In the just-concluded Eighth National Calligraphy and Seal Carving Exhibition, Mr. Fang Jianguang won the "National Award" in one fell swoop and was the only winner in Shandong Province. After winning the first China Calligraphy Lanting Award and the Bronze Award in the TV Calligraphy Competition, Jianguang is still writing a wonderful chapter in his life. His name has aroused widespread concern. His works are more elegant, quiet and refreshing, full of rich book spirit and calligrapher's talent, which is pleasing to the eye.
Jianguang's calligraphy has adopted the excellent tradition of Wei and Jin dynasties, and it is quite elegant and free, which shows his keen insight and good pursuit in calligraphy learning. Jianguang's calligraphy began in the early 1980s. As we all know, the development of calligraphy in the 1980s was enlightened. Traditional calligraphy shows a comprehensive revival trend, neoclassicism groups emerge, and the calligraphy exhibition is dominated by passionate masculinity. At the same time, the selection of rough calligraphy resources, such as stone tablets, bamboo slips and tiles, has also caused the disadvantages of rough and aggressive calligraphy creation; So it is inevitable to return to on-the-job study. In this context, Jianguang's books have also gone through the stage from Tang Kai to Weibei and then stabilized at vocational school, and going deep into vocational school has become his firm goal. Jianguang started from Yan Kai in his early years and gained the open spirit of calligraphy. Immersed in the monument of Zhang Menglong in the Northern Wei Dynasty for three years, nourished by the ups and downs; Then, on the basis of Mi Fei's running script, how to choose the method is discussed. The calligraphy style of Jin Dynasty, such as Jian Guang chasing two kings, was free and elegant, which made him addicted and became the image he tried to pursue and shape in his calligraphy creation. The iron and blood tradition of the two kings is like a raging river. Jianguang seeks direction from the source through Laomi. Wang Chong, Wang Duo, the Eighth National Congress, Dong Qichang, and even modern Bai Jiao and Lin Sanzhi are the objects of his worship and imitation. Jianguang has a good ability to understand and capture famous copybooks, and can create a better copybook atmosphere in a short time. Therefore, he studied Mi and Dong. The application of the method of "struggling for flow from poor sources" has enabled him to master rich expression techniques and solid calligraphy skills in just over ten years. In his works, he often reveals the breath of several families, but it is not the patchwork of those techniques, but the overall breath is very natural and harmonious. This shows that the traditional learning of Jianguang is not a mechanical transplant, but a creative transformation process after some absorption and transformation. His works have a strong sense of integrity, and multi-word creation can focus on the end without slacking off. The opening and closing of the glyphs in the works are all clever, and the collocation between words is very clever. Some glyphs look like a certain form, but in fact they are ingenious in the spatial processing of strokes, which strengthens the contrast effect of density. The brushwork in the work is crisp and neat, naturally stretched, without too much action and modification, which can be described as prosperous and pure. After ingenious treatment, his calligraphy has a "modern" meaning in form; This is the change of calligrapher's concept of space in his creation, that is, the treatment of glyphs should serve the needs of the composition of works, not just the beautiful writing of Chinese characters.
Jian Guang's regular script (including small script) and official script creation are also considerable. However, probably the flowing cursive script is most suitable for expressing the temperament and talent of calligraphers, so most of Jianguang's creations are cursive scripts. As the saying goes, "a book is like a person", the elegant, calm and refreshing style of Jane Guang's works is formed by his personality, cultivation and environment. Jianguang grew up in Linqing City, Shandong Province, where the cultural heritage of the ancient canal inspired him. He is enthusiastic, studious, sincere and humble. This directly influenced the formation of his creative style.
In my opinion, Jianguang's creation has begun to take shape. His creation does not imitate a famous artist today, does not belong to a certain "genre" or "ism" camp, but takes a solid road of his own. He took a steady road rooted in tradition and developed his spirituality. It is characterized by calmness, steadiness and ingenuity revealed in the works. We should also see that he still has a long way to go if he wants to form his own outstanding and stable style. For this smart and diligent young calligrapher, his works have shown good development potential.
