Appreciation of Yuege Calligraphy Works in Emei Mountain
Selected Pictures of Yuege Calligraphy Works in Emei Mountain 1
Selected calligraphy works of Yuege in Emei Mountain Figure 2
Selected calligraphy works of Yuege in Emei Mountain Figure 3
Selected calligraphy works of Yuege in Emei Mountain Figure 4
China's calligraphy has standards and culture.
In the eyes of many people, writing calligraphy is just a way to cultivate temperament, not a business to make a living. However, some people think that calligraphy can not only meet people's aesthetic needs, but also has some characteristics of commodities and can be pushed to the market. The key is, once put on the market, where does the value center of calligraphy tilt? When calligraphy works go to the market, there will also be some professional calligraphers who specialize in calligraphy for a living. Speaking of calligraphy creation? Amateur and professional? At that time, Professor Xiao Yuan of Guangzhou Academy of Fine Arts thought that amateurs are not necessarily amateurs, and professionals are not necessarily professionals. At the same time, driven by interests, many calligraphers form gangs, set up sects, engage in short-term experiments or avant-garde, which experts can't understand, and the people even fall for it.
Wang Guichen, a calligrapher, believes that the creation of calligraphy works can't be fast, and it must be deceptive to be fast. We must work hard, and culture contains high gold content. Although some people are optimistic about the present situation and prospects of contemporary calligraphy, more people are critical. This is mainly because calligraphers lack cultural literacy, and it is not enough to rely solely on the technicality of writing. Why can you see many similar works in various calligraphy exhibitions? Mainly because calligraphers attach too much importance to technology and the effect of copying. In addition, many calligraphers are impatient and eager to become famous overnight and profit from it. The prosperity we see is actually an appearance. Yi Xinsheng, a calligraphy researcher, is the strongest critic of contemporary calligraphy. He wrote an article in the May issue of Calligraphy, which was just published, and made the sharpest criticism of contemporary calligraphy, listing ten major abuses in the calligraphy industry, which aroused widespread concern and response.
It is understood that the Guangdong Art Museum will be held soon? Inside the wall, outside the wall? Before the calligraphy exhibition, we interviewed calligraphers and calligraphy researchers from Wu Hao, Sun Zhichu, Wang Guichen, Rui Lin, Xiao Yuan and Jincon. What do they think of China's contemporary calligraphy? Competition is disorderly and standards are absent. Calligraphy, like the literary world, has many organizations, such as so-and-so associations and societies. With these organizations, it is inevitable that there will be a hierarchy and a hierarchy. Some leaders in these departments may have little or no knowledge of art, but they have the authority to create this? Authority? Yes, on the one hand, it is the cultural system, on the other hand, the public's judgment on art is still there? Quasi-ignorance? State, there is a kind of worship official standard. In this way, calligraphy works enter the market competition, and the authoritative things are often raised, and the price is many times higher than that of ordinary calligraphers. This is a very abnormal phenomenon in the current calligraphy circle.
People in the calligraphy circle think that many calligraphers are very good, but they can't enjoy some because they don't join a certain organization? Treatment? . These organizations are collusion between money and power. In the absence of a truly perfect and open cultural market, many individuals' efforts may be in vain, because these mainstream markets are only open to people in these circles, and others are not allowed to enter. Many customers take dross as the standard. In this situation, many calligraphers have to create some novel events in order to get the benefits they deserve, and try their best to divert the public's attention from the position of power and art center. When everyone participates in these extreme behaviors, the calligraphy world will become disorderly and chaotic, giving some people the opportunity to fish in troubled waters. The confusion of the market and the lack of standards are a major drawback of the calligraphy industry. Everyone doesn't know whether this calligraphy work really has artistic value and what its value is, so they bid up or belittle each other and push it to two extremes, and the calligraphy market has become a gray area of artistic value. Is Orfila (painter and poet) a traditionalist or an avant-garde? The China calligraphy we are talking about is mainly the writing of Chinese characters. Chinese characters have a history of thousands of years, and they must be passed down to a certain extent in order to truly reach a certain artistic height. Wang Jian, director of the Calligraphy Teaching and Research Section of Chinese Painting Department of Guangzhou Academy of Fine Arts, believes that there are two trends in the development of contemporary calligraphy. One is the continuation of traditional calligraphy art, because calligraphy is a unique art in China, and we should maintain this unique nationality. The other is to attach importance to the modeling characteristics of calligraphy, regard calligraphy as an image more and more, and bring China art closer to modernism art instead of its original meaning, which makes calligraphy easier to understand, and also transforms the old cultural mentality into a new cultural mentality, hoping to arouse others' * * *, which is correct, but it dispels the original meaning of calligraphy. It is under the guise of integration, but it ignores that it is a hand? A double-edged sword? . Objection? Avantgarde calligraphy? Wu Hao, a painter, said angrily that contemporary calligraphy is purely promiscuous. China was closed for decades before, and they found it strange that they didn't see the avant-garde art in western Europe. So they scribbled calligraphy, which was too abstract and unorganized, and many schools and theories appeared.
