Text/Yan Wanyi Ni Wei Yong
What caught my attention was that Anshi's calligraphy works won prizes in Gansu Calligraphy Seal Cutting Exhibition and Gansu New Century Calligraphy Exhibition, which was the 50th anniversary of the founding of the People's Republic of China more than 10 years ago. At that time, I concluded that Anshi had such a solid foundation and would definitely come out and have greater development. Sure enough, in recent years, he has participated in the 8th China-Korea Calligraphy Exchange Exhibition, the 4th National Couplet Calligraphy Exhibition, the 1st National Chinese Character Art Exhibition and other national calligraphy exhibitions, and published many individual calligraphy and painting monographs, which has achieved excellent results. In addition, he also organized and implemented a large number of large-scale calligraphy activities, such as Qingyang Calligraphy Miles, which aroused strong repercussions in the whole society, made outstanding contributions to the development of local calligraphy art, attracted widespread attention in the land of Longyuan, and became the leader of Gansu calligraphy team.
Calligraphy, in fact, is like Zen, explaining the right and wrong of Zen, and the words are broken. In the face of Anshi's wonderful pen, I always feel that there is a sense in it, and I want to argue with myself and forget the words. Perhaps this is like the family motto of Zen Buddhism, and the spiritual experience of drinking water and knowing oneself well is the most authentic and reliable. Anshi involves various styles, including seal script, official script, regular script and cursive script. But I think its most mature and obvious personal style belongs to its cursive script. Anshi's cursive script, which integrates essence and macro, is unique and forms a kind of calligraphy language and symbol of its own. At first glance, I know that it is easy and pleasant to write, and there is a simple, fresh and elegant feeling. Hegel once said that it is a kind of content, not a single behavior.
Conceptually, the concept is not artistic imagination. As far as calligraphy is concerned, if artistic imagination grasps the concept, conveys a certain concept through clever combination with line language, and constructs an artistic aesthetic with some purity between rational speculation and unique feeling, then his unique personality may gain special significance. What he pursues is a kind of harmonious beauty, elegant beauty and bookish beauty, so stippling, structure and composition should be reasonable and legal, and not intentional. Obviously, this pursuit reflects Wang Xizhi's artistic style and aesthetic thought with neutrality and sincerity as his true colors.
As can be seen from Anshi's calligraphy works, he learned the most from Michaelis and Wang Xizhi, and later took the method of Ming and Qing Dynasties. Among these three schools, Wang Xizhi is the one who has learned the most profoundly and thoroughly. Therefore, Anshi's artistic style, with grass in his brushwork and Fiona Fang in his brushwork, is neither vigorous nor vigorous, and is quite literati. The overall style is within the scope of Wang calligraphy style. His stippling can always show the context of the corresponding writing process quite clearly and completely, whether it is elegant, fresh and elegant, graceful and peaceful, or rigorous, steady, meticulous, casual and natural, at a glance. An Shi cursive script also has a strong Minnan language shadow. Thanks to Shu Su's posts and Wu's posts, the meaning and rhyme of the words are unique and the structure is stable. However, in brushwork, the combination of the center and the side forms an elegant movement, with thick and elastic lines, weak glyphs, and sometimes the left side is long and vertical.
The formation of artistic style is often not deliberately pursued. It should be the author's years of study and understanding of the inscription. He can express his feelings directly when he has nothing to do with himself, and he has no desire to flatter others, so he can reach a very wonderful situation. An Shi is a comprehensive and creative person who is good at seeing the essence through phenomena, diligent in summing up. He has been tirelessly pursuing running script for many years. After rejuvenating the past and abandoning the past and forgetting to create me, his works have different interests, consistent functions and unique features. On the basis of traditional calligraphy, we should explore and develop hard, and gradually create a scholarly environment that reflects our own knowledge, personality and self-cultivation. No matter banners, nave, couplets and fans, they can present an elegant and harmonious style, which is refreshing, meaningful, refreshing, infectious and elegant. The so-called book is like a person, and T is a good explanation here.
