【**Yangzhou Net Yangzhou Culture】
Yin Xuming's cursive works are exhibited in the exhibition.
Yin Xuming's calligraphy partial.
Editor's note. Not long ago, in the "Virtuality, Reality and Emotionality - The Second National Cursive Academic Nomination Exhibition" held by the China Standard Cursive Society, the works of two calligraphers Xu Zhengbiao and Yin Xuming in our city were exhibited. In this exhibition, the organizer has high requirements for the works of the artists in the exhibition, and requires that among the three works of the calligraphers in the exhibition, there must be not only chapter grass, but also works created in standard cursive script. Requiring calligraphers to be able to write chapter cursive is the source of knowing their cursive script;To master the grass and the standard grass is to be familiar with the structure of the grass word and make it correct. "Emptiness and reality" and "emotionality", the former requires calligraphers to have a high level of technique, and the latter requires calligraphers to have a high level of spirituality. It can be seen that the works of the two calligraphers can be included in the exhibition, which is also a high recognition of the cursive art of the two calligraphers in the industry. The reporter of this newspaper interviewed two calligraphers respectively and asked them to talk about their understanding of cursive art, their experience and their daily research and Xi, in order to inspire and learn from the majority of calligraphy lovers, especially cursive lovers.
Interview Profile:
Yin Xuming, a native of Gaoyou City, the winner of the "Lanting Award", the highest award of Chinese calligraphy, a member of the Chinese Calligraphers Association, a member of the Fourth Chinese Studies Class of the China Calligraphy Association, a member of the China Standard Cursive Society, a distinguished professor of the School of Calligraphy of Beijing Humanities University, a director of the Jiangsu Young Calligraphers Association, a distinguished calligrapher of the Jiangsu Provincial Calligraphy Court, a vice chairman of the Yangzhou Calligraphers Association, the chairman of the Gaoyou Calligraphers Association, the president of the Gaoyou News Calligraphy and Painting Institute, the president of the Gaoyou Calligraphy Court, and a second-level artist.
Reporter: First of all, congratulations to you and Mr. Xu Zhengbiao for participating in the "Virtuality, Reality and Emotion - The Second National Cursive Academic Nomination Exhibition" held by the China Standard Cursive Society, which won the honor for Yangzhou calligraphy again. Could you please talk about the origin of your interest in the art of cursive writing, and in the course of your decades of calligraphy research and Xi, which of the famous cursive masters and classic inscriptions of the past generations have nourished you the most?
Yin Xuming: My interest in cursive writing was when I was in junior high school, and when I saw slogans and posters written in cursive in the town, I thought it was very beautiful, more beautiful and vivid than the block letters of one stroke at a time. At that time, I didn't know that those characters were actually written illegally, but I realized this later when I learned Xi calligraphy Xi cursive script. The real way to study is in 1992 in Nanjing, the system from Wei Bei, Tang Kai, and then the "Song Four Families", and then the Yuan, Ming and Qing dynasties. Cursive writing at the beginning liked Yuan people Xian Yushu, and his cursive "Stone Drum Song" was learned many times, and then he liked Wang Duo and Fu Shan. From the perspective of learning cursive characters, Tang Dynasty Sun Guoting's "Book Pedigree" cannot be bypassed. To learn grass, you must pass the grass pass, and "Book Spectrum" is the best model, so "Book Spectrum" has been written for many years. It should be said that Sun Guoting's "Book Spectrum" gave me more nourishment, and then Tang Zhangxu and Huaisu still liked Zhang Xu more. Personally, I like cursive writing with rich line quality changes, and Zhang Xu's "Four Posts of Ancient Poems" is such a classic. The demeanor of the Wei and Jin dynasties is the supreme realm pursued by most scholars, and I am fascinated by the "two kings", but because of the law, I turned to find the law from the downstream Zhao Mengfu and then returned to the Jin and Tang Dynasties. From Zhang Zhi to the "Two Kings", Tang Sun Guoting, and the Japanese Three Strokes and Three Traces were repeatedly written for several years, it can be said that the basic structure of cursive characters was largely formed during this period. During this period, it was also involved in chapter grass, such as Song Zhongwen, Deng Wenyuan, Zhao Ziang, etc. Just because I prefer big grass, I have been doing small grass practice Xi. I insist that if there is no grass foundation, when facing the grass and even the creation, there will be imprecise grass and dirt, which will affect the style and realm.
