China Calligraphy Daily, No. 358, 2nd, 3rd and 4th editions
Ou Xinzhong (Anhui)
Creative Testimonials:
This work is based on the Eastern Han Dynasty Ancient Thick All the Way Lishu, in order to use the pen thick and solemn, the knot is simple and ancient, the rules and spatial arrangements, try to abandon the shape such as operators, lifeless arrangement, drawing on the Western Han Dynasty carved stones there are no rows, jagged and staggered trend, set the real into fiction, natural writing, no intention to work, no intention to seek new and new, the so-called unexpected, reasonable.
Zhu Heshan (Beijing)
This work is a test paper work, the whole text is dense and elegant, the size is natural, based on Sun Guoting's "Book Genealogy", integrated into the Ming and Qing Xu Wei, Fu Shan penmanship, with the appropriate increase in the pen meaning of the seal, in order to increase its ancient clumsiness, thick sense, strengthen the contrast between thick lines and thin lines, which is also the place where I pay the most attention to the study of cursive in the usual time, especially in the treatment of thin lines and dry pens, dry but not dry, thin and not weak, enhance the richness of cursive.
Li Shengbo (Chongqing) (Partial)
2019 is a key year to change my writing life, the epidemic at home, temporarily shelved the writing for more than ten years, and transferred to the book. In the 12th Kai Li Exhibition of Changsha Guan, I had my own ideas: based on Xiao Ou, the agility of Jia Chu, the thickness of ZhiYong, the strength of Wei Bei... Melt into a furnace, use your favorite middle hall form, splicing up and down, inscriptions and inscriptions, and enrich the picture.
Wei Wei (Gansu)
In order to make the style of the work fit with the meaning of the text, I chose to create a more solemn and majestic lishu. The creation method is mainly based on Han Li, with square, simple and thick as the main style, using the pen to pursue condensation and simplicity, calm and natural, bold and innovative in chapters, and using unqualified writing. This kind of chapter writing is more difficult, for the arrangement of each word should be deeply considered, the knot word due to the shape of the word, the size is uneven, the thickness is fine, the momentum is magnificent from a distance, the fine taste, the dignified and lively, the stroke is delicate, the speed of the pen is combined with the skill, so that the intention is to write first, in one go, to maintain the integrity and unity of the work.
Yu Qibing (Guangdong)
In terms of calligraphy, based on the "Li Bi Epitaph", the work is integrated into the "Zhang Ronglong Monument" and "Jia Sibo Monument" with similar inscription styles, and the brushwork of the "Sacred Order of the Wild Goose Pagoda" is mixed, and strives to integrate the ancient and majestic of the stele with the agility and elegance of Tang Kai. The pen rule is mainly based on square pens, and efforts are made to achieve moderate opening, orderly retraction, mutual growth on the side, and both square and round. There is no excessive consideration in the chapter, the common form of inscription is adopted, and in order to make the font of the work more abundant, the content of the inscription is written in Chinese abbreviated.
Fu Shaowei (Guangxi) (Partial)
Before participating in the submission, others sent me some paper, I held the attitude of trying paper began to copy the book, without carving, without thinking about the completion of the writing, feel relaxed and natural, because the specifications of each piece of paper, the length of the height is different, so it can not be bound into a work, and later after consideration, I will turn it into an album, all the test paper sketches framed in the album, there is no carving, fresh and natural feeling. The deadline for the exhibition is coming, there is no time to create works, so I will take this one-step work to submit, accidentally enter the exhibition, may be the work is better than the carving, easy and natural.