Calligraphy styles at different stages of life are often different because of different life experiences and accomplishments. When you are young, you are high-spirited, when you are middle-aged, you are calm and vigorous, and when you are old, you are naive and unrepeatable, and each has its own charm and value. Jane Guang has made remarkable achievements at such a young age, which is undoubtedly a good start for his artistic career. The tree of art is evergreen, and artistic creation is constantly surpassing "self". I wish Jianguang's future artistic creation by going up one flight of stairs! (Liu Zongchao)
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Since ancient times, most successful people have had unusual life experiences. Only by constant training and understanding can a person mature step by step. Meng Ziyun: "Therefore, people must first suffer their ambitions, work hard on their bones and muscles, starve their bodies and skin, and mess with their actions." Therefore, patience has benefited them a lot. " Without experiencing many hardships in life, it is difficult to understand Master's profound meaning. It is not a bad thing for people to suffer more when they are young. Only when you are in adversity will you know how to work hard and learn cultural knowledge to arm yourself. Every step of Mr. Fang Jianguang's calligraphy is the best verification.
I have heard that there is a Fang Jianguang in the world of books for many years. But for various reasons, I don't pay enough attention to him. Maybe it's because we're strangers! This time, as one of the series comments on Shen Lao's special course, Mr. Fang Jianguang is the best in this phalanx. Therefore, in today's article, it is necessary to make a serious analysis and comment on Fang Jianguang's calligraphy.
From the self-report he sent me, I learned that Mr. Fang Jianguang also suffered a lot when he was young. By some chance, I like calligraphy, just like many scholars. His calligraphy started with Zhang Menglong's Monument, which is a very high starting point. "Zhang Menglong Monument" is easy to be happy with a pen, such as breaking gold and cutting jade, and its words are steep and changeable. Its characteristics are prominent density, sometimes the main pen is exaggerated and stretched, and sometimes the stippling is tightly tied inside, forming a large density, making the characters more steep and undulating, which has quite unexpected effects. Fang Bi is the main body of this monument, with sharp edges and corners, but in the study, we should not blindly emphasize the edges and corners, so as not to be stiff and inflexible. Yang Shoujing's evaluation of this monument in Qing Dynasty is: "When the monument is broken, it will be strange. Calligraphy is chic and ancient, and it is odd and correct. The six generations are higher than the Tang people. " Kang Youwei's "Talk about Guang Yi and Zhou Shuang" listed it as a boutique.
As can be seen from Fang Jianguang's regular script works, he has made great efforts on the monument of Zhang Menglong, and his understanding of this monument is also in place. Being able to digest and absorb this monument and become a "basic skill" can be said to be very well written, especially the running script! Poor scholars often imitate the corner of the monument deliberately, but they can't skillfully absorb the soul of the monument. They just became superficial and lost their spirit. After all, they don't know how to look at a pen through the blade. It is not easy to build optics, nor is it easy to combine brushwork, structure, composition, fate and change. What he has done is full of ancient meaning and natural interest, which is more bookish than epigraphy. It goes without saying that he dabbled in cursive writing at present, and the weather is considerable.
However, when he entered the running script and took Mi Fei as the method, he realized the meaning of "calm, irrelevant", which has a lot to do with his years of research on Zhang Menglong's tablet. Mi Dian's running script and Zhang Menglong's tablet have the same effect, and the changeable structure is exactly the same as the calm and powerful pen. As a representative figure who was keen on calligraphy in the Northern Song Dynasty, Mi Fei achieved great accomplishments in calligraphy. The composition of Mi Fei's running script has two characteristics: one is the shaping of the body. Glyphs vary in size, and Mi Fei often makes the best use of them according to the characteristics of each word, regardless of the clumsiness of workmanship. At first glance, it seems that the size is uneven, but at second glance, it is very harmonious and interesting. The second is to deform according to the situation. That is to say, it is natural and natural to determine the shape of each word according to its different position in the whole article and its relationship with up, down, left and right, whether it is positive or negative, or contracted or put. But even the best calligrapher will inevitably have weaknesses. Even people like Mimi are no exception. In the Ming Dynasty, Wu Kuan thought that his calligraphy was "fierce and eventually lost its one-sided trend"; "The Book of Xuanhe" says that "its peak is too steep, like a strong crossbow shooting three miles, like the spirit of Zhong You when he didn't see Confucius". Looking at Mi Fei's calligraphy, we not only benefit from the tendency of "being brave with a small pen", but also lose excessive bravado. It can be seen that everything is moderate and excessive, which is a universal law in the world.
