Song Sijia, especially Mi Fei, and studied calligraphy hard, which laid a solid foundation for "Tiepai" calligraphy. In recent years, he has deeply studied Sun's calligraphy works, such as book spectrum, grand view posts, etc., and deeply understood, especially the "twisting" brushwork in Wei and Jin Dynasties, and skillfully applied it to his own creation, forming his own unique artistic language and aesthetic form, reaching a certain artistic height, making enviable achievements and leaving his own mark in today's book world. His cursive works are in place and full of variety, with round and beautiful lines and rich life breath. The knot is elegant and serene, leaning on the side; The composition is stable and peculiar, but it does not lose the interest of being old and spicy, showing an ancient and elegant aesthetic personality, which typically inherits the mantle of "two kings" calligraphy. In recent years, it is not easy to win nearly 10 awards and more than 10 exhibitions in important exhibitions organized by China Book Association. Especially in the nomination exhibition of Lin Sanzhi Biennale just concluded in 2008, it won the grand prize, which laid a good foundation for future artistic promotion and greater development.
In my opinion, it is necessary to evaluate and appreciate the works of calligraphers who have made certain achievements in art, which is also an affirmation and guidance for calligraphers' artistic pursuit, artistic achievements and aesthetic character. But I think it is more important to analyze and discuss the reasons for their success, which is not only of reference significance to contemporary book furniture, but also to the internal logic of the times and calligraphy development. Therefore, it is more important to clarify the inherent law of calligrapher's success than the artistic aesthetics and achievement display of calligrapher's works.
I have known Jia Lin for more than 20 years, and I know his calligraphy learning process very well. It is no exaggeration to say that his achievements in calligraphy art depend entirely on his diligence. The ancients said that "waste paper is 3 thousand" and "the pool is full of ink" is by no means empty talk. Jia Lin's obsession with calligraphy and his great efforts to copy ancient calligraphy posts are unimaginable to ordinary people. I have always admired this point, and it is also an important foundation for his achievements today. The ancients called "science and technology into the Tao." Without the long-term accumulation and superb grasp of technology, it is definitely a luxury to reach the level of "Tao".
The study of calligraphy art should pay attention to methodology. I think that while studying hard, Jia Lin's mastery of correct learning methods is also the key to his success, which is worth studying and studying, mainly in two aspects:
The first is to take the law. Jia Lin's calligraphy study was on the right track from the beginning, especially the pursuit of calligraphy from Song Dynasty to Wei and Jin Dynasties in recent ten years, which is the key to improve his calligraphy taste. We know that Erwang is not only the founder of Tiepai, but also a peak in the history of calligraphy. China's calligraphy, especially the Tiepai calligraphy, is an inevitable choice for us to return to the two kings and the Wei and Jin Dynasties.
The second is to study brushwork. The aesthetic style and unique aesthetic style of Wang Tie School calligraphy are mainly determined by the brushwork. Without studying, speculating and mastering the brushwork of Wang Tie School, it is difficult to know its ignorance. Jia Lin's careful study of this calligraphy technique is an important reason why his calligraphy has reached a certain height and has been affirmed and praised by today's book circles. Jia Lin's mastery of Song Sijia's cursive brushwork, the in-depth study of the book spectrum, and the independent understanding and mastery of Wang's "twisting brushwork" were applied to his own creation, and finally he wrote a very pure post-learning calligraphy, which has certain reference value for us to re-understand Wang's cursive brushwork and emphasize "new post-learning".
Calligraphy as a pure art has become a reality. Under the background of the development of calligraphy society, the exploration of formal language of calligraphy cannot be divorced from traditional concepts. We can't "form is supreme", which is determined by the ultimate ideal of calligraphy, but we can't ignore the role of form in calligraphy art, and "form" determines "spirit". Without "shape", there is no "god". In the contemporary era, when calligraphy aesthetics is the only function, form is extremely important to calligraphy. Jia Lin's exploration of calligraphy forms is also the key to his success. Of course, this form is hierarchical and it is necessary to study it. The form of calligraphy must consider the needs of exhibition as the main display form and calligraphy as pure art; We should also consider the relationship between style and form. The choice of paper, pen and ink are all forms, and Jialin has a unique exploration and successful application in these aspects.
We are already in a very open historical period, with rich and diverse artistic styles. The history of calligraphy development in the past 30 years has gradually made us realize that calligraphy without "foundation" is difficult to develop and be accepted by mainstream culture. The more diverse it is, the more it needs the construction of "core values". As long as calligraphy exists, China Tiepai calligraphy, represented by Erwang, must be the positive pulse of future calligraphy development. As a calligrapher, it is not only the foundation of standing, but also the foundation of success to work hard on the artistic road and grasp the value spirit of calligraphy "core". (Published in China Calligraphy No.7, 2008)