The 6th National Calligraphy and Seal Cutting Exhibition; The 6th National Exhibition of Young and Middle-aged Calligraphy and Seal Cutting Works; The first national cursive exhibition; The first national exhibition of 100 calligraphy works; The first national excellent member calligraphy exhibition; The first and second national popular calligraphy style nomination exhibitions; China Art Museum Contemporary Famous Calligraphy Nomination Exhibition; The first exhibition of China contemporary painting and calligraphy masters in the Palace Museum.
Award-winning works (national level, others omitted)' 2008 Lin Sanzhi Prize Calligraphy Biennale won "Lin Sanzhi Prize" (May 2008), the first China Calligraphy Lanting Award (2002. 10) and the seventh national calligraphy seal cutting exhibition "National Award" (1999./. "Bronze Award" in the 1st Couplet Calligraphy Exhibition (1996.09) and "Silver Award" in the 1st National Fan Calligraphy Exhibition (1998. 12).
It would be nice if the representative papers were very different-in the Calligraphy Garden (Oriental Art 2011.02)-the first China Contemporary Calligraphers Nomination Exhibition (China Calligraphy 20 1 1.09) built a benign ecological environment for Shaanxi calligraphy (Shaanxi Daily 2065438+)
Representative monograph 20 10 Archives of Contemporary Young and Middle-aged Calligraphers-Xue Yangxian 20 1 1.05 Rong Baozhai Publishing House Xue Yangxian, Top Ten Contemporary Calligraphers, 2007.04 Shandong Fine Arts Publishing House Xue Yangxian, China Contemporary Calligrapher's Works, 2009.04 Hebei Education Publishing House Xue Yangxian, China Calligrapher's Style.
The representative stone carving "Keeping Home", the stone carving "Breeze" of Sima Qian Temple in hancheng city, Shaanxi Province in 2007, and the office compound of Shaanxi Provincial Party Committee in 2005.
Representative project leader: Shaanxi Social Science Art Project (2009) No.201008 "Viewing the Development Direction of Contemporary Calligraphy from the Similarities and Differences of Ancient and Modern Calligraphy Ecological Environment".
On Calligraphy Works
Mr. Xue Yangxian talks about calligraphy (2007.6438+00.22)
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Q: Which do you think is better, the Ming and Qing Dynasties or the Song Dynasty?
Xue Yangxian: As long as it is a classic work in history, it is the object of our method. Personally, I think we should focus on the following points:
(1) technical content of the work; (2) the cultural background of the work; (3) the expansion space of working methods; (4) personal likes and dislikes; 5] the style characteristics of works.
Q: What do you think of Mr. Bai Jiao's position in the history of calligraphy? How to bring Bai Jiao?
Xue Yangxian: If Shen is an advocate of the return of stele study after the revival of stele study in Qing Dynasty, then Bai religion is the perfect interpreter of the spirit of stele study. Learning white religion should focus on its daily writing. In short, it is free writing based on skills, not limited by skills. Because only free writing is true writing, and true writing is not deceptive.
Q: How to treat the "ancient" in calligraphy? Who are the ancient calligraphers and contemporary calligraphers you admire in your mind? Those things that you envy them. What do you think of the concepts of calligraphers and intellectuals?
Xue Yangxian: The "antiquity" in calligraphy is a kind of psychological feeling for us, and it is the mystery given to the works by the old man of time. Of course, this mystery is the psychological feeling after visual stimulation in a specific form (the edge form of lines, the material form of text carriers, etc.). Imagine what it would be like to remove the seal and paper color of Lanting and restore the fresh ink color of the lines. I admire excellent ancient calligraphers and contemporary calligraphers. I admire too many things. It's a long story. I'm sorry In front of them, I have only one feeling, to paraphrase a popular saying: how can they be so talented? I heard the word "calligrapher and intellectual" for the first time, so it is impossible. Forgive me.
Q: As the saying goes, "If a worker wants to do a good job, he must sharpen his tools first". Brush is a very important tool in the whole calligraphy creation. What pen does Teacher Xue usually use? I want to write a small running script, such as Yan Pingyuan's three drafts. What kind of pen is suitable? Thank you!
