-Dou's calligraphy art
Liu Mo
Mingxi calls me teacher, and I call him brother. Every time we meet, we are very happy. Although he is young, he is calm and steady. I walked out of the door of the study to see him, mostly because I wanted to know his mind and temperament, talk about books, paintings, life and culture. It was a wide range, and I laughed happily.
Gradually, I had more contact with him, only to know that he was a law major, but he loved calligraphy so much that he was infatuated. He is from Shandong, and a man named Pu Songling in Shandong wrote a well-known masterpiece called Strange Tales from a Lonely Studio. I vaguely remember a passage: "Whoever is obsessed with art must be proficient in art"-Mingxi is an "obsessed artist", so it is not surprising that his calligraphy won the favor of famous calligraphers at a young age.
I didn't know the origin of his calligraphy at first, so I advised him to write a tablet, but he didn't like it. I was stunned for a moment, and then I was relieved. It turns out that the literati temperament is not suitable for writing inscriptions, but can only write that kind of passionate and carefree post-study. However, in the past hundred years, fewer people have understood the true meaning of post-learning. For example, "it's sunny, it's easy to look up at the universe, and it's enough to enjoy watching and listening. I believe in coke." At such times, the letters and cadences of literati's feelings should only be elegantly written on paper, not where to get a stone, write it after grinding it, and then find someone to carve it. After some tossing, the literati's feelings have long been suppressed.
Perhaps it is my literati plot that makes me have a special liking for the literati calligraphy tradition since the Jin and Tang Dynasties, and the calligraphy tradition we are facing is already very rich. With the rise of stele science at the end of 19 and the beginning of the 20th century as the boundary, the previous calligraphy tradition is an extension of calligraphy, and it is a multiple inheritance of calligraphy style, mind, technology and even attitude towards life. With the rise of stele study, another tradition was discovered besides the tradition of Jin and Tang scholars, that is, the inscriptions in the pre-Qin and Han Dynasties and the Northern Wei Dynasty. The former is beautiful and elegant, while the latter is simple and simple. The traditions of the former include Su Dongpo, Huang Gu, Mi Fei, Zhao Mengfu and Dong Qichang, while the latter also includes Kang Youwei, Shen, Li Ruiqing and Yu Youren. However, their later studies have become more and more rough and vague.
So I don't place my hopes on calligraphers who got up after the prosperity of stele study, but on a group of people born after 1970. They have a good starting point, a high vision and a higher educational level than those born after 40, 50 or even 60. Their unique understanding is enough to grasp the rhythm of the times and make their best choice.
Mingxi's calligraphy is very atmospheric and full of surprises. Every stroke, every stroke, every stroke is true. So he can do this because he has a good foundation and high understanding. Understanding is innate, but it takes hard work to have a foundation. Only with good quality and hard work can we hope to become an excellent artist.
Facing Mingxi's books, we can't see any specific teachers. Perhaps that kind of specific teacher, such as Ou or any other family, is meaningless to him, and each has his own ideas. His sense of innovation was strong from the beginning. I think Mingxi's choice is the embodiment of independent thought and free spirit. I also know that his choice is in line with his own personality, which is the background of the rhythm of the times. As long as he follows his own heart, adds his own spirituality, and then has an accurate grasp of tradition, I believe he should be a great calligrapher with great talent in calligraphy in the future.
Liu Mo
1966 Born in Shenyang, he holds a master's degree in China Art History from Lu Xun Academy of Fine Arts and a doctor's degree in literature and art from Nanjing Normal University. Now Peking University History Department is engaged in postdoctoral research. I have been studying poetry, calligraphy and painting since primary school, and I have a wide range of interests, involving eastern and western cultures, philosophy, religion, literature, art history, academic thought history and so on. In recent years, he has devoted himself to studying Confucian classics, ancient academic schools and history. Biography has been included in many dictionaries, such as Who's Who in the World and Who's Who in China.
The main work includes:
China's artistic aesthetics and ideal of life: Confucian personality ideal in pre-Qin period, Zen Buddhism and artistic conception, calligraphy and other arts, Badashanren, Shi Tao, Gong Xian, Chinese painting theory and China aesthetics, Chinese painting clinic, the history of China's prose, ten theories on Ganjia studies and illustrations.