Gu Qiaonian. Gu Qiaonian, the word Zijun, the number of philosophical laymen. Born in Gaoyou, his ancestral home is Xinghua. He is currently a member of the Chinese Democratic League, a member of the Jiangsu Calligraphers Association, the deputy secretary-general of the Yangzhou Calligraphy Court, the vice chairman of the Yangzhou Young Calligraphers Association, the secretary-general of the Youth Committee of the Yangzhou Calligraphers Association, a member of the Xingshu Committee, and the vice president of the National Art Calligraphy and Painting Institute. His calligraphy works have won awards or been exhibited more than 50 times in national and provincial calligraphy exhibitions.
Outstanding Works Award of the 3rd Wang Duo Cup Calligraphy Exhibition.
Lovely China" National Calligraphy Competition Third Prize.
The 100th anniversary of the founding of the Communist Party of China "Cishan Hanmoyuan Cup" National Calligraphy Exhibition Excellence Award.
2021 Cultural Luling National Calligraphy and Painting Exhibition Excellence Award.
Food Safety Jiangsu" Calligraphy Exhibition Outstanding Nomination Award, Yangzhou City First Calligraphy Biennale Outstanding Works Award.
The first "Ren Kecheng Cup" National Calligraphy and Seal Carving Works Exhibition was exhibited.
Jiangsu Province classic family motto calligraphy exhibition into the exhibition.
The first calligraphy exhibition of Bada Shanren in the country was exhibited.
The 10th Guanyin Mountain Cup National Calligraphy Exhibition was exhibited.
Wang Bi Cultural Award was exhibited in the first National Calligraphy Exhibition.
Beilanting Hengmei Huadu Cup National Calligraphy Exhibition was exhibited.
Calligraphy Magazine was selected as one of the top 100 calligraphers in 2021.
The first calligraphy and seal carving exhibition of crane inscription in Jiangsu Province was exhibited.
The 2nd Baogong Cup National Calligraphy Exhibition was exhibited.
The 15th "Five-Star Project Award" of Jiangsu Province was exhibited.
The first Yangtze River Delta Calligraphy Exhibition was exhibited.
In 2022, the National Calligraphy Exhibition of the Manuscript Cup of the Nephew will be exhibited.
The first Cong Bi Zhiguang National Calligraphy Exhibition was exhibited.
Say**
Say **, you can't get around the word "crazy". "Crazy", literally there are about four interpretations:1insanity, madness; 2.violent, loud; 3.indulgently, uninhibitedly; 4.Arrogant. **The "madness" should be the first.
Two or three interpretations are the mainstay.
In fact, the madness of ** is just an appearance, but it is rational in essence, and the classic ** works of the past dynasties are all like this. In the history of calligraphy, Zhang Xu, Huaisu and other great cursive calligraphers' cursive works have different degrees of breakthroughs in penmanship and calligraphy. Even so, it will still be questioned and even denounced. Mi Fu, one of the four Song families, said in the "On Cursive Writing": "....Zhang Dian's vulgar son, changing the ancient law, shocking all ordinary people, and those who have their own knowledge. Huaisu is less bland, a little natural, and the times are pressing, and it can't be ancient. High and idle, but can be hung in the wine shop. Argument is especially abhorrent. ”
People always advocate freedom, but freedom is not to do whatever they want unscrupulously, but to soar under certain conditions. ** The same is true, it should be the indulgence and unrestraint in the "law", and it is a kind of rational madness. Art is contradictory, it is necessary to highlight individuality and release nature, but also to control rationally. Otherwise, it's just crazy venting, and I don't think anyone wants to appreciate other people's "vents".
Say fit
In my calligraphy practice, although I focus on calligraphy, I always incorporate some grass and regular script in my works, in order to enrich the rhythm and satisfy the writing and visual pleasure.
I really consciously blended grass, lines, and letters, but the inspiration came from Japanese. The Japanese language is interspersed with kana, which evolved from the cursive script of Chinese characters. The interesting contrast between the folding of the Chinese characters in italics and the turning of the kana in Japanese was a delight to my eyes. So I started to like to write together.
In fact, in the classics of calligraphy in China, there are countless works of this kind of combination. "General Pei's Poems" is one of them, and the two kings, Lu Cambodia, Mi Fu, etc. have also done so intentionally or unintentionally. In this kind of combined creation, grass, line, and Kai are mixed, or slow or sick, clever or clumsy, heavy or light, which can add a lot of fun to writing!
Say the method and appearance
On the road of calligraphy study, only by constantly spitting out the old and absorbing the new, such as washing the sand and panning for gold, washing away the mundane, and leaving the real gold, can we be reborn. This is when it comes to taking the method, the method is not a collection of words or multiple styles of grafting, which will lack natural vitality. Taking the Fa from the ancients, we should follow the law on the basis of the situation, and naturally express it.
Calligraphy should be between the rational and the emotional. I think this should also be the law that art should follow. If the work is only on the rational side, it only stops at the technical level; If it's only on the emotional side, it's possible that it's just venting or nonsense. Only in between is the best. If there is a track between rationality and sensibility, if we can drift away from this track, occasionally biased towards rationality, occasionally biased towards emotionality, but calmly and moderately, and not derailed, then it will be wonderful, which is the face that we should pursue in calligraphy creation.
**10,000 Fans Incentive Plan