Xue Yangxian: Style determines tools, just like fighting and wrestling, bayonets at a distance of one meter and missiles at a distance of several thousand kilometers. Of course, this is just an analogy. I have an article "Aesthetic Orientation and Material Configuration", which will be posted at the back of this post later. Please feel free to have a look
Q: In the process of calligraphy learning, is it necessary to be very similar in face shape?
Personally, I prefer the invitations from Dong Qichang and Wang Duo. . . . It can be seen from their early works that they are not very similar. Please talk about this problem. . . .
There is also a very low-level question. Do you have to have regular script skills to learn cursive script? (This question may be too naive)
Xue Yangxian: The beginning of the post should be very similar. To put it simply: (1) details determine success or failure, and ignoring details means ignoring height; ⑵ The accuracy of the pen determines the adequacy of the calligraphy language to convey the calligrapher's thoughts; ⑶ The depth of observation determines the accuracy of understanding the spirit of the law post. What we see in Dong Qichang's and Wang Duo's copybooks is not their real early copybooks. For example; If a person publishes an album, his (her) photos at the full moon are lost. The first photo was taken in my teens. We can't say that he (she) was born like this, can we? When you say that Dong Qichang and Wang Duo are temporarily employed, they have actually entered the stage of perfecting their own style. They just want to find calligraphy elements that are beneficial to their own style in ancient calligraphy posts, and to apply a chemical term is "harmony" and "decomposition". The last question is the history of China's calligraphy, and the evolution of calligraphy is clear at a glance. As for personal experience, it's just a family statement, so don't stick to it.
Q: I am a calligraphy lover, and I don't have a keen sense of smell for calligraphy. But I feel that the national exhibitions in the last year or two have gradually brought calligraphy back to tradition, especially to the two kings. I think this is more acceptable to the general calligraphy community visually and psychologically. what do you think? What does this mean for our quintessence calligraphy? Teacher Chen Xinya advocates the life of calligraphy. What do you think of this? What is the significance of this to modern calligraphy?
Xue Yangxian: First of all, we should distinguish between traditional and traditional works, and traditional works and excellent traditional works are two different concepts. Traditional works are extensive and profound. There are excellent calligraphy elements in excellent traditional works and excellent elements that can be used for reference in non-classic works. The outstanding elements of excellent and non-classic works are only the difference in quantity and energy. The two kings are only part of excellent traditional works. Learning calligraphy is a process of constantly learning the language of calligraphy. Liu Xizai said: "saints make things easy, like setting their hearts, minds, nature and books;" If the day after tomorrow, the use of books is also. " To paraphrase Liu Xizai, this is a process of constantly absorbing "images". The traditional cultural thought in calligraphy is the concept of "the unity of opposites of Yin and Yang" and the spirit of "a gentleman should strengthen his health and strive for self-improvement". The former is "constant", transcending time and space and never changing; The latter is "change", which is the foundation of calligraphy from "point" to "line". As for "calligraphy activity", it is actually a response to some behaviors that deviate from the true nature of calligraphy and a return to the true nature of calligraphy.
Q: How do you handle the proportional relationship between creation and copying?
Xue Yangxian: Accurate Copy → Freehand Copy (diversified excavation and strengthening of aesthetic elements in inscriptions) → Harmonious matching of aesthetic elements and personal temperament ↓ Copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy, copy.
Enrich your calligraphy language in this cycle. Show yourself multifaceted, complete and true in the rich calligraphy language.
Q: Qing Meng Yao Yun Qi: To be a servant, you must have a flowing wrist. I want to ask: "How did the book get its charm, momentum and charm?" Thank you.
Xue Yangxian: One, two, three things in mind, four hands are clear.
