The creation of regular script pursuits strong pursuit, the more powerful and vulgar ...

Talking about the "powerful" of the regular script

■ Zhang Zhiqing

Zhang Zhiqing was born in 1971. Member of the Chinese Book Association regular script committee, researcher of the Calligraphy of the Chinese Academy of Arts, the 12th National Calligraphy and Seal Carving Exhibition Jury, and Chairman of Langfang Literature Federation.

Kaishu is the earliest script I have contacted. At that time, I was 9 years old. The first post I learned was Ouyang Xun's "Jiucheng Palace". The second copybook is Liu Gongquan's "Mysterious Tower Monument" and "God Celestial Monument". It was compiled by Shan Xiaotian. The quality was slightly better. My regular script concept was established.

After going to Tianjin to study, he had to meet Mr. Sun Boxiang and transfer to Wei Bei. Mr. Sun is a master of contemporary Wei Bei, with high practice and theory. Under the influence of Mr. Sun, starting with "Twenty Dragon Gate" and "Zhang Raptors", the form of cubic is the form, then from Fang to Yuan, transferred to "Yunfeng Mountain Carrving Stone", and then learned "Dragon Dragon Bei Bei" and "Bao Bao Bao. "Substation" is righteous and simple, asking for interest, and gradually knowing the script. The monument used the pen to pay thousands of power, and there was no slackness, so he deliberately asked for his strength and made the pen like a puppet. Later, due to the incorrect posture and excessive effort, it caused cervical spondylosis.

Kaishu Xin Qiji "Qinyuanchun · Re -expired Sibu"

Qin Guan's "Eighty -six Son · Yixi Pavilion" sketch

Why do you think about it? Beginning the regular script for the strokes is strong, and it is considered to be powerful. It is a secular consciousness. Studying books is to improve the ability to control pens, not for power. Powerful is an indicator of the ability to control the pen, not all. The ability to control the pen is the ability to control and correctly use the brush, which is an important evaluation goal to ensure the quality of the strokes. That is to say, the better the ability to control the strokes, the higher the quality of the strokes. Expression. Richness refers to the quality of the strokes completed without the ability of the pen to control, including the diversity and meaning of skills, and its opposite is poor and shallow. Expression is that the strokes are appropriately expressing the author's emotional and aesthetic ideals, which reflects the characteristic style characteristics. The stronger the performance, the more prominent its style characteristics. High -quality strokes are well handled in all aspects of virtual, weak, weak, hard and hard, rough, and severity. The so -called "powerful" description is only the most direct description of the strokes, and it is shallow appearance intuition. One -sided pursuit of strong pursuit, running counter to the actual high -level calligraphy judgments, leading the judgment to astray, the result is that the more powerful the more vulgar, the more vulgar, and to the secular "rivers and lakes".

The level and style of the work of the work of calligraphy are determined. Master Hongyi's early script of the regular script, starting with "Twenty Dragon Gate" and "Zhang Raptors", has made a lot of work. The strokes are solid and tough. However, in his later years, his strokes were virtual, round, simple, vivid, and entered the regular script with grass, breaking the tightness of the regular script, and there were no early and powerful traces, but its richness and expressiveness were far better than early. The style and the realm are also far above the early works, creating a new empty, vivid and concise regular script and new features, reflecting their thorough understanding of life, making the viewers pass through their hearts and shake their hearts.

Kaishu WeChat warning fan surface

Investigating the first -class regular script in the history of calligraphy has also reached a new height in two aspects: realm and style. Wang Xizhi removed the legacy of Lishu reserved in the end of the Han Dynasty, and changed the regular script from the simple meaning to the style of Junya and Qingrun, and opened the door of the regular script to elegant style. On the basis of his father Wang Xizhi's new style, Wang Xianzhi further went to its simplicity, and made it more beautiful and smooth. Wind. In the early Tang Dynasty, there were four Kaishu script. Ou, Yu, Chu, and Xue were learned from Wang Xizhi and Wang Xianzhi. The realm. Ouyang Xun inherited the brushwork of Wang Xi's inside, and at the same time brought the meaning of Wang Xizhi's reserved to the extreme. The clear and clear style reflects the majesty and highness of the scholar. Harmony, coordination uniformly unified and elegant style characteristics. Chu Suiliang inherited the characteristics of Wang Xian to use his pen characteristics to further enrich his expression, making it easier for him, easy to be accepted by scholars, elegant and vulgar, highlighting the times of the Tang Dynasty, the leader of the establishment of the style of the regular script of the Tang Dynasty. Affected by it, Yan Zhenqing and Liu Gongquan were further developed and created, so that Tang Kai reached the peak of history. The development of regular script from the end of the Han Dynasty to the end of the Tang Dynasty is a process of pursuing clever development, until Liu Gongquan has created it. As soon as the contemporary script refers to Tang Kai, when it comes to the evaluation of the regular script, the potential comparison object is also Tang Kai, which shows the influence of Tang Kai. However, the development of the regular script is not only Tang Kai. After the Song Dynasty, the literati script before the Song Dynasty monument movement was not ignored.

Su Shi and Huang Tingjian of the Song Dynasty, Zhao Mengfu of the Yuan Dynasty, Dong Qichang of the Ming Dynasty, and the creation of their aesthetics and realm of their regular script different from the previous generation. They do not deliberately pursue the perfection of some paintings, but seek the overall harmony, pay attention to the performance of personal taste, reflect personality, and show a distinctive and clear aesthetic pursuit and aesthetic proposition. Therefore, its realm and style are established based on personal cultivation and character, which reflects the literati interest, and it is different from vulgarity.

Kaishu self -made poem "Garden Mei" middle hall

After the rise of monuments in the Qing Dynasty, he degraded the books of the Tang and Song Kaishi, and pushed the "golden stone qi" and "籀 籀 清". Everyone is old, simple, and energetic, and "Yan Mei" is a vulgar vulgar! Its successful people are old and simple, reflecting the ancient and ancient qi; their losers are worked by drums, vulgar and irritable, weird strokes, scanning, and ugliness, and they can't talk about the realm and style. It is considered a distorted and evil theory that I think it is a turbulent theory. From the perspective of the development of contemporary regular script, most of its aesthetic standards still use the aesthetic standards established after the Qing Dynasty monument movement. The strong judgment of strokes is still the standard for most people to judge the quality of works. The clever pursuit of regular script is the needs of practicality, the unity of practicality and aesthetics. The practicality of contemporary regular script has been replaced by art characters, and the function of information transmission has also been located in art characters. People read for a long time, watching art words, artistic characters, and the overall image of the artistic word gradually become the subconscious standards of the aesthetic script aesthetics in people's minds, intentionally or unintentionally affecting the aesthetic judgment of the regular script. The aesthetic script aesthetics of popularization tends to art, which is the goal of "ingenuity". However, the efforts of this direction are exactly the art of art, which runs counter to the development direction of art. So, how should we promote the development of regular script art?

Is there no only on the regular script

I think that contemporary regular script should make breakthroughs in pursuing personalization, and strive to seek high realm and high style. Finding the style characteristics of regular script style that is different from predecessors and can reflect the characteristics of the times without being separated from the basic appearance of the regular script. Its artistic character should be placed in the main position.

My regular script is the kind of "powerful". The study of Wei Bei for more than ten years has made the concept of "powerful" rooted in my heart, but I know that this aesthetic is not a high state of regular script. Therefore, my own satisfactory work is often vivid and vivid, and it does not seem powerful. It shows my psychological state and reflects my aesthetic ideals, but there are very few such works.

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