Appreciation of Award-winning Works in China Calligraphy Cursive National Exhibition
Photos of Award-winning Works of China Calligraphy and Cursive Calligraphy Exhibition 1
Photos of the winning works of the national calligraphy cursive exhibition II
Figure 3 Award-winning works of China calligraphy cursive national exhibition
Photo 4 of the winning works of the National Calligraphy Cursive Exhibition
Contradictory factors in calligraphy
Calligraphy is difficult to learn, not only because of external conditions, but more importantly, the art of calligraphy itself is full of many contradictory elements. These contradictory elements are difficult for beginners to master at the same time, and it is easy to be one-sided. However, for those who enter the room, these contradictory elements have become obstacles to success. Masters can turn contradictory opposites into complementarities, so they can achieve what they want without crossing the line.
First of all, from the basic stippling, a simple stroke contains a variety of opposing requirements.
For example, the contradiction between circle and straight. According to the natural writing trajectory, the strokes are all arcs, please refer to the bamboo slips of Chu. However, the overall composition of Chinese characters is square, even if the font is not square, stippling is required to have enough bearing capacity, which requires that the arc of stippling should not be excessively curved, but should have a straight feeling. The training system of art colleges needs to write horizontal lines later, which is not completely wrong, but it ignores the straight line because of the arc. Just for the sake of straightness, the lines written are hesitant. The brain cannot draw a circle and a straight line at the same time, because the human brain is a single-threaded system and can only handle one task at a time. What about the straight arc of calligraphy stippling at the same time? You must practice more until you can write at will. Intelligence alone is useless.
The contradiction of stippling is not only the contradiction between arc and straight line, but also the contradiction of speed. I have seen some Jianghu calligraphers running wildly on paper, and their gestures are quite eye-catching, but they can't understand their works. On the other hand, many art institutions cultivate meticulous and accurate writing, but their works are too slow and lack spirit. When our system deals with the problem of speed, it is realized by fast start and stop, and the pen should start and stop quickly and decisively. In other words, we emphasize acceleration in our writing, whether it is walking acceleration or stopping acceleration. Both kinds of acceleration require the active participation of wrist-palm ability, so it is difficult to start training at first. After the hand's ability is increased, it can be fast but not floating, and the writing brush keeps the pressure on the paper, and at the same time stops without stagnation, so it can run with spare capacity anytime and anywhere. At this time, it is no longer an amateur.
As far as the conclusion is concerned, there is still a contradiction.
First of all, the contradiction between continuity and full strength. We watched the boxing match, and the combination boxing was very enjoyable, one punch after another. But the real solution to the problem may only be sudden. Because a single effort is more sufficient, but action needs to be carried out continuously to be effective. It's like writing. No matter how beautiful a stippling is, it must be integrated into the overall style of writing to have infinite charm, and the action without context will still be thin. So how to give consideration to the fluency of the pen before and after while taking into account the full efforts of a single stippling? To solve this problem, we must grasp the principle of taking external factors as strength. If we really grasp this principle, the problem will be solved to a great extent. However, this problem should be reflected in the temperament tendency of screenwriters. Some people's final works tend to be straightforward Rainbow Xun, while others tend to be gorgeous Rainbow Xianzhi, and rarely combine strength and continuity in a balanced way.
Another contradiction is the opposition between statutes and nature, which is related to the contradiction between continuity and force mentioned above, but from different angles. Statues and nature are closer to a writer's character than just skills. Consciously highlighting the writer's personality is a late tendency. It should be said that it appeared on a large scale in the late Ming Dynasty, reached a peak in Yangzhou, and revived with the influence of modern art in contemporary times. The lowest way is to regard graffiti as calligraphy, so I think modern calligraphy is not calligraphy at all, just like splashing water after drinking is not dancing. As far as I know, statutes and nature are not at the same level, and the state of nature should be above statutes rather than below. In other words, only with statutes can we talk about and pursue nature. Before we have enough statutes, it is not natural, but self-righteous. However, mastering the law itself is a very difficult task. How many people are confident to keep their unique nature after strict training?
In terms of more specific details, the brush should be elastic and soft, the paper should be smooth when eating ink, the inkstone should be finely inked, and the Mo Ding should be dense and inked? Contradictions seem everywhere. Perfection is difficult, as long as there is deviation. It is a common position to be partial to the basic rules without losing the charm of independence, whether for tools or writing process.