Xie Anhui (Guizhou)
This work is based on the seal book record of his own poem "Twilight Mountain Creek Lanting Jiyou", before the creation of several small drafts, emphasizing the contrast between the potential and the wetness, and finally in eight feet of white Xuan in one go. The book is interesting to spray water and dry to increase paper and ink, and it is quite imposing to look at it from the wall. Yu Xihuan, starting from the "Second Yuan", traces back to the Western Zhou Zhongding, next to the Qin Chu Jian Ce, and the grass becomes this grid. The Zhong Ding inscription has been inscribed on the book board, carved into the embryo, cast, and trimmed, so that the original state of the hammer in the future is no longer examined. Although the early writing of the Western Zhou Dynasty is cast, it still exists in the form of writing, and the tadpole pen is still faintly recognizable, so it is taken from the early golden text, not limited to hidden dew, and takes shape with the trend.
Feng Zonghui (Hainan) (Partial)
This work is based on the "Tomb of Li Mou", the knot takes its horizontal posture, the shape is italic, and the natural writing is pursued in the rise and fall of the intention, and the overall chapter is spliced by two screens, and the blank space on both sides of the main text is supplemented by two small characters to fill in the gaps, although it is deliberately coordinated. I will use this to spur myself and plan a good future study plan: First, I must take root in tradition, on the basis of inheriting tradition and absorbing nutrition, pay attention to the integration with the atmosphere of the times, and pay attention to the nourishment of artistic and cultural connotations; second, I must innovate in art, immerse myself in the accumulation of thick and thin hair, and strive to take the strengths of all the families, and find and accumulate my own style in the classics of predecessors.
He Jin (Hebei)
In this work, I adopt the basic paradigm of the Tang Dynasty small seal space, integrate the slender glyph changes of Wu Rangzhi in the Qing Dynasty, and also make reference to such shapes of the "Qian Gua Stele", and in the use of the pen, it changes the barrier of my consistent iron wire seal writing, uses the tool of Changfeng Yanghao, enhances the writing, and strengthens the relationship between strokes and strokes, making this work more interesting in breath. Because this work is a work with a small number of words and a large number of characters, it pays more attention to the overall unity in writing.
Li Bin (Henan)
The content of this work is two Zen poems of "Eight Finger Tou Tuo", in the form of two screens of eight-foot antique rice paper. Use the pen to combine the seal of the reverse front to twist it, to seek its quaint, simple, raw, clumsy and full of changes, the size of the chapter is staggered, the virtual and real are put away, and it is pure and natural.
Zhang Zhichao (Heilongjiang)
This work is still based on the ancient seal of the freehand type that I am best at, and the 8-square seal is created within the framework of the complete ancient seal printing system, and within the reasonable range of the dot painting shape, text shape and spatial layout, try to achieve lyricism and freehand. Before making the printing screen, the selected 8-party seal, the less character printed 6 parties, the 7-character printing 3 parties, the overall style is "clumsy", and the exaggeration and harmonious mutual reference of each party's seal in space, potential pulse, virtual reality and other elements are mutually corroborated. The yin and yang texts of the side sections are coordinated with each other, and the printing surface and the side sections achieve harmony and balance in the overall temperament.
Fan Lijie (Hubei)
Friends say that although there are few words, they are less stained with the wind of the times, which is quite ancient. I looked closely and learned that it was Wang Weishi's "Book Affairs", which was just 20 words and depicted a lazy and pleasant picture. The writing is also easy and natural, with few traces of carving. At first, I thought that in contemporary exhibitions, there should be not much 20 words as the object of creation, and there may be a surprising effect. However, I also thought that the rough rate of the creation of less word counts was often lost, which was a taboo in the exhibition, so I recorded a poem "Reading Wang Weishi 'Book Affairs'" next to the main work, according to my own understanding of Wang Weishi. After this work is completed, the overall examination is both simple and complex, making up for the previous "monotony" and having some points of view.
Zhou Shaojian (Hunan)
This work comes from the classics, but it cannot fully correspond to a certain writer in the history of books, which is probably related to his own concept of learning books. In recent years, most of the books have been written in the form of pro-post. In addition to the post, if the feel is acceptable, then take advantage of the book to copy the number of papers, one is transformed into the income of the post, and the other is entitled to read. Because it is a copy of the book, there is less business contrivance, but more natural relaxation. Over time, I have accumulated a lot of such works in my hands. This work is made by picking three small flat ruler buckets from this one.
