#头条创作挑战赛#
In the eyes of many people, the official book must be written simple, heavy, and beautiful glyphs, such a work is the best, however, there are also people in the creation of official books, not in accordance with such principles to create, but completely put aside the characteristics of the official book, firmly grasp the "meaning" of the official book to write, and when creating in this way, as long as you pay attention to some necessary problems.
The above Lishu work, on the surface, the author is "random" to write, to the glyph without glyphs, to penmanship without penmanship, unlike the traditional Lishu, there are beautiful glyphs, diversified penmanship, and the "genes" of the ancients, but just like this, the work of random writing, in a calligraphy contest also entered the exhibition, is it a mistake by the judges, or do the judges originally like such an ugly Lishu? To clarify this question, let's do some analysis of this below.
First of all, this casual work of official script was not created in strict accordance with the traditional official script, but completely took the "meaning" of the traditional official script. Many people may think, isn't this nonsense? Which traditional official book is it? Not at all. In fact, as long as we look closely, this work is taken from a number of official scripts, and these traditional official scripts are transformed into their own personal style, such as: "Ode to Shimen", "Good King Tablet", "Zhang Qian Tablet", etc., and also integrates some seal script writing, seemingly casual, but in fact respects the law.
Secondly, this Lishu work has no lines in the overall chapter, breaking the basic writing method of the traditional Lishu and becoming a self-contained system. In the past, when the ancients created the official calligraphy works, they were written in a grid on the stone to write clear lines and columns, but this official calligraphy work, on the surface, seems to have vertical lines, and no horizontal lines, this casual way of creation, just as the author forgot the arrangement of the chapter when writing, is also a way to write at will.
Finally, this Lishu work shows a natural and light artistic style. Many people mention Lishu, they feel that there must be a thick and majestic style, in fact, the style of Lishu left over from history is also diverse, there are majestic, heavy, elegant, unbridled, splendid, vast, and so on, it can be seen from this Lishu work that the author is to create a kind of loose and natural artistic atmosphere of Lishu, which is also in line with the style of each word.
Of course, when we analyze this work, in addition to the above factors, the main thing is to see what the author wants to express when he is creating. In fact, calligraphy is not only about the level of technique, but also about making people feel the level of cultural accomplishment of the creator from the work, but how to express cultural accomplishment? This is a difficult problem in the creation of calligraphy, for generations, such as Su Dongpo, such as the great writers, the calligraphy atmosphere, is not the word itself, but the cultural literacy emanating from the word.
Of course, an important way to express cultural literacy is to embody the essence of Chinese culture in the characters - philosophical thoughts. Philosophy is not simply applied to their respective systems, and philosophy is used more prominently in calligraphy. For example, the size of the characters, the lifting of the pen, the square circle, the density of space, the shade of the pen and ink, etc., these are all intertwined contradictions. In the works, we can clearly feel that the artist's disregard for the glyphs in order to realize these contradictory relationships is actually to express the artistry and personality cultivation of calligraphy through philosophical relationships.
What do you think are the different opinions on this Lishu work in the exhibition? Welcome to leave a message in the comment area to express your views and discuss together.
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