Therefore, whether you are studying or appreciating, you should be wary, otherwise you will regard frowning as beauty and exaggerate its habit. This will undoubtedly bring such confusion to Fang Jianguang who is studying in Mifei. Therefore, he can further adjust himself by studying the bamboo slips of the two kings and Wang Xun's Yuan Bo Post and Yang Ningshi's Postscript of Ten Records of Lu Hong Caotang in the Five Dynasties. There is no need to say much about the merits and demerits of the calligraphy of the two kings. In addition to smooth and elegant pen, Yuan Botie's greatest feature is that he is good at taking advantage of the situation without sticking to the law, such as the words "far" and "don't", which can be described as clever and interesting; The conclusion is good at taking the virtual as the real, not the reason, and the realm is quite high. Huang Tingjian pointed out in a poem: "The world tries its best to learn Lanting noodles, and wants to change every bone without elixir. Who knows that Luoyang Yang is crazy and goes to the bar as soon as he writes. " Later generations regard it as a good comment. Yang Ningshi's cursive script is also bold and unrestrained, magnificent, tall and straight, much like Yan Zhenqing's "Sacrifice to My Nephew". From the above-mentioned calligraphy posts, Fang Jianguang has his own understanding, which effectively corrects the difficulty of learning from Alina Zhang Veron and Mi Fei's calligraphy, and greatly improves his calligraphy style environment.
Judging from the course of studying books, Fang Jianguang also took an eclectic development route. Make up for the lack of qi in the tablet book with the meaning of the post, and strengthen the essence of the post with the bone strength and changeable structure of the tablet. However, this kind of understanding is something I can never understand in a short time. It requires not only the accumulation of skills, but also the stimulation of talents and the support of learning. It is essential to consult normal universities and communicate with colleagues. To this end, Fang Jianguang studied in China Painting and Calligraphy Institute, Shen Peng Project Class of National Academy of Painting, and even Capital Normal University. The educational concept and the concept of learning calligraphy in professional colleges still have their own characteristics. Although I dare not say that anyone who enters colleges and universities can do calligraphy well, for those who are really interested in calligraphy, they can develop their strengths and avoid their weaknesses and find their own way accordingly. Colleges and universities can still cultivate many mediocre and incompetent people. The key lies in the talent, basic quality and choice of learners!
Fang Jianguang is indeed a good scholar. He can fully grasp himself, constantly create opportunities for himself and seize them. Today, although his calligraphy shines brilliantly in the exhibition of Chinese characters, it seems that he is not satisfied with the immediate gains. And I often insist that a person's high behavior and low posture are often the most likely to achieve great success. Those who are complacent about their slight achievements are mostly yesterday's flowers. A calligrapher can gain some instant fame by winning the prize in the exhibition, and even change his fate accordingly. But the true careerist, its intention is by no means limited to this.
Judging from the state of learning calligraphy before Fang Jianguang's eyes, the style and taste of his works are far ahead of ordinary young calligraphers. The toughness, rigidity, calmness and indifference in his works reflect his aesthetic tendency and choice of calligraphy in different periods, and also reflect a relatively long transformation process of his ideological understanding. For a young calligrapher who has experienced the baptism of exhibition culture in the new era, it is absolutely impossible to be completely unaffected by the times, and there is no need to deliberately form an ideological conflict with fashion. Shi Tao's famous saying "Pen and ink should follow the times" has its profound and specific meaning, so we don't have to copy it mechanically at all. I think a key to learning calligraphy is to have the ancients in your eyes, to have a sense of classics, and then to have the ideological care of our time in your eyes. Only by combining the past with the present can we truly create our true self. Ignoring the ancient law is not feasible, but crawling at the feet of the ancients and standing still will not be far away. Therefore, we need to have our own vision, know our own existence and position, and look at the fundamental law of the development of calligraphy art with an objective eye.
As the saying goes, "in ancient times, it was naughty, and today it is different." Only those who are modest and self-sustaining, know themselves and serve the present can absorb the nutrition they need in the constant dialogue with the ancients and the present. Fang Jianguang's step by step, slow and steady, shows his cleverness. Over time, it will be the case for those who can achieve great things. (Fu Defeng)