In the last century, in the Chinese book world, a group of the older generation of regular calligraphers emerged, one of whom has a special identity: born in Liaoning, living in Jinghua, rooted in Inner Mongolia, he is the famous regular calligrapher Kangzhuang.
The prairie of Inner Mongolia is the place where Kangzhuang later lived and worked. When it comes to Inner Mongolia, it seems that the aftermath of the lyrical song "Paradise" by the famous tenor Tengger is heard in my ears, giving people a cordial, romantic and bold feeling.
This is Kang Zhuang, born in 1946, who held important positions in the Inner Mongolia Federation of Literary and Art Circles and the Calligraphy Association. His achievements in calligraphy are mainly manifested in regular script and official script, and his regular script and official script are profound and famous.
When it comes to regular script, people naturally think of Tang Kai and "Jiucheng Palace", and Kangzhuang does have a soft spot for "Jiucheng Palace" and draws inspiration from it, thus forming a personal "Kang Ti Kaishu".
This is Kangzhuang's italicic calligraphy, which can be regarded as his signature banner calligraphy. His regular script has abundant strokes and highlights the contrast between thickness and thickness. The strokes are bright and soft, showing a bit of robustness.
Kangzhuang's regular script started with European style. For European style, many learners are rigid and difficult to change, so they lack the charm of calligraphy. Kang Zhuang knows how to be fickle, and in the strokes, he adopts the method of "frustration", which is shaped like a large intestine.
This regular script in the style of the middle hall is recorded from the famous poem "Seven Laws · The People's Liberation Army occupies Nanjing", its strokes use the method of frustration, thus forming a pimple, which looks like a large intestine, this brushwork is widely used in official script, regular script with this method, can be described as an attempt.
The whole chapter, the knot is even, the rhyme is neutral, revealing the simple and natural calligrapher's emotion, which is just like the simple and honest character of the herdsmen in the Inner Mongolia steppe, giving people a beautiful and cordial feeling.
This is a four-screen regular script work, each screen has two lines, each line of cross, the overall look is concise, sparse and generous. Between the lines, there is a hint of Ou Kai's rhyme, which is dangerous in the fair and vivid.
This four-screen calligraphy can be regarded as a model of strip screen calligraphy, and there are many places to learn from its chapter method, such as the last line of the text, arranging two words, and avoiding the appearance of lonely characters.
The arrangement of the payment is also worth learning from: the source, the time of creation and the signature, explain the basic elements of the payment, and the content is simple and appropriate.
Kangzhuang's European style regular script, in fact, still hides the rhyme of the face: majestic, atmospheric, broad. The line of writing is written, the knot is deleted and simplified, very simple, and the style is also consistent with the regular script of the text.
The regular script and the Wei stele often complement each other. In this five-character couplet, from the beginning and turning of the strokes, there is obviously the calligraphy style of Wei Bei: square, simple, and strong.
This seven-character couplet, on the basis of regular script, integrates the penmanship characteristics of Wang Xizhi's "Orchid Pavilion Preface", such as in the strokes, the three vertical strokes of the word "world" and the left vertical pen of "self" all use the brushwork of the elbow curved pen;On the knot, such as the word "無" and so on.
The reason why the above brushstrokes absorbed Wang Xizhi's brushwork is also its own origin. Ouyang Xun's calligraphy was originally to learn Wang Xizhi, with this kind of origin, in the grafting of the calligraphy, Wang Xizhi's penmanship appeared, which is naturally reasonable.
In addition to being proficient in Ou Kai, Kangzhuang also has a deep study of Lishu. Its calligraphy has a typical style of "Cao Quan Monument": the strokes are chic, and the horizontal and horizontal goose tails are prominent. The penmanship also absorbs the strengths of "Shi Chen Tablet".
This kind of official book chapter method, the word spacing is greater than the line spacing, giving people the feeling of sparse, fresh and pleasant, is the common chapter of the official book, and it is also worthy of beginners to learn and learn from.
The last Lishu, the style has changed greatly, combined with the dynamic characteristics of the book, increased the arc of the pen, paid attention to the trend of the side, this pen technique, giving people a sense of steepness.
Kang Zhuang is a calligraphy artist with a high reputation and influence, and his calligraphy style, just like the Inner Mongolia where he lives and works, is fresh, simple, natural and heroicHis calligraphy works and contributions to culture have been widely respected and recognized by the whole society, and his calligraphy art is worthy of everyone's learning and reference.