A new way to integrate the grass with the octopus
Jiang Jinming's butterfly creation of Dacao.
Dong Shuirong. Contemporary Dacao's creative ideas are becoming more and more narrow, and Dacao's creation is also active with more and more suspicious experiences. Many calligraphers sanctify the technical experience of simulating the classics, and regard the similarity of analogue as an inviolable traditional purity. As a result, a kind of replication of classic technology spreads in the current book world. The shell of technology, pure simulation, indifferent copying ......These works can be entered into important exhibitions and competitions and be recognized. On the contrary, those calligraphers who have worked hard and have depth of knowledge gradually fade out of the world of calligraphy and truly enjoy the joy of writing.
Jiang Jinming is not eye-catching in the current lively book world, but his ever-expanding writing channels and deepening exploration capabilities have finally ushered in the butterfly transformation of his grass creation. Recently he has created a number of works, and I think this is a major transformation of his grass. His brilliant imagination kept a distance from the so-called "integration of the Jin and Tang dynasties" in the current book world. The so-called "integration of the Jin and Tang Dynasties", that is, the method of taking the grass is concentrated between the "two kings" and "Xu Su". Jiang Jinming's grass jumped out of this limitation, and he organically integrated the chapter grass with the grass to make a new attempt.
First of all, Jiang Jinming faced the challenge of different rhythmic and frequency combinations between Dacao and Zhangcao.
If it is said that the short and thick stippling shape of the chapter grass forms a short writing rhythm, it is very difficult to integrate it into the grass. Many people have also thought about integrating chapter grass into the grass, but chapter grass is basically an independent knot as a complete writing unit, and even many use a single stroke as a pen to start and end. The reason why Dacao can mobilize emotions and shock people more than the writing methods of Xingshu, Xiaocao, and Zhangcao is that its writing combination is different from the independent writing combination of single words. Dacao mostly completes the writing by combining the groups of characters into "strings". Although on the surface, it seems that the writing method is based on "strings", but it only expands the combination relationship of writing. However, the change of the combination relationship of writing also brings a series of changes, and at the same time generates a series of changes from writing to aesthetic Xi. It is precisely because there are two different combinations between the octopus and the grass that it is very difficult to fuse, so we rarely see the real effective integration of the grass and the octopus.
Jiang Jinming has a strong control over the relationship between the grass combination. He has the ability to break through the different combinations of chapter grass and big grass. Although the writing method of the grass is based on the combination of long lines, the grass is not continuous to the end, there are pauses, and there are also restarts, so the grass can form a rich tone in the combination. The pauses of grass classics, such as "Four Posts of Ancient Poems" and "Self-narrative Posts", are also often meaningful. Few people pay attention to the combination of "break" and "connection" at the pause, and pay more attention to the intuitive combination of connection. However, it is precisely the performance of the "broken" place that determines the key to determining a grass work, and it is also the place where the author's talent is most concentrated.
Jiang Jinming found the key link of the integration of chapter grass and grass in the creation of grass, taking the combination of lines of traditional grass as the main body, often taking three or five words as a group, mixed with the tone of chapter grass, and the pen end is particularly dignified and powerful, which greatly enhances the rhythm of grass creation. The combination of long lines and short paintings, the rhythm of writing contains the support of chapter grass, and it is not only the combination of continuous and broken strokes, which makes his grass have distinctive characteristics.
Secondly, the background color of Jiang Jinming's grass stems from the profound experience of Zhang Cao's creation.
The fusion of calligraphy creation is not a specific proportional relationship, but often has a profound experience as the subject, and constantly absorbs the integration of other calligraphy languages. Jiang Jinming has a large number of pure chapter grass creations, both large and small characters are written in chapter grass, such as large-character couplets and small characters "Eight Songs of War Epidemic" group of poems, and his chapter grass creations are relatively rich. For example, he used the seal penmanship to write a dignified tone, and also used the flat and straight penmanship to write a neat and capable line. His in-depth understanding of Zhangcao may stem from his personal aesthetic pursuit. He had a fine study of Mi Fu in the early days, and in the tone of Mi Fu, add a thick and dignified brushwork, which can deepen his understanding of Zhang Cao, so in the chapter grass can be seen Jiang Jinming's aesthetic background. The understanding and experience of Zhang Cao is not only a manifestation of his difference from the current calligraphy fashion, but also an expression of his calligraphy concept. From Jiang Jinming's grass, you can see the depth of his experience on the chapter grass. The concise structure and concise pen of the chapter grass are the changes in the way of knotting words in the transition from official script to cursive script, which brings about the reorganization of the structure of the chapter grass, and the concise aesthetic meaning is not easy for many authors to reach.