The Anshi seal script, Gu Zhuo Piaomao, has a patchwork structure and cleverly hides the front with a pen. The ink color is rich, thick, light, dry, wet and dry at the same time, and the shade changes appropriately, either as dry as autumn wind in the north or as moist as apricot flowers and spring rain in the south of the Yangtze River. His official script is dignified and elegant, while Jun Fang is simple and elegant, and his pen is free and easy. Center, counter-attack, twisting front, flank and winding front are all used together, and the priorities, Fiona Fang turning and roughness are all reflected in his works, just right. His regular script is dignified and elegant, with steady words, smooth lines, strong words, clear strokes, ethereal in dense places and not scribbled in sparse places. He is outstanding in the tempering of lines, the change of techniques, the coordination of charm and the control of statutes.
Words, heartfelt wishes; Book, heart painting also; Do sound painters, gentlemen and villains have feelings? Anshi is modest and honest, polite, and always a gentle and modest gentleman when dealing with people. He is enthusiastic about public welfare. Every year, he squeezes out 10000 yuan from his salary as a fund to reward local teenagers who love calligraphy art, and often donates money to dropouts, lonely old people and seriously ill patients. He devoted himself to Longdong and Xiu De and made selfless contributions. With his exquisite calligraphy skills, he wrote touching and magnificent poems for the literature and art in the old areas. The character is high, the pen is different, and people are not worthy. Although the works are not expensive, the realm of calligraphy and human beings are interlinked. Isn't Anshi's calligraphy a vivid manifestation of his indifferent temperament, noble feelings and fraternity feelings? Isn't it a true portrayal of the true face of the word?
The heart of the book is clear and the forest crane is scattered. He is like a clear spring, which washes away dust, dilutes fame and fortune, and washes away his persistent love and pursuit of calligraphy. I believe that he will be eager to learn, constantly improve himself and hone himself, and he will definitely go further and further and achieve better results in the future! Silent and Lonely Spiritual Realm —— An Shi's Calligraphy Style
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An Shi followed the family instructions, got his hands on calligraphy when he was young, and fell in love with Dan Qing. Tang Kai, a beginner, writes with brawny, muscular and magnificent style. Later, he turned to the two kings and used a pen with grass in it, which Fiona Fang used at the same time. His writing style is neither brilliant nor complete, and he is quite literati. Later, France, Song Dynasty, Ming and Qing Dynasties all walked together, with unique rhyme and stable structure, seeking danger and prosperity with strokes and natural composition. In recent years, he has set foot in all kinds of bodies, including printing, official, mold, line and grass. And the creation is quite rich, and many excellent works have been selected for national exhibitions.
An Shi is modest, simple and polite. It seems that he does not pretend to be a painter, but pursues a noble and elegant feeling and style of ancient literati. In my many contacts with my husband, I really don't think I am facing an accomplished painter, but a gentle "modest gentleman". Everything is harmonious, Jing Ya, serene and calm, just like his books. I think Anshi not only maintained his artistic belief and dignity, but also included a deeper understanding and grasp of the ancient literati's detachment from the natural realm.
"Books are like people", I believe.
Since ancient times, people in China have always combined "calligraphy" with "character" and "made products first". Nature is nature, not earned by encouragement. Therefore, Confucius said; "A gentleman is neither heavy nor strong, and his knowledge is not solid". China's cultural tradition has always had the saying that "writing is like a man", "poetry is like a man", "painting is like a man" and "book is like a man". Fully explain that "character determines style, and character determines works". Shao Liu said, "Writers write wills." . Calligraphy works are to express the author's inner feelings and artistic conception. I think, isn't this what An Shi is doing, writing a book?
