Following the contemporary ** master Liu Hongbiao boasting of "surpassing the ancients", Zeng Xiang, the master of the roaring book, was not willing to be lonely, became arrogant, and thundered constantly. He boasted: The old man's calligraphy is "heart and hand", which is comparable to Wang Xizhi, and he is qualified to be Wang Xizhi's classmate.
The so-called "heart and hand are both smooth" is a view of the great calligrapher Sun Guoting of the Tang Dynasty, which means that this artistic effect can only be achieved when the calligrapher's pen can fully present the heart. So, does Zeng Xiang's roaring book really achieve the effect of "heart and hand"?
There have been mixed reviews on this issue over the years. Praisers believe that when the artist creates, it is a state of complete selflessness, and Master Zeng's roaring book has excellent writing skills, excellent knotting shapes, free and chic "play" methods, and unique means of expression, which makes people sigh and be amazed.
Detractors believe that although Zeng Xiang is a master of calligraphy, he deliberately ignores the use of the brush, frantically destroys the knots, exaggerates and deforms, challenges the elegant bottom line of traditional calligraphy, violates the aesthetic taste of calligraphy "neutralization", and plays a role in fueling the wanton rampant behavior of contemporary ugly calligraphy, and is actually a sinner of Chinese calligraphy through the ages.
According to public information, Zeng Xiang, No. 1 husband, Qu Tang, a native of Suizhou City, Hubei Province, was born in 1958 and studied under Wang Ren, Liu Bingsen, Shen Peng and other masters. He is currently the vice president of the Chinese Calligraphy Court, the director of the Chinese Calligraphers Association, the professor of the Training Center of the China Calligraphy Association, the secretary-general of the Beijing Calligraphy and Painting Art Research Association, and a member of the Xiaodaohui.
As for why he wrote the roaring book, he once claimed to the outside world: In fact, roaring out is a state reaction, and this reaction is the old man's cognition of calligraphy. Because the repeated catharsis of the voice makes the old man no longer care about the interference of the outside world, the old man becomes more focused, which is conducive to the direct entry of the pen.
Author: Ye Mang.