news

한어Русский языкEnglishFrançaisIndonesianSanskrit日本語DeutschPortuguêsΕλληνικάespañolItalianoSuomalainenLatina

The Grass Expo is an important event held by the Chinese Calligraphy Association and has attracted much attention. After the opening of the "Five" Byte, we invited several judges to talk about their views.

Wang Naiyong is also the judge of the "Fifth Cursive Calligraphy Exhibition". He is also proficient in cursive calligraphy. With his cursive calligraphy, he has won awards and been included in national calligraphy exhibitions many times. I believe that some of his insights and opinions can inspire more readers.

Notes on the Evaluation of Grassland Expo

This exhibition of "Cursive Script" is a comprehensive review of the national calligraphy art level in recent years. Judging from the works participating in the judging, their creative passion, brush and ink skills, and aesthetic orientation all reflect the overall style and basic level of contemporary calligraphy art.

However, there are still some obvious problems with the current state of cursive script.

On the one hand, there is an obvious "homogenization" in the creation, and the convergence of the aesthetic taste of the times has led to the monotony of technical expression and the similarity of creative style; on the other hand, the traces of "production" are very obvious. The nature of cursive script is lyrical and expressive, and excessive carving will deviate from its inner spirit.

In view of the above phenomenon, as a judge, I would like to share some of my thoughts on cursive writing:

First of all, "entering the ancient style" is the basic requirement for writing cursive script.

The creation of cursive script pays attention to the strokes, composition, character shape, ink method, style and realm. Writers must be rooted in tradition, backed by skills and based on long-term practice.

How can we "enter the ancient times"? We need to find the hidden meanings of ancient texts.

The first is vertical integration, which is to take a certain masterpiece as the starting point, conduct in-depth research, and form a style in a short period of time;

The second is horizontal integration, that is, taking a certain classical school as a reference, absorbing a wide range of ideas and forming a more mature artistic language;

The third is the selection and application of the overall techniques of cursive script, as well as the selection of the techniques of "inward pushing" and "outward expansion". In the process of copying, the author has reached the realm of "entering the ancient times" through his continuous study of tradition.

Secondly, on the basis of "entering the ancients" and "going beyond the ancients", gradually establish one's own creative concepts.

The expression of strokes, the construction of calligraphy, and the composition of structure are all the author's digestion of skills. However, it is not enough to stop at the level of skills, but also to understand the "temperament" and "freehand" of cursive script.

On the one hand, cursive writing emphasizes emotion and feeling, freeing one's mind, freeing oneself, and expressing one's temperament on the basis of highly skilled techniques. "Learning from nature" is the inherent spirit of calligraphy, which is manifested in "dots" and "brushwork", as well as the use of "cursive method" and "character shape".

Nature writing must be based on tradition and must achieve "deep insight into antiquity", "mastery of techniques" and "forgetting the book" in order to be able to communicate with "nature" and get out of the rut of "production", thus achieving the organic unity of the naturalization of writing and creative concepts.

Fourth, improve personal experience, knowledge and literacy.

The formation of a person's calligraphy style, in addition to his acceptance and absorption of classics, more importantly, depends on his aesthetic realm, state and personality.

Jian Jinglun wrote in "A Casual Talk on Calligraphy": "Writing is the last skill for scholars, and the foundation of calligraphy is to be able to write more things, which is the best." As far as writers are concerned, they should pay attention to both the "internal skills of writing" and the "external skills of writing", so that calligraphy can reach a higher level.

On this basis, we should also integrate the Chinese artistic spirit of "plainness and innocence" with the values ​​of contemporary society, respect the traditional art rooted in the people, and accept the ontological connotation and character of calligraphy. This is a return to the innovative power of life and human beings themselves.

Only when your mind is as calm as water, your heart and hands are free, and your emotions are abundant can your calligraphy become more beautiful.