Q: 1. A few years ago, everyone was interested in the word "regional calligraphy style", and there appeared the calligraphy style in the Central Plains of Henan, the old style in Guangxi and the cursive script phenomenon in Liaoning. However, with the development of the Internet and the convenience of information exchange, the calligraphy style of this nature seems to have been greatly weakened. Only recently, with the support of Mr. Liu Zhengcheng, an exhibition of regional calligraphy styles was held, and everyone was happy about this topic again. What do you think of the style of books in this area? What attitude should you take? Should you support it or let it develop freely? Does Shaanxi also have its own regional book style? Compared with the regional book style of the above provinces, is this system mature? 2. You advocate intellectual writing, so what does this wisdom mean? What is the difference between rational writing and rational writing? 3. Is there a student club related to calligraphy in your Xi Jiaotong University? Have you noticed? In your opinion, what conditions should an excellent calligraphy student organization have? How to treat the calligraphy learning of non-calligraphy majors in school? Do you have any good suggestions for them? 4. As a judge of the national exhibition, have you ever had an exciting moment when judging (when you saw the work, you were shocked, or did you feel like watching it again after reading it)? In your opinion, what really touches people in a work? )
Xue Yangxian: 1, but lyrical and portrait me, regardless of the east, west, north and south winds. 2. Please refer to the article "Intellectual Writing-A New Aesthetic Principle" posted later. The students in our school have a calligraphy club. Just participated in the evaluation of some works. For non-calligraphy majors in school, it is not necessary to be strict and systematic in learning methods if you study calligraphy from the standpoint of improving your personal cultivation. However, from the standpoint of calligraphers, we should emphasize the preciseness, scientificity, systematicness and richness of calligraphy learning. 4. Evaluation and appreciation are two different ways of behavior. Evaluation is comparison and criticism, and appreciation is feeling and interpretation. A truly touching work is the breath of the work first, and then the authenticity and sufficiency of the breath of the work are determined through technical analysis; For example, if you see a beautiful woman in the street, do you see her first or analyze the lady's eyes, nose, tongue and body before you come to the conclusion that she is a beautiful woman?
Q: As a calligraphy teacher in colleges and universities, you have both teaching and scientific research tasks. Please briefly introduce your research field, or focus on the history of calligraphy? Or aesthetics and calligraphy creation? Are there any interesting findings in your research? Can you share it with us?
Xue Yangxian: My personal experience is very simple. I have studied trade economy, advanced psychology, taught accounting and studied calligraphy. As far as calligraphy is concerned, I'll get down to business now. My special experience makes my study of calligraphy scientific, operable and effective. The research field is calligraphy creation. Some people say "technical metaphysics" and "Taoist metaphysics" on the basis of "technology entering the Tao" In fact, it is wrong to understand "Shu" and "Tao" separately, and it is ridiculous to oppose "Shu" and "Tao". Have we ever seen people who can't sing become singers, and people who can't even speak fluent sentences become literary masters? No matter how high the realm of artistic works is, it is also expressed through concrete forms and quality. Generally speaking, my research topic is trying to find out the "way of saying" the unspeakable, that is, the whole-decomposition-synthesis.
Q: Please talk about popular calligraphy style, artistic calligraphy and modern calligraphy. Thank you.
Xue Yangxian: In my opinion, there are two kinds of "popular book style": "concrete" and "general". "Concrete" refers to "the display of popular calligraphy styles" and "general" refers to "the calligraphy styles popular in a period". I think you may mean the "exhibition of popular book style". As for the "popular book style exhibition", I'd better tell a story that seems to have little to do with the "popular book style exhibition" but has great similarity! It is said that the old man Baishi has a "longevity material" brought from his hometown on the porch where he lives in Beijing. Some people think that the old man is curious; Some people think it is an eye-catching "gimmick"; Some people think that the old gentleman is "very philosophical", but in fact-this is a custom in rural Hunan. For the "popular book style exhibition", outsiders don't know the real reason, and all kinds of guesses are only personal subjective judgments. As for "tongjian", "popular calligraphy style" has existed in all dynasties.
As for "artistic calligraphy" and "modern calligraphy", my opinion is that we should adopt a tolerant and learning attitude as long as it is conducive to the development of calligraphy, even if there are some favorable factors.
Q: Hello, Teacher Xue! I think Mr. Wang's handwriting is very familiar, which makes everyone appreciate it! I would like to ask Mr. Wang how to control the size of words and how to deal with the exaggeration of strokes and structures of words!