Reporter: What do you think is the difficulty in studying Xi, and how did you solve and break through?
Yin Xuming: After Xi studying cursive for many years, I feel that there are four difficulties in learning cursive: first, the difficulty of calligraphy. There are two most difficult types of calligraphy in the five-body script, one is seal script and the other is cursive script. As long as you learn cursive, you must first know the cursive, and cursive is an abstract writing symbol with strict cursive method and independent agreement, which is both rich and rigorous. A word number, or the same different words, its change seems to be indefinite, and there is a limit to distinguish, so the first way to learn grass is to write a large number of classic cursive templates of the ancients. It is necessary to copy accurately, to know why it is so, and to be able to understand and comprehend its internal cursive method, knotting rules, and symbolic conventions more deeply in the analysis and copying training. From perceptual tracing to impression dictation, so as to strengthen memory, keep cursive calligraphy in mind, and cultivate the ability to master the exaggerated changes and trade-offs of cursive calligraphy in the cursive style calligraphy of different eras in the writing memory, so as to have more cursive reserves and adaptability in the future cursive creation. Cursive writing is divided into chapter grass, small grass, large grass and even **. Dedicated to cursive, all of which are subject to specialization, and according to their own personality and preferences.
The second is the difficulty of penmanship and brushwork. The main body of the five-body book (seal Likai) is relatively single in penmanship, and the cursive script is more complex and rich, especially the cursive pen is even more indistinguishable. Cursive is a calligraphy that has all the penmanship of the other four bodies, so when it comes to cursive penmanship and penmanship, you will think of the words of Liu Xizai of the Qing Dynasty: "The strokes of cursive script must not be moved to other books, and the brushstrokes of his calligraphy, cursive writing must be omniscient." "Illustrating the uniqueness and richness of the cursive pen, cursive needs to integrate the penmanship of the Kaixing seal and the body. Therefore, mastering a single penmanship is not good at cursive. There are three kinds of penmanship system: one is "one straight down", the other is "seal twisting", and the other is the stele school "square folding and paving". These penmanship have their own emphasis in different styles of calligraphy, and cursive has all the penmanship, so learning cursive is not only learning cursive for the sake of cursive, but also cultivating all five bodies, and all five bodies are involved.
The third is the difficulty of the rules. Chapter arrangement, the seal is relatively simple, the shape does not change much, and the line of grass is changeable, and the cursive is changeable. From the cursive classics of the ancients in the past dynasties, it can be seen that one post and one chapter is wonderful. But in general, the spatial layout of cursive calligraphy is realized through the unity of opposites, and contains various changes: there are changes in the speed and rhythm of writing, there are changes in the contrast between the virtual and the real, there are fluctuations in emotions, there are changes in the expression of different brushstrokes, and so on. Because of these many changes and many factors, cursive writing is too difficult to master. Compared with the previous two dilemmas, the difficulty of cursive chapter is the most difficult, so the arrangement of cursive chapter is a problem that all cursive learners should focus on.
Fourth, it is difficult to breathe, and it is also difficult to style. If you don't learn cursive well, you will inevitably fall into the vulgar style and have no way to seek medical treatment. Lin Sanzhi once said that "words have a hundred diseases, but vulgar diseases are difficult to treat", and cursive writing is even easier to flow into vulgar books. Therefore, the grasp of the breath should be paid attention to from the calligraphy, penmanship, and chapter law. The relationship between the form of dot painting, the power of brushwork, the expectation of dot painting, the flow of qi, the drawing of wires, and the connection of the pen are all important factors that directly reflect the breath of a cursive work.