Jiang Jinming's in-depth understanding of Zhangcao is not like some contemporary scholars, who make detailed technical analysis and Xi on Zhangcao, and then simulate the relevant techniques of Zhangcao to obtain creative support, but deeply experience the concise knots and ancient thick lines of Zhangcao. When the calligrapher of Zhangcao generally follows two ways, either the Zhangcao is the main creative book, or the boundary of calligraphy creation is broadenedVery few people have successfully integrated chapter grass with other book genres. In the Yuan Dynasty, Yang Weizhen's small characters often had chapter grass strokes, integrating chapter grass with other calligraphy styles, reflecting Yang Weizhen's innovative spirit. However, Yang Weizhen's calligraphy is still based on Wang Xi's calligraphy system, and the chapter grass is only used as an embellishment to enrich his calligraphic language. Jiang Jinming runs through the shape and meaning of the chapter grass in his grass creation, and opens up the gesture and body posture of the chapter grass, which has become the distinctive expression feature of his grass creation.
Thirdly, the structural image of the chapter grass plays a pivotal role in the construction of Jiang Jinming's grass method.
In the creation of grass, some calligraphers tend to ignore the role of the image of grass and structure in the artistic conception of grass. Some calligraphers write very tacky cursively, largely because of the vulgarity of the cursive method, but in a general sense, there is no new grass connection. Excellent cursive calligraphers have solid traditional support for their grass methods, and the grass methods really determine the level of grass taste. Jiang Jinming integrates the structural imagery of Zhangcao into the creation of grass, so that the core of the grass structure of his works is supported by ancient imagery. The imagery of the chapter grass structure does not exist in isolation in Jiang Jinming's works, but is closely related to Jiang Jinming's concise and bright writing temperament.
Jiang Jinming is very sensitive to Zhang Cao's transparent and concise spatial understanding. His Dacao works incorporate more imagery characteristics of Zhangcao. This makes his grass have a unique grass structure as soon as it enters the eye, and it also shows an extraordinary temperament. He recently wrote a batch of Du Fu's poems on the grass, in addition to the use of short wave paintings, but also directly with the shadow of the structure of the chapter grass, the meaning of the chapter grass is pervasive. For example, in an excerpt of Li Bai's "Qingping Tune" (Fig. 1), the curved horizontal hook and the oblique posture are all prototypes of Zhang Cao;For example, the word "year" in "Southern Expedition", etc., this bold interspersed use of chapter grass calligraphy in the grass enriches the spatial changes of the grass writing. If you just bring the chapter grass directly to the grass, it is not difficult, but it is just to enlarge the chapter grass to speed up the speed of pen movement, and it will not become a big grass. And what is really clever is that he skillfully integrates the structural meaning of the chapter grass in the big grass method, so that his big grass always maintains a transparent and concise spirit. In Du Fu's "Inscription on the House Wall of Xuanwu Zen Master", "What Year Gu Hutou" is a paper with ancient meaning and spontaneity, the brightness that comes from the combination of chapter grass charm and grass is profound. In the self-composed poem "Double Tone Looking at Jiangnan and Taiwan", "Where is the good policy" is straightforward and simple, showing the joy of the opening of the chapter grass's gestures.
Fig.1 Jiang Jinming's cursive excerpt from Li Bai's "Qingping Tune" banner The clouds want to dress and the flowers want to look, and the spring breeze blows Revlon. If it weren't for the jade mountain, it would meet Yaotai under the moon. A branch of red dew condenses incense, and the clouds and rain Wushan are in vain. By asking who in the Han Palace is like, poor Feiyan leans on new makeup.
In addition to the uniqueness of the grass method, Jiang Jinming also changed the posture and gesture of the chapter grass, which led to the multi-dimensional rhythmic changes of the grass (Fig. 2). Because of the change of the chapter grass posture, the change of the upper direction of the writing is driven, and the horizontal trend of the upper right slope is intended to be inclined to the lower right, and the change of this gesture brings a fresh image of the grass. He also increased the change of intensity in the process of writing, the solemn tone formed a contrast between thickness and thickness, and the short strokes of the shape of the chapter grass waves, constituting the rhythm of heavy strength, these multi-dimensional rhythmic performances are outstanding.
Fig.2 Jiang Jinming's cursive excerpt from the banner of "Zhuangzi Wandering".
There is a fish in the northern underworld, and its name is Kun. The Kun is so big that I don't know how many thousands of miles it is. Turned into a bird, its name is Peng. Peng's back, I don't know how many thousands of miles it is. Flying in anger, its wings are like clouds hanging from the sky.
The aesthetic style created by Jiang Jinming's painstaking and solitary works is closely related to his spiritual texture. As a cursive calligrapher, Jiang Jinming's butterfly transformation and promotion have a great relationship with his solid grass foundation. The big grass he wrote before 2015, such as the excerpt "Quotations of Wanfeng Tongzhen Zen Master", can see some of the influence of Zhang Cao and the general understanding of cursive, the long line is swaying, the grass method is calm, and there is a skilled connection. However, the grass method is relatively loose and lacks the rich rhythmic changes in the grass, and it is difficult for the grass appearance of this period to stand out from the contemporary grass authors.
Jiang Jinming's cursive script has undergone this butterfly transformation and has begun to have its own style, which is the perfection of talent and literacy for a calligrapher. I expect his cursive writing to be wonderful and profound while writing himself.