Jiang Yujie (Jilin) (partial)
This work has been finalized, adjusted, and polished repeatedly. Use his favorite Northern Wei epitaph style to create, because the Wei stele is a transitional book, connecting the Han and Jin Dynasties, the lower Sui and Tang Dynasties, the style is longitudinal and strange, Simple Mao Tiancheng, full of vitality and innocence, and has more room for imagination and play for creation. In addition, I studied for several years, first entered Yan Lugong, and then chose the Northern Wei epitaph, which was more calm to create. The style takes "Yuan Ni Epitaph" and "Sima Xianzi Epitaph" as the main creative tone, supplemented by "Yuan Zhen Epitaph" to increase the richness of the work.
Shen Haifeng (Jiangsu) (Partial)
Gu Zhi Xiaokai, Yu Xiwen Hengshan, took the book written by him after he was eighty years old. The first study of "Leaving the Troubles", the later specialization of the "South China Classic" to this day. If you learn from Hengshan, you must first enter Hengshan. This work in the exhibition, with a pen and a knot, is all taken from "South China". In particular, the focus is on the change of virtual reality. Knotted but chasing ethereal, pine show. The word size is also the same as the original post. The contents of the books are all self-made essays, and the paper chooses a light and elegant color, in order to be able to accompany the text and the book. However, the strength of the heart may not be within the reach of the hand. The number of times the book, can not be satisfactory, the original is dashing, but the fall is cramped, this learning is not deep, not the pen is skilled and can not be natural. Only if you soak in this post for a few more years, you may be able to get the rhyme of hengshan three points.
He Zhiping (Jiangxi)
I chose the big grass because I have a special love for the big grass, and I love its speed, weather, rhythm and space, as well as the passion when it is written, and the visual impact it expresses. From the selection of content, the determination of the form, the determination of the style size, and then to the final creation and selection of the work, it took only three days to produce an effect that I was very satisfied with. This is the most relaxed psychological state of my investment in the "National Exhibition", and I was finally able to enter the exhibition, and I could not help but sigh that the ancients said that "I have no intention of being good at Jia Naijia", and I am sincerely not deceived.
Liu Changlong (Liaoning)
This work is the normal performance of my current creation. As a northerner, I have always advocated the aesthetic concept of Zhengda grandeur, majestic and elegant, so in the overall style of the work, based on the Zhengda weather, the "Two Kings" Law degree is constructed, and both the Song character posture and the mood, as well as the thickness and simplicity of Wei Bei's brushwork, in order to seek solemn and majestic, cangrun and handsome. In terms of writing content, we strive to avoid literary and vulgar characters, and this text chooses Du Fu's "Drama Painting Landscape And Song", which is magnificent, magnificent, and free, and its text is also elegant and considerable, and it is very legal, so it is suitable for genre creation.
Luo Jinke (Inner Mongolia)
This work reflects my exploration of the small freehand printing style. In the design of the printing screen, the expressiveness of the seal is highlighted through a concise form; in the processing of the work, the performance of the personal style and the visual impact of the seal is not pursued, and under the premise of ensuring the accuracy of the calligraphy, a relatively harmonious atmosphere is created through simple text deformation. It is often said that good works have been exhibited and awarded before they can begin to be created. I don't have such self-confidence, and for me, artistic creation is a process of constant exploration, exploration, and dealing with myself. The submitted works are also more circumventive, and most of the works on the printing screen are several publications.
Hao Yu (Shandong)
On the basis of the thick and simple Mao of "Zhang Qianbei", this work strives to increase the artistry of the work through changes in chapters and glyphs. In terms of rules, strive to be staggered and flexible, and let nature go. At the same time, the spacing of the words is stretched, graceful and generous. In the processing of knots, while maintaining the simple and straightforward tone of the Han stele, we try to increase the grandeur and arbitrariness of the Moya glyph, not only respect the dignified appearance of the stele, but also integrate the flying and stretching of the Moya glyph, and strive to infiltrate the heavenly interest in the stability of the glyph, and achieve a delicate balance in the design of the glyph.