All works of Anshi. Gu Zhuo's seal script is simple and elegant, with a patchwork structure. It is clever to hide the front with a pen. Official script is dignified and elegant, while Jun Fang is simple and heavy. The text is horizontally open and the vertical trend converges. The secret place is ethereal, and the sparse place is not sloppy. The knot reveals the meaning of the letter and the taste of the seal, which is very personal. Regular script is dignified and elegant, with steady writing, smooth and vigorous lines and clear folding with a pen. Running cursive is Anshi's strong point, so we might as well explore his cursive complex in detail: Anshi writes cursive without agitation, and writes calmly, giving people a fresh, mellow, elegant, vigorous and Zen artistic enjoyment. Judging from his works, his pen has at least the following obvious characteristics: First, it is rich in variety. As far as horizontal painting is concerned, there are forward and backward strokes at the beginning and upward and downward strokes at the end. Skimming is long and short, vertical and oblique; There is a difference between before and after oblique skimming. As for the point, it is inclined or oblique, or square or circle, or oblique or positive, or curved or straight, depending on the situation. Second, be calm, happy and comfortable. Writing and cursive writing are not difficult to be calm and enjoyable. The most difficult thing is that it is full, rich, mellow and elegant, with sharp edges and corners at the place where the pen is put, leaving no trace at the place where it is received. Coarse is not important, and fine is not light. In the solid and powerful style, it shows a natural and smart posture, and in the hearty brushwork, it shows a graceful and quiet charm. In my opinion, in the present state of Anshi, I can certainly understand the three flavors. The third is the rhythm. In Anshi's cursive script, different strokes have different rhythms, for example, horizontal painting is slower, vertical painting is faster, holding painting is slower and skimming painting is faster. The same strokes also have different rhythms, such as vertical painting, hanging needles fast and hanging slowly; The same painting, slow and fast. In this way, fast is slow, slow is fast, ups and downs, relaxation is moderate, ups and downs. For example, music, with different melodies, can play a beautiful movement. The fourth is to combine rigidity with softness. Ok, cursive pens should not be too rigid, too rigid and lack of discipline; It can't be too soft, too soft means lack of strength. Anshi harmoniously unifies these seemingly contradictory objects, such as hiding and exposure, smooth and inverse, disease and astringency, turning and folding, middle and side, curve and straightness, ups and downs in the pen, so it can stand scrutiny. Fifth, nervousness is natural. The lead tape of Anshi's cursive script is naturally formed in the rhythm of pen movement under the author's meaningful mood. According to the classics, the belt is brought, no more, no less, no branches and no vines, all of which are inadvertently brought out when the pen is against the trend, or one or two words are connected, or three or five words are connected, which is full of charm and strong rhythm.
An Shixing cursive script, with rigorous structure and clear pronunciation and mellow voice. In terms of change, with the structure, size, fatness, width, shading and stretching of the situation, it has changed greatly. On Xu's side, the odd number is positive, but it looks odd anyway. Uneven, patchwork and original. The ancients were most afraid of "up and down, front and back flush". Therefore, An's cursive script is uneven, inclined left and right, or laid down, relaxed and opened and closed.
Anshi's cursive management, because of the shape, has been brought to the extreme. At first glance, it seems that the size is uneven, but on closer inspection, it is harmonious and symmetrical. According to the different position of each word in the whole article and its relationship between up and down, left and right, the shape of the word is determined, and it is deformed according to the potential, either positive or negative, or contracted or put. In the plane layout, the momentum is coherent, or connected in concept, or connected in shape. Seek change in the unity of layout and seek difference in harmony. "If you violate it, don't commit it. Be different." Fiona Fang's words, the moistening of ink and wash, the opening and closing of lines and the priority of rhythm are unified into a harmonious whole. At the same time, Anshi is also good at dealing with the relationship between reality and reality in his works, often conveying the truth with the virtual, conveying the spirit with the real, taking the virtual as the real, continuing intermittently, taking the virtual into the real, and taking the real into the virtual, giving people beautiful artistic enjoyment.
Calligraphy creation is a long process of "epiphany" and "gradual improvement", which cannot be neglected. We should have both a normal mind and an enterprising spirit. As an artist with perseverance and peace of mind, I think Anshi has moved from consciousness to consciousness. Therefore, we have reason to expect more from him.
In August, 2009, Xi An's freehand life originated from his mind —— Comment on An Shi's eagle painting.
