Li Gangtian: On the Book of Books

Author:Zhengzhou Evening News Time:2022.09.18

Li Gangtian, born in 1946, was born in Luoyang, Henan. No. cricket. He has been repeatedly hired as a judge member of the important calligraphy and seal engraving activities of the country. Calligraphy and seal engraving works and papers have been selected as important professional activities at home and abroad and won a variety of awards. There are more than 30 types of professional works. He is the deputy president of Xiling Yinshe, a professor and doctoral supervisor at the School of Calligraphy of Zhengzhou University, and a special professor of the School of Art of Renmin University of China. Won the Fifth Calligraphy Lanting Award Art Award. Former editor -in -chief of "Chinese Calligraphy" magazine, he was elected director of the Chinese Calligraphers Association for thirty years.

Li Gangtian's book often built poetry paper

Jin Wen is an ancient and mysterious text 2,500 years ago. Casting or carved on the bronze ware, after the erosion of the soil and soil, the historical circulation, the mottled copper rust shielded its true face. How to explore the gesture of the ancients through the hazy ancient meaning is the topic left by history to future generations, just like a mysterious ancient song passed down from history. Time instruments to perform this ancient song. I did this and worked hard to liberate the mottled rust barrier, and replaced it with the free writing of the brush, so as to express the natural seepage of ink color on the rice paper. Use the pen and ink language to express the weird ancient interest, and to write golden texts in cinnabar, which adds its mysterious colors and even religious meaning. Reading such calligraphy is not to interpret its text content, but to grasp the beauty of the sculpture -like form, and the music of the music -like rhythm in the pen. (Section of "Li Gangtian Shuyin Speaking -Writing Golden Wells")

As far as the form of calligraphy engraving art is concerned, there are about two types of types, one is the beauty of stable and harmonious, that is, the beauty of Confucian "Zhongzhengchong". The book is wonderful in the last year. When the fate is thoughtful, the ambition is peaceful, not excited, and the wind is far away. "This is the ideal state of harmony and beauty. Another beauty is produced in comparison and setting. In terms of art form, Deng Shiru said: "The sparse places can go to the horse, the density does not make the wind transparent, and often the white is black, and the fun is out." What he is pursuing is the beauty of the comparison and setting up. The form is shocking for vision, and its aesthetic characteristics are not the way of Confucianism, but it is in line with the law of artistic form beauty. With music as a metaphor, the harmonious music is lyrical in soothing and melodious, and the exciting music is infected with people in "noisy and wrong". (Jest from "The Lecture of Hundreds of Laws in Seal -Comparison")

Li Gangtian's book often built poetry paper

The theorist said that writing is not a calligraphy creation, but my book fan writing and creation are unclear. This batch of fan planes, no matter how the form of the rules change, how to change the different books, but basically their own faces. Although they also think about formal changes, they have not deliberately seemed to be novelty and chasing style. Stubbornly show self. This self is not public, deliberate, designed, crowded, and kitsch, but like the nest of the sun and the moon, the east of the rivers and rivers, everything goes to nature. Naturally, it is the avenue, the road, or the realm, but this is naturally not the chaos or the childhood of the childhood, but the carving and the return of Park. (Ji Z from "The Book of Fans of the Snow")

It is not difficult and difficult to write a fan. It is not difficult in the form. The form of folding fan or group fan is relatively fixed. In this limited space and a prescribed form, the scholar pursues changes and freedom. Everything is supporting their own calligraphy skills. The so -called creation of all ideas, various colors, and artistic design are unable to perform. In terms of skills and forms, fan calligraphy is simple and simpler than other forms of calligraphy. The difficulty is that it is too difficult to write the "taste" of intriguing the fan surface. It is not just a metaphysical skill, but the author's temperament endowment, cultural literacy, and even closure. Fan -faced calligraphy is close and static. Not only must it be "looking", that is, the form is moving, but also "reading", that is, the inner content is rich. Fan -faced calligraphy is difficult to make new strangeness and dazzling in form, so its inner "cultural style" is particularly important. This cultural style is not obtained from the understanding, but gradually cultivated. It is a realm that is unreasonable and unspeakable. (Ji Z from "The Book of Fans of the Snow")

Li Gangtian Yushu Dafeng Song Paper

Li Gangtian Ji Ji Ji Wang Sun Zhonglian Paper

Freehand works do not necessarily have a real freehand spirit, and the work of the gongbi -style work may not have no freehand spirit, that is, the passion of the knife and knife on the sword stone. In fact, the details of the writing paintings, the author also carefully strives for simplicity and accuracy, and can be used to the vastness. Although the gongbi painting is well -carved in terms of shape, good gongbi painting attaches great importance to the large weather, making people feel spiritual and open. Freehand and gongbi must not only be divided from the specific forms of techniques and works, but also to understand "freehand" from the spirit. (Section of "Freehand spirit and freehand")

