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How much can a young man in his early 30s achieve in calligraphy, which is a subject that focuses on the accumulation of skills? Tang Long was born in 1988. When he was very young, he participated in more than 40 exhibitions and was already a well-known young calligrapher.

According to Tang Long himself, most of his works are themed after the Chinese Calligraphy Association. If the Chinese Calligraphy Association organizes an exhibition, he will mainly use running script. If he holds an official script meeting, he will write in official script; if it is at a calligraphy exhibition, it is calligraphy.

Some people may say that they are just following the trend. Is this creative mentality beneficial to his future calligraphy? Tang Long did this mainly for three reasons.

First, he is still studying and has not formed his own style, so he wants to try more. Second, this exhibition held by the Chinese Calligraphy Association has set a new creative direction for him, which will enable him to achieve a breakthrough within a few months. Third, only with the encouragement of exhibits can he have the motivation to move forward.

Facts have proved that Tang Long's approach is effective. Although Tang Long did not participate in the 2nd National Calligraphy Exhibition in 2016, he started his transformation from regular cursive script to Yan style. At the 4th National Calligraphy Exhibition in 2017, he made a breakthrough in Liye Qin Bamboo Slips and was fortunately shortlisted for the review; the "Five Great Cursive Meetings" "five years ago" made him start to shift from regular script to cursive script, and he had a new understanding of cursive script techniques...

From the works displayed by Tang Long in the "Fifth Cursive Script" exhibition, we can get the following inspirations:

1. The use of the brush is the foundation of the work

The quality of brushwork is the key to judging whether a calligraphy technique system is mature. Tang Long's cursive script began with "Ping Fu Tie" and later learned from Yan Lugong. Therefore, his brushwork is heavy and powerful, which strengthens the "seal and oracle style" and the expressiveness of calligraphy, making the cursive script lively.

2. Use ink with charm

If the brush and ink are the foundation of a house, then the ink is the skeleton of the house. Good ink rhyme application requires "three senses", namely rhythm, layering, and transparency.

The use of ink must have rhythm. Without changes in rhythm, it will appear dull; there must be rich layers to construct a 3D three-dimensional space in a 2D plane; the use of ink must have a clear effect in order to obtain a fresh and upright artistic effect.

To be specific, it is about the thickness of the brush and ink. The brush and ink of large characters should have ups and downs, and have rhythm; the brush and ink of small characters should have changes in gathering and dispersion, and have a blocky feeling.

You must also be good at using water when using ink. Only by using water to moisten the ink can you achieve a fusion effect. The use of ink should be rich in the changes of movement and stillness. Gu Sui said: "There is poetry only when there is movement in stillness, and there is poetry only when there is movement in stillness." Thick ink is steady, dry ink is flying, and there is more charm between movement and stillness.

3. Seal is the soul of decorative art

Seals are to calligraphy what salt is to chefs: no matter how good the ingredients are, without salt, the dishes will become bland and tasteless. And good seals, like seasonings, should be hidden behind the scenes and never dominate the show.

When it comes to seals, Tang Long proposed the principle of "four rathers and four nots", namely, "prefer less to more, prefer small to big, prefer red to white, and prefer square to round".

Specifically speaking, the seal should be based on the form of the work, the spatial layout, and the size should be combined. The red square seal should be the main body, and the seals should be in groups to concentrate on "sweeping" to prevent "dispersion". Each seal should be of different sizes, and each part should have its own characteristics, so that they can be coordinated with each other.

4. Style is an important indicator to measure the artistic value of calligraphy

To make the style of a work reach the realm of "elegance", it must be based on the ancient times, and at the same time, it is necessary to read widely and conduct in-depth research on traditional culture. Secondly, we must feel the nature more and experience life more. Art comes from life, and we must absorb nutrients from life and refine it to obtain the artistic conception of "vivid charm".