Yuan Da's case (Shanxi)
"If you want to do a good job, you must first use it", before the creation, I made full preparations, revisited the ancient Fa Ti, so that the creation and the ancient Fa Ti matched as much as possible, on this basis to try to innovate, the ancient and not the ancient. I pay more attention to the contradictory relationship between words and words, and take into account the balance of harmony and unity. In addition, "Jane" is also a major pursuit of my calligraphy, and strives to achieve "the road to simplicity, all things are one".
Suo Bopeng (Shaanxi)
This work chooses the way you are good at in your daily life, and it is more natural to write. Taking the knot characteristics and characteristic dot paintings of Yan Zhenqing and Mi Fu as the overall tone, drawing on the Ming and Qing Cursive Scroll Chapters, pursuing the simple, thick, and majestic momentum, the pursuit of ups and downs in writing, the law degree, the "unintentional jia naijia" outside the emotions, although there is an ancient law, regardless of the ancient law, the eight-foot White Propaganda is completed in one go, and although there are unsatisfactory, it is more satisfactory than ever.
Wang Qiang (Shanghai) (Partial)
This is the small print that I am more familiar with. At first, the raw edge paper was selected, and it felt that the words were obviously not exquisite, and the use of illuminated paper achieved unexpected results, and the brush strokes were clearly visible and very delicate. Finally, I tried light-colored paper under constant exploration, and the result was really more elegant. Although it is the same form of the same word, it seems to feel more comfortable and removes a lot of irritability.
Yuan Kai (Sichuan)
This work is based on "Yuan An Monument", pursuing the strength of the line, the style of gaogu, and strive to show the life force of the line. The content of Tao Yuanming's classic group of poems "Returning to the Garden and Tianju" was selected for two reasons: First, the artistic style of this group of poems "tranquility, nature, tranquility" is more similar to the style of the work; second, I have always liked Tao Yuanming's poems very much, and his outlook on life, world view, and the "Tao" he understands are also what I want to pursue. When creating, it is more conducive to inspiring me and resonating with me.
Liu Jianxin (Xinjiang)
This work adheres to the creative concept of "rooted in tradition and courageous innovation". The chapter advocates "Zhengda Weather" and restores the authenticity of calligraphy; the knot follows the basic principles of the Lishu, combined with the innovative consciousness and modern aesthetic orientation of the Qing Dynasty Lishu; boldly tries and exaggerates in the use of pens and knots, while paying attention to the stability and novelty of the knots, paying attention to the overall style and temperament of the work, so that the work presents momentum, and at the same time reveals the ancient meaning of the work and the context of the method.
Sheng Yuanjing (Yunnan) (partial)
In my understanding, the writing technology in the art of calligraphy exists to reflect the complex artistic thinking of different calligraphers, and I am more inclined to find my own calligraphic formal language in all artistic factors than to the mature and stable creative appearance. This work is based on the creation of this period based on the understanding of calligraphy art elements such as seals, codexes, and Wei tablets, with the intention of integrating Xiao Kai into the tone of the book, pursuing ease with the pen, and intentionally or unintentionally strengthening the relationship between gathering and dispersing, virtual reality, etc.
Liu Jiqiang (Zhejiang)
This work is based on the cursive script of the Ming Dynasty, drawing on the ming and qing chapters. In the creation, it is reconciled with the classic Fa Ti of the past, which can make the work more abundant. Cursive writing creation is not a depiction of a certain family and a post according to the cat painting tiger, but after basing itself on tradition, it has its own pursuit...
Producer: Yang Chao, Zhu Zhongyuan
Editor: Yu Jiamin