Classical literati calligraphy has been pursuing a kind of virtual and harmonious beauty. The structure of the book talked about the structure of Zhongzhengchong and the side of the sideways is the form of these two beauty. , From the power of power, showing the body's bodybuilding. If Wang Xizhi's script and Chu Suiliang's regular script shows the beauty of virtuality, then Yan Zhenqing is a manifestation of a strong beauty and beauty; if the script of the Qing Dynasty Zheng Yan shows the beauty of the virtual spirit, then the Lishu of Deng Shiru shows a one Powerful bodybuilding. Bao Shichen commented on Deng Shiru's book: "Huai Ning's pen is like a copper wall and iron wall, but the virtual and beautiful Li Li, not what he can ..." Li Ruiqing commented on his book: "The strokes are galloping, and there is a lack of borrowing." The criticism of Deng Shiru's calligraphy, but from this we can see that the galloping and borrowing and borrowing of neutralization, copper wall and iron wall and Xuheli are two corresponding aesthetic performance in the script. In today's book creation, we cannot say that these two kinds of beauty are high, each has its own irreplaceable, generally the inner charm of the multiple works of the beauty of the virtuality and the beauty of the beauty of the beauty. Performance is indispensable in creation, but different people have different grasps about this. (Section of "I Say the Art of the Books") Li Gangtian's scriptures Deng Shiru Bishan Book House Paper 2020

The writer is a Wenxin carving dragon. It is a big hand, showing a big scene, which requires great wisdom. Calligraphy engraving is a small carving technique, which is not a strong husband. However, all things in the world are complementary and interdependent, and are relative in different references. The "big" without details is big and unbelievable, and it is false. The big scenes of the writer's pen are piled up in many details. The moving details of the literary works are derived from the author's experience and purity of life. The details show the author's thoughts, and the author's wisdom shows the author's wisdom. Without the beauty and profoundness of details, the work can only "see" and not read. Visitors, look at the excitement with their eyes; readers, and taste the connotation with their heart. Therefore, writers must use carved insects to complete the carving dragon. (The posts "Dragon and insects -Li Gangtian Book Print Essays" postmoder)

Wang Duo's calligraphy has both cultural thickness, formal expression, and author's spiritual temperament. Its cultural thickness is not expressed through writing content. On the contrary, many of his classic works that have been handed down to amplify the "Two Kings" handed down method to express their aesthetic ideals in great pain on large paper or silk. It is regarded as "no content calligraphy" (referring to text content), and the pure form of the poetic content can also convey the cultural spirit and the temple weather. On the other hand, in the performance of Wang Duo's pen and ink, he naturally flows his temperament endowment and even his tragedy life experience (his political choice and the temperament and cultivation as a person are not equivalent). I did not deliberately express myself, but "I" is everywhere. In the current exhibition era, calligraphy creation is prominent and lacks the spiritual world of cultural weather and human beings. We can get a kind of inspiration from the works of the late Ming and early Qing scholars. ;

Significantly visual, and it is appropriate to read; those who can see the eyes can be used by the readers; the beauty of its external form is visually read, and the inner charm of its inner charm is read. The architectural beauty that has been developed along the space is in contrast, although it is slightly heavy, but the music -like rhythm of the time -sequentially bears the sequentially. Therefore, the impact of the visual impact on the contrast of black and white, the composition of heavy space, and the form of heavy forms, while the sketches focus on the beauty of the natural writing of the vibrant, the trend of the pen and the rhythm, and the rhythm of the rhythm. Large works are magnificent, and petty products are serious and intriguing. (Jest from "Chinese Contemporary Master Calligraphy Small Products -Li Gangtian Collection")

However, the size of the world is relatively speaking, and there is no one. The success or failure of major events is often determined by details, and from a person's meticulous trivial matters, you can also glimpse his mind. As a result, the calligraphy is not fragile and tasteless, and the sketches should not blindly display the method of carving dragons and the phoenix and flow into sweet and cooked vulgarity. The sketch must have Naru Miya in the inner universe of mustard, such as the frame of the size of the mountains, which can make people go thousands of miles and endless thoughts. As a result, they have a large weather and far -reaching realm from Weiyun and Taishan. This big weather has a direct relationship with the techniques and forms of works, but the most fundamental determination to determine the author's temperament endowment, personality cultivation, and cultivation. Therefore, large works are "made", and sketches are "raised". (Jest from "Chinese Contemporary Master Calligraphy Small Products -Li Gangtian Collection")