Learning calligraphy has always been based on lofty ideas, and some people even set the learning object at no less than Wei and Jin Dynasties. How did Mr. Wang understand it and help him find the direction of calligraphy?
Xue Yangxian: 1, a moderate grasp, two natural. 2. The object of study can be personalized, and everyone's personal choice should be respected. But I think it's okay for people who eat Cantonese food to eat Sichuan food, and it's okay for people who eat hangzhou dishes to try snacks in Xi 'an.
Q: I am a beginner in cursive writing. I asked my husband a question. Copying some classic cursive calligraphy posts, I want to create and practice according to the style of calligraphy posts, but after writing, it is far from the style of calligraphy posts. I will collect the words in calligraphy posts and feel better. I wonder if I have to memorize all the common words in the French post before I can really create. Isn't this a manifestation of "spirituality and talent-",or a process that every calligrapher has to go through (as for calligraphy lovers, this step is even more important)
Xue Yangxian: Your question is universal and one of the most frequently asked questions I have encountered. In fact, as you said, "This is a process that every calligrapher has to go through." The reason is that we are not familiar with the rules of the original post, so one of the important contents of reading and posting is to analyze, summarize and summarize the rules of the original post.
Q: In the process of writing, how did you do it?
Xue Yangxian: Two-dimensional space has both up-and-down and left-and-right movements, and three-dimensional space also has up-and-down movements. The simplest way to solve this problem is to copy the classic works step by step and accurately.
Q: Calligraphy emphasizes temporary stickers, especially famous stickers, but there is an incredible tendency in calligraphy. It seems that the weirder the better, some people can't see anything at all. What do you think of this problem?
Xue Yangxian: Whether calligraphy is strange or not depends on which angle you stand. If you stand in the position of mediocre calligraphy, artistic calligraphy will look weird; If you look at it from the standpoint of art, it is a kind of strange that there is only opposition but no unity. As for some calligraphy, I think it can be divided into three categories: one is without foundation; One is that we lack a comprehensive and in-depth understanding of the history of calligraphy, so we can't explore various traditional elements that form its calligraphy style; Another is that when we appreciate calligraphy, we don't appreciate the work itself, but compare it with an ancient tablet. The same is good, but different is surprising. Strange people will blame.
Q: I have studied many different styles of flat stickers. It is difficult to mix them together in creation, like a hodgepodge. How can we achieve a high degree of unity and harmony in style? Are there many skills to find? ! !
Xue Yangxian: Calligraphy creation must first have a distinct aesthetic orientation, and then the rational allocation of calligraphy resources, rather than the coincidence of ancient calligraphy styles. If your creation is based on the formation of personal style, I suggest you try: take the brushwork, typesetting, composition and ink method of one tablet as variables, replace an element of the previous tablet with an element of another tablet, find a more successful replacement result in many attempts, and then replace an element of the third tablet in the more successful replacement result ... and so on until you find a calligraphy style that suits your heart. The calligraphy style completed by manual replacement has gradually changed from rational operation to potential hidden consciousness.
Q: Who does Mr. Xue think has made the greatest contribution to his calligraphy?
Xue Yangxian: To be honest, I can't tell who benefits the most now, just as I don't know what kind of food my flesh and blood benefits the most.
Q: When a successful calligrapher reaches a certain level, the so-called stylization often appears in his creation! What do you think of this problem? How is it solved in practice? Xue Yangxian: The question is simple. These people regard "recess activities" as "classes"
Q: How did you post the post? How to apply temporary posts to creation? How long do you write everyday? What are you studying at present?
Xue Yangxian: 1, realistic copying in class; After-class copying and freehand brushwork. 2. Posting is the storage language, and creation is the retrieval language. 3. Inequality. Sometimes more, sometimes less. Write till dawn when you are happy, and wake up naturally when you are tasteless. 4. Know what you see. "urgent" does not choose food! Jokes, jokes, hehe ...
