? Bright spring scenery shines on the book case through the sunny window. Facing Li Ming's calligraphy, I first felt a warm and refreshing feeling, and then g
? Bright spring scenery shines on the book case through the sunny window. Facing Li Ming's calligraphy, I first felt a warm and refreshing feeling, and then gradually got excited: those flowing front hairs were as full of vitality as new green willow buds; Those soft brush lines, like willow branches in the breeze, are flying and floating; And the paper is full of ink, as if the mountains in the distance and the water in the vicinity have all been there, surging.
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? Last June165438+1October, I received a newly printed collection of Li Ming's calligraphy. Of these 40 works, only two or three were created before 20 17, and the others are recent works. For more than three months, this collection has been on my desk, and I look through it from time to time. I have experienced it occasionally, and I have always enjoyed it. I once had the idea of sorting out some impressions, so I browsed his previous works and related review articles on the Internet. Unexpectedly, the results of browsing were not as expected, and the original clues were not clear, but they became more and more chaotic. It was not until this year's Spring Festival that Li Ming came to talk about fat rice that I seemed to find a breakthrough point to sort out my impressions.
? At that dinner, there were several members in the audience, all of whom were talking about how much they had benefited from the interaction of this folk calligraphy group. Li Ming also sincerely said that his creation has made great progress in recent years since group interaction. In all fairness, Li Ming "went north" for many years, and later became one of the "seven sons of God", which is undoubtedly the main driving force for his creative progress. But what he said shows that he never talks about his hometown, and especially attaches importance to the role this hometown plays on his way forward. He said this, which also eased my previous entanglement. In the past few months, I have read all the recent works in the face of Li Ming's calligraphy collection. Later, I browsed the works online, most of which were created in previous years. There are inevitably some differences in style, and those timely comments are difficult to summarize the present, so I will naturally feel confused. With the progress of the meal narration, I got a lot of enlightenment from Li Ming's conversation, and gradually understood how his recent work has improved. As soon as everyone sat down, Li Ming was as calm and restrained as ever, with few words, slow tone and unhurried words, as if he had carefully chosen words and applied the critics' comments: handsome, elegant and subtle. After three rounds of drinking, Li Ming talked more and spoke faster, especially when talking about some memorable past events, such as gratitude when he first entered Beijing, the exhibition of "Seven sons of God" held in Nanjing, and the exhibition of "Picking up the Ancient" held in Hefei. His tone is becoming more and more passionate, and the whole expression style is from handsome to ups and downs, from elegant to round, from
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? It is appropriate to say that Li Ming's calligraphy is delicate, elegant and subtle. A few years ago, Li Ming wrote the most fine print and achieved the greatest results. He started from Zhao, with the gentle atmosphere as the background, and then turned to many divisions, drawing a lot of materials from Song people, Tang people and North Monuments, and finally traced back to the "two kings", showing a kind of Wei and Jin demeanor, broad-minded and elegant charm. In 2008, only 10 pages of "Four Volumes of Li and Xu Wei's Prose Collection" went to press, and received rave reviews, so that Mr. Zeng praised: "The whole article is magnificent, with a thousand words, in one go, with exquisite details, rigorous statutes and in one go." However, Li Ming was not carried away by the victory in the first battle. He has been thinking about the topic put forward by Chen You, a scholar in the Southern Song Dynasty, in A Record of Negative Michelle Ye: "In the past, people said that writing big characters should be like small characters, writing small characters should be like big characters, covering big characters should be like twists and turns in details, and small characters should have the physical momentum of big characters." He realized that writing fine print can not be satisfied with being meticulous and meticulous, but should strive to show a broader pattern and release more abundant momentum. Therefore, he once again entered the calligraphy world of Yan Zhenqing and Su Dongpo, and explored effective ways to "enlarge" subtle things, and then climbed to a broad, heavy and vast spiritual height. Judging from several small books collected by Li Ming's calligraphy, on the one hand, it maintains a sense of elegance, elegance and implication; On the other hand, through the handling of various contradictions such as hiding and exposure, thickness and thinness, square and circle, sparseness and density, width and narrowness. Accurate writing norms and bold emotional expression are well integrated. For example, more than 70 lines of "Dongpo Four Topics Inscriptions and Postscripts" have written a total of 1,000 words, each line is about 15 words, and each word is two centimeters square. There are many slightly smaller handwriting interspersed between words at will, forming a size contrast, which not only takes care of the content of the inscriptions and postscripts that adapt to the situation, but also presents the grand momentum of "like a plate of jade inverted beads" in the overall form. Another example is "Poems on Paintings by Ni Zan", which is obviously square in structure and pays attention to the change of shades in ink, so that dry pens are used in many places to create an old and vicissitudes artistic conception.
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? However, small print is small print after all, and the momentum of small print pursuing big characters is limited after all. In fact, Li Ming has a clear understanding of this. While continuing to be good at pen and ink techniques and expanding the meaning of lower case letters, he did not forget to open two lines of cursive script and pursue a fuller figure and a heavier temperament. As early as 2000 years ago, Li Ming had been immersed in the epitaph of the North Monument for many years, trying to increase the weight of his brushwork and write the ingenious brushwork he mastered when he first studied Zhao more truly and simply. After that, he wrote fine print for a period of time, big print for a period of time, block letters for a period of time and cursive script for a period of time. After many comparisons, he decided the tonality of cursive script on the classic French style of the two kings. Later, Li Ming found that the writing forms in the era of the two kings were all study notes such as documents and letters. Now, with the increasing diversification of writing occasions, rulers and handwriting are getting bigger and bigger, and those technical elements used for fine writing, such as using a pen, tying the body, moving the mind and composing music, will probably be transformed into magnificent directions. So, he went deep into the North Monument again. Over the years, he visited Shimen Ming, which was praised by Kang Nanhai as "out of touch" for many times, looking for the magnificent charm of creation from the mottled cliff stone carvings. He has gained a lot and achieved great results. Reflected in this collection of Li Ming's calligraphy, there are only a few small letters. The collected running scripts can be seen in eight feet such as Wen Zhi Jie Qing Lian, Tai Shi Nengren Lian and even Zhang Er's representative works, and the finale of Shimen Ming is written in full text, no matter how big or small, which is brand-new and shocking. Under careful taste, the pen reduces the circulation of stippling, weakens the connection between stippling, pays attention to the rough operation of lines and the rigid extension to both ends, and some long brush lines are even more unconstrained and unstoppable; In the structure, it tends to take the trend horizontally, which is wide and scattered, with the effect of naive perspective, and some turning points are rounded to make the font dignified and square, without losing its elasticity; The words in the composition are not connected, and it is only through the swaying of the body posture that it appears majestic and boundless, and it is full of the spirit of "sweeping an army like a roll of seats".
? Implicit, boundless, can be explained as the compatibility of calligraphy style, but I prefer to explain it as the promotion of calligraphy realm. Looking at today's book world, calligraphers who can constantly improve their pen and ink skills and go deep into details are rare; Has been subtle, and then to the boundless, calligraphers looking at that mountain from one mountain are rare, which exceeds all technical indicators and is obviously a more magnificent and lofty spiritual realm. Therefore, we have reason to place high hopes on Li Ming. At this point of writing, Li Ming posted a new work with wet ink in the WeChat circle of friends, and presented 60 words with a two-foot wide stone door. The handwriting is wide and magnificent, reaching a new height. I can see that he is looking up at the boundless sky and striding forward.
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