Compilation of the judging speeches of the Chinese Calligraphy Provisional Book Conference
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01/
Multi-dimensional style
Zhai Wanyi
In order to directly promote the development of creation at a deeper level, the book conference adopts the form of one-for-one submission, and among the works in the exhibition, there are many copies in place, but the creative works are not the same, and there is a big distance. There are several situations in which this is true:
First, there is a big difference in the style of copying works, as a selected work, this difference is on the basis of copying, and in a long period of time and copying other classic works, the style expressed in the pen has become a combination of two classics, but this synthesis is still based on their own copied works, these works are easy to impress the judges, and many have been selected.
The second is that it is more infused with other classic wind gods, which is quite different from the copying works, but it is all on the path of classics and is easy for the judges to accept.
The third is the combination of classic works and contemporary exhibition calligraphy, which is a major orientation in the current calligraphy creation, making people look very familiar, but it has its own face. This road due to the same method of taking, different targets, the number of performance paths are each trade-off, becoming a large category in the exhibition, due to the wind of the times, difficult to influence.
The fourth is to add some personal understanding on the basis of the post, because the pen and ink skills are better, the understanding of the classics is relatively deep, and the ingredients of their own understanding are added to the creation, which does not change the face of the classics much, and is also accepted by the judges.
02/
The meaning of writing is to "cross the river and build bridges"
Wu Zhenfeng
Lingu, not to repeat the ancients, but to crack the secret method of ancient calligraphy in Linmo, that is, the law of knotting and the generation of pen and even sealing, so as to form the muscle memory on the hand, and then reach the realm of free writing. The generation of personality and style is, of course, related to the method of selection.
From reality to imitation to study to creation, it is actually only a general path, and many times it complements each other. Asking the ancients for directions vertically does not exclude the horizontal borrowing of today's people. Even learning from today's people saves trouble and effort, but the mutual imitation between people at times has another drawback - the homogenization of style is formed. In order to distance himself from today's people, it is necessary to ask the ancients for a way to live.
I think that the meaning of writing is to cross the river and build bridges to empower the future. But on-site observation, there are some unsatisfactory points, which cannot but be pointed out:
The first is to take the law. At present, writing is increasingly closer to the Ming and Qing dynasties, while the traditions of the pre-Song and Tang dynasties, Wei and Jin dynasties, and even the Qin and Han dynasties have not paid enough attention, so the phenomenon of assimilation is more common.
The second is the method. Temporary writing, in fact, from copying and tracing red to double hook, prospect, freehand copying, there are various methods, and the effect will be diverse. Qingren Wang Peng wrote Yan Zhenqing, became rich and thin, and the qi of Qinggang came out. The singularity of the current writing method is also one of the factors in the homogenization of style.
The third is the blurring of imitation and creation. Cross the river to build a bridge, cross the river and then tear down the bridge. Many authors do not change from ancient times, and write about today's people just copying, so some creations have become plagiarism, and imitation can only be an exercise. The method of imitating the ancients is to "steal" the ancients, not to make themselves ancients.
Eating pork and eating beef has to grow your own meat. Dressing yourself up as an ancient, that is a matter on the stage, and learning the face of today's people is even less worth advocating. A thousand people, all "pretending", makeup, or "artificial beauty", it is inevitable to be contrived, reluctant, pretentious and unnatural.
To show individuality, it is precisely overwhelmed by individuality, which is the most likely place for calligraphers who are constructing their own style to wander, and it is also the place where contemporary friends who are interested in calligraphy should reflect the most.
The works submitted this time include a variety of bodies, covering the classic monuments of the previous dynasties. But on the whole, there are still many walking grasses, and on the basis of the previous enthusiasm for the two kings of walking grass, it has expanded to the Tang and Song dynasties. And especially the "Su, Huang, and Mi" with Song.
This is the same as the national calligraphy exhibition. This phenomenon also reflects that people's aesthetic taste is undergoing some subtle changes, which is a gift of the times, but the problem is that everyone is "getting together", "Su, Huang, and Mi" are hot, Cai Xiang, Li Jianzhong, Zhang Jizhi and other Song writers are rarely interested, this is a problem of vision, but also a problem of guidance, reflecting that our authors still lack independent aesthetic character and value judgment.
Seal books are still popular in the style of "iron wire seals" and small seals with stable work, and very few people can really ask for news from "Jijin". The same is true of affiliation, one is "popular style", and the other is the style orientation dominated by "Qingshu". And there are not many works that really have the quality of "Han Zhi". Multi-shape exaggeration, let the pen as the body.
Wei Bei works, there are few classics, such as those who wrote "Zheng Wengong", "Zhang Menglong", "Paralyzed Heming" and "Shimen Ming", few have fallen, but the unknown ones all compete to learn, and most of them use a routine and model, which is the dust of the "new Wei body" in the popular book style in the past.
