First, I have been obsessed with calligraphy creation and calligraphy research for 30 years, and finally I have a rare accomplishment, which is rare among my friends. The opening confession of Bichan Xiaoyu: For the art of calligraphy and painting, she "sets goals, plans, abandons fun, ignores family business and devotes herself wholeheartedly." Every time I have a small one, I am so happy that I forget to eat and sleep, thinking that I will be a lifelong partner, all-weather. " Until the age of no doubt, I went to Capital Normal University to study calligraphy art and studied under Mr. Ouyang Zhongshi. I am really determined to win the art of calligraphy. These words are written in only a few words, but on her, she needs to pay, or has paid for almost her life. I have a little respect for reading her books, tasting her words and feeling her input at dusk and early morning. The steelyard in my heart is very heavy, and I know that I am facing a scholar-type calligrapher, which belongs to a rare level in contemporary calligraphy.
Secondly, in Hangjiahu, I can obviously feel the breath of a little girl, but sometimes it seems that there is nothing to say. More often, I am surprised by the heavy atmosphere in her books. She is a good microscope. The two streams of Yin and Yang are flowing and transpiration between the layout of the article, the structure of the body and the lines of pen and ink, which is so harmonious and smooth. I thought it over, but I don't know much about it. Maybe the reason lies in the depths of our family, fate and feelings that we don't know? Perhaps it is influenced by cultural rationality? -Is reason always more rigid than emotion? As she said in the book "Bronze Praise", it is really "strong appearance, moving its spirit inside." This character was originally her praise of bronze art and bronze inscriptions, but she didn't want to inadvertently become a portrayal of herself.
As the symbol of the origin of China's calligraphy, seal script has long been stripped of its aesthetic value and practical value, and no longer enters the operational flow system of modern symbol communication. Nevertheless, the life of art is not stagnant, it has been constantly changing and updating with the changes of the times and aesthetics. The seal script has undergone several changes in the pre-Qin period. Guo Moruo once divided the bronzes (including inscriptions on bronze) in this period into four periods: initial period, ancient period, opening period and new period, in order to show the vigorous development process of bronze art and inscriptions on bronze. Li Zehou quoted Lao Guo's works in a long passage in The Course of Beauty, and thought that this view could still be used for 30 years. In modern times, Deng's official script entered the seal script, which contained the interest in ancient symbols; Wu Da used Ding to seal script, and the calligraphy style changed again.
Bi Chan's books contain tradition but not stick to inherent procedures. They are full of emotions but all dance in form and statutes. Only in this way, calligraphy is not only an art that can be learned, but also an art that can run for a lifetime, and it has a broad possible space. Calligraphy art, without traditional connotation, is easy to float, lifeless, stagnant, without cultural rational connotation, easy to keep up with the times, and almost beautiful. For this reason, I especially like Bi Chan's words. This is also the kind of calligraphy culture view that I personally devote myself to.
She spent half her life assiduously studying the art of Da Zhuan, and wrote an essay on Da Zhuan Art with more than 200,000 words. Not only tracing the source, learning its techniques, but also studying its Tao and grasping its spirit have laid a very solid foundation from the depth of Shang and Zhou culture, bronze art and ancient philology. However, in her own calligraphy creation, she did not attach her predecessors, but attached her own habits. She always chooses the spirit and style of ancient inscriptions. There are two coordinates to choose from, one is modern aesthetic tendency, and the other is personal aesthetic hobby. She thinks that compared with Xiao Zhuan, Da Zhuan has more freedom. Of course, we should pay attention to the various statutes of Da Zhuan, but she is more concerned about appreciating and exploring the free space in these statutes, such as the random and ingenious strewn at random in routines, the bending and childish treatment of gardens, the dynamic expression of elegance and interest, and so on. In her creative practice, she persevered in practicing these experiences and cultivated a world between laws and mind.
Look at this "totem", which is dignified in pen and ink, interesting in ancient times and shaped like a human face. It brings us into the innocence of our ancestors in a ferocious and complicated way, and tells the artist's personality interest with appropriate deformation and free and unrestrained flight. A painting "Cold Zhi Ming" boldly uses chicken feathers to write Da Zhuan. It is a difficult creation to make the clumsy shadow of Da Zhuan interesting and the pictographic meaning of Da Zhuan personalized. A picture of "the water beside the boat is not warm", in the slow development of the reverse string, rice paper is like water, rivers flow from the eyes, seal characters are like boats, sailing in array, so bold!
That "drinking" is more worth talking about. The seal script is at the source of hieroglyphics, which is also a book and a painting. Bi Chan turned this feature of Da Zhuan into his own writing advantage. Shixing's book is picturesque, and she does the opposite, focusing on painting and painting. Properly stripping off the influence of ancient calligraphy style on seal script and returning to the original, simple and pictographic form will make the audience produce more associations about images, emotions and spiritual images from the text symbols. Throughout "Into the Wine", you can feel that there seem to be many people, many eyes, and many ancient artifacts who have cleared your name from the dust of history. How wonderful the aesthetic effect is.
Through such creative exploration, Bi Chan conveyed the triple aesthetic information of ancient, modern and individual in his works. It not only reflects and melts the spirit and techniques of China's seal script in an all-round way, but also expresses it in a smooth and personalized way under the background of modern culture and modern calligraphy culture, and even integrates his life state and personality cultivation into those ancient cultures which are ancient, elegant, naive and romantic. The blending of ancient and modern, formula and personality in the bipolar shock not only made Bi Chan's seal script have depth and significance, but also became a "one" that is difficult to stand out in strict statutes, and built a landscape of her own in the book world, which is indeed a rare place for her. (Xiao Yunru)