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China people love eagles. Eagle worship has been passed down in China traditional culture for thousands of years. The ancient eagle worship is a symbol of the monarch's political authority and military strength. Today, modern civilization and the worship of the times have given the eagle a new realm of worship, and the spirit of the eagle has become the embodiment of modern personality, transcendence, strength and courage. I think, as the disseminator of eagle culture, Anshi can like and draw eagles for decades, which probably comes from this.
An Shi inherited family instructions, and when he was young, he got his hands on painters and devoted himself to calligraphy. Count+carry cumin and persevere. It not only has solid traditional skills, but also has the indomitable spirit that ordinary people do not have.
As we know, An Shi has never worshipped a famous teacher on the road of art, nor has he received any personal guidance from any giant. He mainly relies on "since the enlightenment", "consciousness" and "diligence". When I was a child, a photo of the mustard garden almost became his "mentor". For this beginner, it can often play a decisive role in enlightenment and lay a solid foundation for future development. But with the passage of time, Anshi found that his works were more or less dull and had the flavor of craftsmen. In order to get rid of them and reach a higher artistic level, An Shi widely imitated people, copied classics and collected folk customs to sketch. Even the expression of western painting is integrated into Chinese painting, which can be seen from some meticulous flower-and-bird paintings he made a few years ago. In recent years, Anshi's love for eagles is beyond ordinary people. He said: "hawkers and heroes are also strong in nature and super-English." It can be seen that he wants to show people's cultural spirit and far-sighted, strong and brave heroism through eagle culture. Since then, he has studied the classic works of Zhang and Xue in Song Dynasty, Li Jue, Yuan Dynasty, Bian Jingzhao,,, Lin Liang and Lv Ji in Ming Dynasty, Badashanren, Hua Tuo and Gao Qipei in Qing Dynasty, Gao Jianfu, Gao Qifeng, Zhang Shulu, Xu Beihong, Qi Baishi, Pan Tianshou and Li Kuchan in modern times. During this period, Anshi often went to life to collect wind and sketch. There are many eagles in Gansu. He was lucky enough to observe the life habits of eagles, and also observed the various dynamics of eagles when they stood upright, climbed and hung, shook their feathers, spread their wings and fought. He believes that only when you are familiar with the eagle can you draw the eagle well. "Learn from the eagle naturally." Over time, the eagle in Anshi's works has both form and spirit, and its character is abrupt. These are not difficult to see from his works of a large number of eagles: it either soars in the clear blue sky, or fights against violent winds and waves, or stands proudly at the top of a high-standard mountain. The works are exquisite in shape, rigorous in structure and elegant in color, or simple in style, bold and free and easy, or exaggerated, simple and fantastic. For example, the composition of the work "Seven Heroes Wan Fu" is harmonious, simple and free. In the picture, the rock goes from left to right, and the eagle stands on it. A few bluegrass with excellent writing style are interspersed among them, which plays a role in setting off the environment and adds a little vitality to the picture. This painting is simple and clear with a pen, and the charm of the painting is very high. In Xiang Yun, a goshawk climbs branches and looks up at the sky, flapping its wings and waiting for Xiang. The insects on the trunk are vigorous and healthy, wet and dry. In the way of composition, the author highlights the arrogant temperament and majestic artistic image of the eagle and the noble style of pine and cypress. At the same time, the author also combines the natural and objective eagle with people's subjective emotional sustenance, showing the majestic beauty of the universe and the power of self-improvement. The composition of Xiong Feng is criss-crossed, the mountains are vast, and the eagle is fighting and flapping its wings, full of the momentum of "spreading its wings and hating the sky". It is not difficult to see that the author's theme is to express the spiritual realm of personality. Painting an eagle is actually painting people. Through the artistic technique of materialization and empathy, the author personifies the object of expression, places his ideals, expresses his feelings and allegories, and expresses his lofty personality spirit and lofty realm. A picture of "hegemony", an eagle opens its claws in the wind and rain, and an eagle flutters its wings and holds its head high, fighting for hegemony. The rustling wind and rain are full of cold air, creating a tense and dynamic scene and artistic conception. In Biography of the Seven Chivalrous Men, a group of eagles perched on the top of the mountain, and the huge stones were loose. The layout of the clumps made the picture magnificent and steady, and the trees, stones and eagles became a whole, which looked tall, steep and majestic. On the screen, the seven eagles have different expressions and are changeable. The author is bold and unrestrained with his pen, and his words are eloquent, as if at his fingertips. The whole painting is painted in dry and wet ink, with a faint ochre color, blue flowers baking rocks and pine trees, and the majestic posture gathered by eagles is vividly on the paper.