I also learned Xi step by step, as I said earlier, learning grass to pass the cursive character level, and grass literacy is the key, and "Book Spectrum" is the best model, so I spent more time on this post to form the accumulation of cursive characters;In addition, through the learning Xi and penmanship training of different calligraphy styles, students can understand and master a variety of penmanship skills. I often say that calligraphy is first and foremost technical, and then talk about other things, and cursive writing is no exception. For the chapter, it is possible to consciously design the training and add one's own artistic intuition, and find the experience of relative regularity and writing rhythm in repeated training. Although it is unnatural and heavy at first, when we reach a certain amount of accumulation, it becomes an instinctive reaction and gradually becomes natural. Just like table tennis technical training, playing with "shackles", the technical movements form muscle memory in the training day after day. Another example is driving, stepping on the brakes in an emergency while driving is an instinctive reaction, without thinking about the brain.
As for the style, I think so, contemporary calligraphy has entered the era of the exhibition hall, I once wrote "the era of the exhibition hall line cursive creation", the exhibition hall exhibited works are mostly large-scale banner works, such a size of the works we learn from the ancient classics only the Ming and Qing dynasties of the works of the form, therefore, the Ming and Qing grass works must be paid attention to, the style we can trace upward, but the style of the Ming and Qing dynasties still provides us with a reference. As far as I am concerned, my style is mainly based on the Yellow Valley of the Song Dynasty, but there are too many people who learn "Yellow Grass" in the country, and how to distinguish but not the same, I will learn the chapter and calligraphy separately, and then assemble. Relying on a certain style does not take the knot lettering of the family, therefore, I only take the characteristics of the "yellow grass" line and the overall style of the chapter, and do not learn its knotted lettering, and combine the words with the cursive writing of the Jin and Tang dynasties. The style is not in the Ming and Qing dynasties, but in the Jin and Tang dynasties, and there is a sense of keeping pace with the times and striving not to be affected by the exhibition body. After years of exploration, I have been recognized by the judges and experts in the calligraphy world, and my cursive works are commented as "cursive with a round pen as the main keynote, during which it combines the various penmanship of the cursive masters of the past dynasties, and takes the cursive script of Huang Tingjian in the Song Dynasty as the starting point to rearrange the cursive language, and initially forms its own cursive structure and pen and ink language." "Of course, I am still on the way to learn Xi cursive calligraphy, we say that to learn Xi calligraphy to seek books outside the book, to read more and constantly improve their own learning in order to achieve success, the same to learn cursive also to seek grass outside the grass, through the five bodies of learning, continue to master the elements of cursive, continue to absorb, perceive, in order to constantly enrich their cursive language and style.
Reporter: What do you think of the traditionalism and innovation in the current book world?If you had to choose which cursive calligrapher you liked the most in the contemporary book world, which one or which would you choose?Why?
Yin Xuming: I think that both the traditional and innovative schools in the current calligraphy world need it, our traditional classics are a huge treasure trove, inexhaustible, and Haoshou may not be able to reach the top of the hall over the years, so we need more calligraphers who sincerely inherit the classics. I admire the innovators even more, they are the heroes, or martyrs, who push the boundaries of calligraphy, and they should be respected. Continuing the tradition, inheriting the classics, and being brave in innovation is the way to the healthy development of calligraphy.
There are many predecessors and colleagues in the contemporary book world who are worthy of my Xi, and they have advantages and abilities that I do not have, but the cursive writers I love and appreciate the most are still the ancients. Of course, there is no shortage of very good cursive writers in the contemporary book world, but everything is still on the way, are there any classics among them?Can it enter the history of calligraphy and pass it on to future generations?I don't think it's time to make a final decision, and history will have to judge everything.
Reporter Wu Juan.
Statement: The copyright of this article belongs to the original author, if there is a mistake or infringement of your legitimate rights and interests, you can contact us by email, and we will deal with it in a timely manner. E-mail address: [email protected]