The amount of small letters and even "micro letters" in the book is very large, and most of the authors are profound, but they often use "thousands of words", it seems that they use "bitter meat calculation", compared to other book styles, Xiaokai is the most troublesome for the judges is that it is difficult to distinguish between light and light. The so-called "competition skill" is quite appropriate to Xiaokai, but in general, the works of the winners can represent the cutting-edge level of calligraphy in this era, whether it is character or skill, and they are also the vane of contemporary calligraphy development.
Therefore, the analysis and research of their works and stylistic orientation will provide us with the best data and reference for clearly sorting out and grasping the contemporary book style.
03/
Temporary work must have technique, temperament, and understanding
Song Yan
As far as the works on display are concerned, there are three aspects that deserve attention:
The first is what kind of temporary works are needed for the exhibition. I originally thought that since it was a temporary book conference, the standard for the quality of the temporary work must be related to the similarity of the original work. However, at the judging site, it was found that the advantages and disadvantages of the works are not simply "like" that can be covered.
An in-depth study of the classics, an exploration of one's own writing methods, a pouring of one's own spirit, and the ability to write freely are good temporary works. Simply put, it is a temporary work with skill, temperament, and understanding that can move people.
And some temporary works that are very similar to the original, because they directly "copy" the original, in such a competition, due to the lack of temperament performance, it is not spirited enough, and the competitiveness is seriously insufficient. According to the requirements of the Call for Papers, all authors have provided two works created by one and one by one. Good creative works are often written by those temporary authors who have temperament and ideas, and from the perspective of temporary creation transformation, it explains the relationship between temporary creation and creation.
The second is about collage. It should be said that the development of the national exhibition to the present, under the condition of the overall level of a significant improvement, can say goodbye to collage works, especially small window collage forms. From the judging site, in addition to large collages, small collage works appear fragmented and broken, and it is difficult to attract and move people in front of complete form works.
The third is homogenization. In the face of the re-evaluation and final evaluation of the works, you can feel the progress of contemporary calligraphy at the technical level. On the one hand, these advances have been achieved through scientific methods and one's own efforts; On the other hand, it is the result of mentor-apprentice teaching. Another result of master-apprentice teaching is the homogenization of works, the same copying method, the same understanding of the work, and the personalized pen that has become common, etc., so that the originally excellent works appear in batches and appear mediocre, from the judges' initial eyes to ignorance.
The contingency of a certain piece and a certain piece will inevitably appear, so how to keep up with the team in the exhibition competition, and find and maintain your own direction, is a long-term proposition.
04/
Realize sensual writing under rational regulation
Zhou Jianchu
From the perspective of judging, there are five main phenomena and problems in copying and creation:
One is not to post. Such authors ignore the classics, seemingly casual books, but in fact write for no reason. Some people have written all their lives, never posted, blindly "created changes", picked up a pen to empty and blindly drawn, ignored the "law", wandered without "roots", exaggerated and deformed for granted, and the final result can only be labor without gain, labor without success. As for creation, there is no way to talk about it.
The second is the shallow post. From the judges, such works account for the majority. In the final analysis, it is an imitation of the ancient post. The accuracy and degree of imitation objectively reflects the mastery of ancient methods and classics, and the height achieved in the future on this basis. If the post is not deep, and the taste is shallow, then the ancient method cannot be used by me, resulting in the creation of two skins.
The third is the imminent post. There are two phenomena here: one is to hold on to a family, which is very similar, but the creation of the work is its own thing. When I create it, I will not "take" the experience I have learned for my use, and there is a disconnection.
The reason is that it is aimless, without thinking, without analysis, and after writing, the mind is blank, or only retains the feeling of writing, and remembers very little. There is also a phenomenon that also holds a family, but has a law to follow, and can write literary content in its calligraphy style, which belongs to the creation of a collection of characters. If it is rusty and rigid, there is almost no possibility of entering the exhibition, and if practice makes perfect, it is expected to be favored by the judges.
The fourth is the deep post. Calligraphy learning requires a family of workers and proficiency. The beauty of the previous Dharma is often in the stroke of two times, or even a small action. Many practitioners have to make a rough branch, and on the whole, it seems that it is not far from the original post, but it is lost a lot in the subtleties, which is no different from copying a book.
In addition, we must also study and practice diligently, think and understand well, achieve the back, and strive to have both form and god. With this basic skill, entering the creation has a foundation for standing, such as paying attention to the rhetoric and form, and entering the exhibition is not hindered. It should be said that most of the works included in this exhibition are in this case.