Long live Li Gangtian's motherland

Li Gangtian walks down and walks away

Li Gangtian is a piece of ice heart in the jade pot

Li Gangtian's Lonely Way

"The Analects of Confucius" says "warm and powerful, prestigious and not fierce, respectful and peaceful", "The Tao Te Ching" said, "Fang is not cut, low but not stubborn, straight but not shining" The realm has implemented the creation of scholars' couplet calligraphy since the late Ming Dynasty. Of course, the aesthetic is diverse in the main theme. Compared to the form of other calligraphy, due to the strong form of connection calligraphy and the limited form of changes in form, the couplet calligraphy of literati scholars has unintentionally seek new changes in forms since the end of the Ming Dynasty, and focuses on internal culture The implication of the realm. The couplet calligraphy of the predecessors not only makes people "see", that is, appreciate the beauty of its external shape, and "read" more, that is, the meaning of reading it. In the end of the union, feel the author's temperament endowment, cultivation of sentiment and personality charm. This aesthetic method that combines literature, pen and ink, and personality is a manifestation of the concept of the unity of heaven and man in Chinese classical philosophy. (The festival is from the "Collection of Li Gangtian's Calligraphy Law") In the exhibition era that pays attention to form performance, the era of traditional culture is now present. Essence Calligraphy creators should restrain natural human desire and pursue spiritual personality. Calligraphy creators must not only give people aesthetic enjoyment in the form of moving works, but also bring sense of sense of sense. Treatment. The purification and sublimation of the realm of ideology and even life. Not only seeking the independence and personalized pursuit of artistic forms and expression language, but also to maintain the independence of the creator's spirit and the personality of cultural quality. The work must not only give people a sense of pleasure, but also move. The works must not only be a form, but also intriguing, and to carry the deep Chinese traditional culture. This is a new topic and a difficult topic. It is the mission to give us and even the last generation of calligraphy. (Section from "Looking back in Chinese calligraphy in the nearly 100 Years")

Li Gangtian Lishu Wanzheng Winning Seven -character Paper

Small is a self -cultivation inward. It is the cultivation of spiritual cultivation, moral cultivation, mental sinking, and setting. Calligraphy that acts on self -cultivation is away from the material interests and physiological needs of people, which is the activity of the spiritual world. The contemporary calligraphy is just the opposite. Among the many works of calligraphy exhibition "Aesthetic Competition", the purpose of highlighting the external form of the work is to strengthen the work right. Human sensory stimulation, and the lack of cultivation is the cultivation of the spirit. If ancient calligraphy emphasizes the cultivation of "personality", and the current calligraphy of calligraphy emphasizes "human nature", and the performance of "human nature" is to pursue the stimulus of sensory the senses of the work, obtain the aesthetic pleasure of the sensory, and on the other hand, calligraphy The form of exhibitions and competitions brings calligraphy people into the competitive team. Calligraphy has become a career for the competing survival of the calligraphy. Human desire supports calligraphy creation. The deliberate pursuit of the exterior form of the work cover the Chinese traditional culture spirit with deep calligraphy connotation, that is, the lofty humanistic spirit, the competition of professionalization and marketization on the one hand is to promote the prosperity and development of contemporary calligraphy. Diluted the spiritual cultivation of traditional Chinese calligraphy on human spiritual cultivation and personality cultivation. (Section from "Looking back in Chinese calligraphy in the nearly 100 Years")

I don't like to hang the word "innovation" to my mouth. In the Eleventh National Exhibition, the Chinese Book Association proposed the concept of "root tradition, encouraging innovation, both art and literature, and diverse tolerance". " The characters are supported by each other, and they are inseparable from each other. Rooting tradition is not a simple imitation and regression of the inheritance style, but to root in a deep and long -flowing tradition, and the tree that belongs to this era is born, and the flowers belong to this era. It is directed to innovation. The traditional four words are the attributives that encourage innovation. On the basis of rooting tradition, they change in a timely manner, change the trend, and naturally seek change, rather than cutting history without premise and self -made Cangjie and the sky. If there is no root of rooting and shouting the slogan of innovation, it will be strange and strange, far from the spirit of Chinese aesthetics. (Jest from "Lazy said")

Li Gangtian Yushu has ambitions to work hard, seventeen words, 2020

I don't like to hang the phrase "pen and ink as the times". This sentence comes from Shi Tao in the early Qing Dynasty: "When the pen and ink are with the times, the essay of the poem is turned ..." It was probably that the creator could not jump out of the great impact of the times. Nowadays, people use these six words as the slogan of the creation, and every time they show their efforts, deliberately show out the true nature. Some of the works in the current exhibition exclude the "truth" in "truth, goodness and beauty" and blindly seeking the beauty of form. The beauty of "true" is "false beauty". ... In fact, you don't need to shout the slogan "Pen Ink Dang Sui Shi". The calligraphy and calligraphy of the era of the exhibition era will naturally change deeply. Everyone consciously or unconsciously is in the mold of this era. The same frequency resonance as this era is both subjective pursuit and the prescribed as a prescribed. The beauty of "true" can be described as "pseudo beauty". (Jest from "Lazy said")