Q: What percentage of your time is allocated to reading, doing things, making friends and thinking? What is the biggest confusion (or pressure) from your simple enthusiasm for calligraphy at the beginning to today's professionalism and professionalism? How to correctly handle calligraphy and utility? What is the classic tablet that has the greatest influence on you? What's your favorite book ...? Is calligraphy theory important? What theory is useful?
Xue Yangxian: 1, you said: Go to thousands of books, go to Wan Li Road, and make friends from all directions, right? ! Is it "learning without thinking is useless, thinking without learning is dangerous"? ! I can't "write three points, draw three points and read four points" like Mr. Lu. I can only look at opportunities. 2. Huineng said: "Bodhi has no trees, and the mirror is not a stage. Nothing, then where did it cause dust? " 3. I have already answered it before, so I won't repeat it. My favorite books are books that I bought myself and books that my friends gave me. 5. Mr. Qi Gong said in Reading Notes: Or ask what kind of books to read, you should have money to buy posts, have leisure to read posts, and have paper and pencil posts. When you want to write an article, read the works in the book again, and you won't worry about the poverty of the manuscript.
Q: What do you think of calligraphy classics and popular styles? How to inherit and innovate seal script, official script and cursive script in the new period?
Xue Yangxian: More people think that a classic imitation has become a "popular book style". If you mean the works of the authors of the "Popular Calligraphy Exhibition", I think some of them take the so-called folk calligraphy as the staple food and the literati calligraphy as the non-staple food, while the other part is just the opposite. In short, it is the result of integration.
Q: Hello, Teacher Xue! Do you think it's good for beginners to learn Preface to Lanting Collection?
Xue Yangxian: I think so. The key is how to learn. Learn what?
Q: You came to Wayaobao again and spoke highly of Zichang's large-scale calligraphy and seal cutting invitation exhibition commemorating the 86th anniversary of the birth of China Producers' Party. At the same time, you are also very helpful to this exhibition. Thank you. I dare ask you a question: "The national calligraphy craze returned to the" retro "trend at the beginning of this century, which coincides with our building a harmonious socialist society. How can calligraphy be better combined with building a harmonious socialist society? As calligraphy institutions, calligraphers and calligraphy lovers, what should we do? "
Xue Yangxian: The development of calligraphy has its inherent laws, and it does not always have a simple and superficial correspondence with society, politics, economy and culture. Otherwise, it can't explain the historical fact that the Tang Dynasty flourished, the calligraphy flourished, the national highway declined in Ming and Qing Dynasties, but epigraphy flourished. -This is a very important and complicated topic in the study of calligraphy history, which is forward-looking and instructive for the future development of calligraphy, so I won't answer it here.
Q: What do you think of the elements of doing in calligraphy works? How many elements are in your work? Is nature the beauty of nature? Thanks in advance!
Xue Yangxian: Art itself is humanized nature, "harmony between man and nature" is the highest realm of artistic pursuit, and unity of opposites is humanized nature. Only opposition without unity is "affectation"; Only unity without opposition can only be "mediocre". Any art is made, and the key lies in the word "harmony".
Q: How should beginners master knowledge and expertise?
Xue Yangxian: From the standpoint of hobbies, it is to "specialize" first and then "learn"; From a professional standpoint, it is a multi-disc "professional first, then rich, and promote each other".
Q: You once put forward the concept of "intellectual writing". We often talk about calligraphy creation with "sensibility" and "rationality", or add "writing", but "sensibility" and "rationality" exist for everyone, just in different proportions. What is the difference between your "intellectual writing" and "sensibility" and "rationality"? What is its special "point"?
Xue Yangxian: "Intellectual writing" is an extension and delay of the concept of calligraphy creation. "Reason" is mainly reflected in the calligraphy before and after creation. Generally speaking, the rational allocation of calligraphy resources is pursued before creation, and the aesthetic effect of calligraphy is maximized after creation. "Perception" is mainly reflected in creation. (See "Intellectual Writing-A New Aesthetic Principle" by Zhang Yu and me for details. )
Q: What is the essence of replication? What is it?