From this, we first found that when we watched An Shiying's works, we found a prominent feature: broad momentum, strong freehand brushwork and novel composition. In Anshi's pen, whether it is a masterpiece or a sketch; Whether it is a work with dense images or a work with one stone and one eagle, it is patchy, relaxed, rhythmic and dynamic, giving people a strong visual impact. This strong visual impact comes not only from the author's solemn brushwork, but also from the author's eclectic composition. Anshi's composition is not framed by the traditional procedural rules, but draws lessons from and absorbs the plane composition and division of modern painting, either radiating from the inside out, or surrounding from the outside to the inside, or spreading from top to bottom, or sprouting from the bottom up, or taking it by surprise, or winning in a crisis, no matter how it changes, it all revolves around a constant aesthetic orientation and artistic rules. This is the author's efforts to integrate the relationship between perceptual freehand brushwork and rational composition.
Secondly, we found that An's eagle painting, from the overall tone, can be said to win by charm (An's pen is decisive, and there is a kind of "vicious" when it is pressed down, turned white and curled), full of spirit, full of charm, balanced and complementary, and very attractive. This is because: First, Anshi painted an eagle with real freehand brushwork. One eagle, one stone, one grass, one tree, one stroke and one painting are all written in calligraphy, so it is full of layers and changes, rough and thick, strong and powerful, with a furry feeling and full of the rhythm of life. Second, Anshi knows how to control. In the process of writing, Anshi is not in a hurry, not sticky, wet and dry, with bones and flesh, without any artificial feeling, which makes the whole picture look loose and smart. Thirdly, Anshi is not only good at ink painting, but also dares to use color and is good at using color. The colors in his works are not only different from the inherent colors of objects, but also break through the barriers of traditional eagle painting. They are gorgeous but not vulgar, fresh and elegant, giving people a pleasing feeling, increasing the emotional charm and charm of his works, and to a certain extent, they are both powerful and infinite. It is both thrilling and full of amorous feelings.
Finally, we also found that Anshi's paintings have solid modeling ability and profound calligraphy skills, so the description of objects is vivid and summarized; Both fresh and smart. The eagle he wrote has become the eagle in his heart. The eagle is in the heart. Whether standing upright, climbing, shaking feathers, spreading your wings, fighting or gathering eagles, you have both form and spirit, both will and spirit. Although due to the technical characteristics of small freehand brushwork or large freehand brushwork, Anshi has made necessary refinements and omissions in the process of painting, but he can always capture the most vivid, vivid and wonderful moments of the objects he wants to express. Although the consultants are in full swing, they have their own "discipline" and "regulations"; Although the pen "sweeps straight", it does not violate the shape and spirit. It can be said that it is ingenious and natural.
In a sense, An Shi's eagle works are the projection of the author's artistic mind, the refraction of the main spirit, or the freehand brushwork of life originated from the author's mind. That's why Anshi has achieved such impressive results today. Without the imposing manner of a great man and the style of a famous artist, his simple clothes, simple appearance and simple words all convey his simple inner world. Comrade An Shi, as a party member, is well aware of the great responsibility on his shoulders. In order to develop Qingyang's advanced culture, promote the construction of Qingyang's harmonious culture and realize his own life value, he is concerned with Longdong and the people, willing to be ordinary, selfless and calm, and has written a colorful poem of Longdong intellectuals with his full enthusiasm and loyalty to culture, literature and art.
—— Zhu Zuoruijie