Fifth, live posting. What is "living" is the integration of the book body, not holding the family, relying on the mutual penetration of the book body, giving birth to a "living" artistic image. At the same time, it is necessary to endure loneliness, sit on a cold bench, and put real effort into the technique to make the pointillism dexterous. The ultimate purpose of the temporary post is to serve the creation, and we must be good at combining the skills mastered in the process of the temporary post with our own personality, so as to achieve emotional writing under rational control. Unfortunately, such works are rare in exhibitions.
In addition to the problems of temporary creation, the phenomenon of typos, typos, missing words, and the mixing of traditional and simplified in the works is still very serious, which is worth thinking about by all our current writers.
05/
Authoring is closely related to posting
Zhang Weidong
The temporary post is mainly taken from the classic inscriptions of the Han, Wei, Jin, Tang and Song dynasties, and is also involved in the Yuan, Ming, and Qing dynasties, but it is not the mainstream. Why the former and not the latter? This is closely related to the aesthetics of our time.
Specifically, Han Wei is mainly inscription, especially the seal subordinate, which is the source of the seal subordinate. It is difficult to enter the source of learning, and it is relatively easy to learn the genre, for example, the seal affiliation of the Qing Dynasty is a genre, learning Zhao Zhiqian seal subordinate and Xingcao, those who learn quickly will enter the national exhibition in one or two years. That's why most people give up the flow.
Until one day I found that this road did not work, I had to trace the source again. In previous years, there have been a lot of small texts, and it is said that some places have become popular, and once there are more, the judges look at it repeatedly, just like seeing a work written by a person, it is always boring. So from the small-character Wei stele to the large-character Wei stele, but there are very few people who can really write the large-character Wei stele well.
There are many small letters, and there are not many who can write Tang Kai as large letters of more than ten centimeters, and Yan Kai is almost difficult to enter the exhibition, and the world has commented that "Yan Kai is easy to learn and difficult to refine, and it is even more difficult to post". Chu Suiliang's "Yin Rune Sutra", "Yanta Holy Order", "Ni Kuanzan", etc., there are many people who are studying it.
Ouyang Xun's "Jiuchenggong" all the way is unsuccessful nine times out of ten, and there are many people who learn Ouyang Tong, compared to Ouyang Xun's square, Xiao Ou's knot is flat, the square fold is like a Wei stele, and the closing place is subordinate. Yu Shinan's "Confucius Temple Stele" is of a very high standard, but Xiaokai, Zhongkai, and Dakai can learn it; "Zhang Heinu", "Zhang Menglong", "Shiping Gong", "Dragon Yan", "Yuanzhen Epitaph", "Li Bi's Epitaph", etc., these steles have been learned, but how to write Wei steles in capital and live Gao Gu is difficult. There are many works of Wei stele in small print and fewer large characters.
Grass is a big item, and so is the temporary exhibition. Judging from the works of Linti, there are very few cursive writers involved in the Han Dynasty, such as Zhang Zhi and Suo Jing Zhangcao, and everyone is gathered in Wang Xi's Codex and "Seventeen Posts", and even there are not many Linwang Xianzhi.
Sun Guoting's "Book Score", Yan Zhenqing's "Fighting for Seats" and "Manuscripts for Sacrifice and Nephew" are many, but "General Pei's Poems" are not well received. Ouyang Xingcao, Liu Gongquan Xingcao, and Yu Shinanxing grass still need to be excavated. There are four Song families, Su Huang Mi has more than three families, and the rice character is the most among the three.
The grass of the Song people such as Cai Xiang, Cai Jing, Wu Zheng, and Lu You has yet to be excavated. In the Yuan Dynasty, there was almost only Zhao Mengshun, and although Kang Lizishan had a reputation in history, there were not many people who learned. The Ming and Qing dynasties were still the "three madmen" of the Ming Dynasty, Huang Daozhou, Ni Yuanlu, Zhang Ruitu, and learned a little more from Ni. Wang Duo walking grass in the late Ming and early Qing dynasties also took more methods, and Dong Qichang, He Shaoji, Liu Yong, and Ba Da Shanren also had some walking grass, but the number was small and only embellishment.
The paper used is still colored paper as the majority, white Xuan has become an embellishment, and the collage is still the mainstream. There are not many white Shengxuan, and the ink color changes very well, becoming the most eye-catching work in embellishments. After all, ink color change is not an easy task.
Finally, the works that are eliminated in the text review stage are the most regrettable. A work is the most difficult to pass the initial evaluation, after the re-evaluation, the final evaluation and then to the text review, at least there is no problem with the calligraphy itself, and finally lost in a few typos and missing words, which is really regrettable, so self-proofreading is particularly important.
Original title: "Compilation of Jury Testimonials of Chinese Calligraphy Provisional Book Conference" (excerpt)
Author: Zhu Da Guy (originally published in "Chinese Calligraphy")