Xiao Yuan, director of the library of Guangzhou Academy of Fine Arts and professor of the history of calligraphy seal cutting, believes that dividing schools by doctrine is the western artistic standard, and in fact it is also the western standard to measure China's art, and calligraphy has become the banner of various doctrines, which is not good for calligraphy. This way of looking for the correspondence between Chinese and Western art criticism or relying on Western art criticism will only lead to a misinterpretation of China culture, which will only serve as an example for others. We see that today's calligraphy is more and more bizarre, avant-garde to the point where experts and the public can't understand it, and it is divorced from the essence of calligraphy. Can it still be regarded as calligraphy? Calligrapher Rui Lin said that avant-garde calligraphy is an exploration of calligraphy art and should be encouraged. The development of various trends more or less represents the future development trend of calligraphy. Therefore, the media or the official should give more room for the development of calligraphy art, give greater support to all kinds of explorations, and don't limit the development direction of calligraphy art. But personally, he believes that the development of calligraphy art should be based on tradition, which has been flowing down from the source and can't be suddenly broken or discarded in the middle. As an artistic product, the artistic calligraphy works hyped by the media can meet people's certain aesthetic psychological needs. It is precisely because of this demand that once calligraphy enters the market, it is constantly copied, so that it lacks originality and is produced in large quantities. Rui Lin said that people now have the conditions to publish books, so it is arrogant to ask people to write prefaces and flattering articles. There is also some hype in the media, and some poor people have also been hyped up. Some people say how many meters to write and how big to write, and he is very disgusted with these. The work lies in its artistry, not in the size of the binding. However, Professor CUHK and archaeologist Sun Zhichu believe that it is no problem for calligraphy to enter the market. Like Zheng Banqiao, he makes a living by selling calligraphy and painting. He clearly marked the price and sold as much as he could. Since he worked hard, he should be rewarded. This is normal and the market is speculative. In this regard, Mr. Wang Jian also feels the same way. In his view, calligraphers' publishing books is a means of self-packaging, self-production and self-marketing. The artistic level is very poor and there is no scientific standard. Prices are also determined by publishers, authors or booksellers, and there is no market pricing standard. They can't wait to publish a book to prove their position in calligraphy, in exchange for more money benefits. Regarding the current upsurge of calligraphy publishing, Xiao Yuan believes that most of the works are published by the rich themselves, and their value is neither high nor low. Whether they can make money depends on their own management, and generally they don't sell well. They just gave each other uneducated calligraphers in a small circle. Any cultural product is related to the relevant cultural background, not only the present, but also the modern and ancient times. Any practice of splitting tradition is very suspicious. Wang Guichen, a calligrapher who used to be the deputy director of Guangdong Zhongshan Library and Guangdong Provincial Museum, believes that writing calligraphy is actually writing culture. It is a traditional art with cultural characteristics.
Chinese characters are different from other national languages. They are ideographic, not phonetic. Therefore, it has an unusually rich aesthetic imagination and has the nature of inheritance. But now many calligraphers have begun to abandon the tradition, completely denying the techniques and styles of traditional calligraphy, hoping to break through a certain framework and establish another tradition. In fact, this practice cuts off the origin of culture and will eventually become water without a source and a tree without a root. Only by internalizing traditional culture into our own things can we really make breakthroughs and progress. Many people think that calligraphy is purely technical. As long as you master simple skills, just like holding tools in your hand, you can reach a certain level. Mr. Sun Zhichu said that calligraphy is indeed a highly skilled art category, and children can learn it well, but it is very difficult to reach a high level. If their cultural quality is high, what they write will be different. This is a question of cultural inheritance.