Xue Yangxian: In short, realistic copying mainly includes: 1. Exercise the observation ability of the eyes; Second, the ability to control the brush by hand; Third, the ability to comprehend the original language of calligraphy.
Freehand brushwork copying is a multi-dimensional excavation of the original post's existing aesthetic orientation, in which we can find the point of convergence with our own aesthetic orientation.
The purpose of calligraphy copying is: first, to find the relationship between Chinese and American calligraphy elements; Second, accumulate and enrich your own calligraphy language.
Q: Studying Wei, Jin, Song, Ming and Qing Dynasties.
Xue Yangxian: Your question is equivalent to asking me "Is Cantonese food delicious" or "Is Huaiyang food delicious" or "Is Hunan food delicious"? It varies from person to person, just ask for a delicious meal (as long as it doesn't turn your stomach).
Q: 1. How to grasp the speed of creation? 2. I learned a lot of flat stickers. How to integrate them when creating? 3. As the pioneer of today's China book circle, why didn't Mr. Xue publish a collection of works in recent years? 4. Mr Xue, whose original name was cursive script, later became a regular script judge of China Calligraphy Association. what do you think?
Xue Yangxian: 1. The speed of creation varies with aesthetic orientation, so it can't be unified. 2. Creation techniques: ① Strengthening exaggeration, such as superhuman powers in literature; ② Affinity, such as Zhu Bajie and the Monkey King in literature; ③ Multi-integration, such as the image of the totem "Dragon" of our Chinese nation. 3. According to your instructions, I recently published a book "Top Ten Contemporary Calligraphy ● Xue Yangxian Volume". 4. Obey the organization's distribution, listen to the party's words, and listen to all actions.
Q: How to choose Fa Tie as a teacher when learning cursive script? Can you cultivate your early interest and integrate and transform Buddhism around your own will from the beginning to create Buddhism?
Xue Yangxian: All roads lead to Beijing, and the methods vary from person to person. The key is the height of your prayer. Personally, I think there are two ways to succeed, one is pyramid (learn first and then specialize) and the other is diamond (specialize, specialize and specialize).
Q: 1. You have served as a judge many times. Do you think that the current national exhibition works are thousands of people, and the award-winning orientation has entered the strange circle of retro-ism, which is in line with the party's literary policy of "letting a hundred flowers blossom and a hundred schools of thought contend"? 2. According to the current aesthetic standards of national exhibitions, how should we evaluate a large number of artists who are really full of individuality and strong flavor of the times, such as Yu Youren, Shen, contemporary Wang Yong, Guo Zixu? I'm afraid their works are difficult to be selected. 3. How to understand "pen and ink should follow the times" when retro-ism prevails?
Xue Yangxian: 1, the statement that "a thousand people have one side" may not be appropriate. There is always a difference, but the size is different. "Retro" is better than "writing as the body", right? 2. The exhibition is of positive significance to the development of contemporary China calligraphy, which proves the improvement of China's calligraphy level in the past 30 years. Personally, I think the exhibition is to discover, encourage and guide talents. But calligraphy exhibition is not the only criterion to measure the author's level, let alone draw conclusions for history. The authors participating in the exhibition are only a part of the national calligraphers. "Retroism" is not the whole of China's calligraphy, but a demonstration of the learning process, and it is not the ultimate goal of every calligrapher to learn calligraphy. I think that a calligrapher's genuine calligraphy speech from the heart must bear the spirit of this era.
Q: What are the differences between calligraphy education in primary schools, middle schools and universities? Where are the employment directions of masters and doctors in calligraphy?
Xue Yangxian: Primary and secondary schools are skills education, quality education and patriotism education. University education is a professional education of calligraphy art, and the Ministry of Education's order of 2006 16 stipulates that all colleges and universities in China must offer eight elective courses such as calligraphy appreciation. The latest news: Calligraphy has become a compulsory course in primary and secondary schools in Guangdong, and it has been included in the quality assessment system. This shows that the talent gap in calligraphy education alone is quite large. Needless to say, other museums, art research institutions, editing and publishing departments, etc., not to mention the big topic that China's economic strength brings China's political strength, and political strength and economic strength bring culture strength.