Appreciation of Lin Zaicheng's Calligraphy

Lin Zaicheng, a young artist who majored in calligraphy and seal cutting, proved his talent with good results. Zaicheng, 1970, from Suihua City, Heilongjiang Province. As a Korean, he likes epigraphy and calligraphy since he was a child. He is now a member of China Calligraphers Association and a full-time teacher of calligraphy in Suzhou Vocational College of Arts and Crafts. China contemporary famous calligrapher. The following is Lin Zaicheng's calligraphy that I arranged for you. I hope it works for you!

Appreciation of Lin Zaicheng's Calligraphy

Lin Zaicheng's calligraphy picture 1

Lin Zaicheng's calligraphy picture 2

Lin Zaicheng's calligraphy picture 3

Lin Zaicheng's calligraphy picture 4

Brief introduction of Lin zaicheng

1970 Born in Heilongjiang Province in March, he is a member of China Calligraphers Association, director of Jiangsu Calligraphers Association, chairman of Suzhou Young Calligraphers Association, member of China Calligraphy seal cutting Committee of the Ministry of Culture, art consultant of Gansu Bookstore, member of "National Calligraphers in 1970s" Art Committee, distinguished calligrapher of Jiangsu Traditional Chinese Painting Academy, member of presidium of Suzhou Calligraphers Association and deputy director of creation committee. Won the title of "Outstanding Young Calligraphers in Jiangsu Province in 2006" and "Top Ten Young Calligraphers in Suzhou". Winner of the National Highest Prize in the 8th National Art Exhibition.

I learned a lot from professors Liu Jiang, Zhang, Zhu Suizhihe. "Runxiu" is the best summary of his calligraphy style. There is no lack of beauty, roughness and exquisiteness in his unconstrained style. Only by combining the two can he be called a successful work.

Its seal cutting is mainly white fine Zhu, which is stable and beautiful. Although the printing style is stable, it is ingenious in subtle changes. Because there are a lot of skills in copying China seals, although their seals are flat, they also see the ancient charm.

Reflections on Lin Zaicheng's Calligraphy

Qi yuxin

Not long ago, a collector sent me a short message saying, "The Lin Zaicheng silk shaft you gave me is printed!" " I was shocked-how is that possible? ! He said, "Why does handwriting look like print?" I had to give him a bad idea-if you put your hand into the basin, the ink won't be printed.

I've known each other for almost ten years. Watching him take the exam on the spot and win the prize in the eighth national exhibition, I feel as if he has disappeared from the world of books. So I'm surprised that everyone is tossing. Why didn't he move?

Last summer in Suzhou, because of the interview with Calligraphy Soviet Army, I really knew what he had been doing all these years and really appreciated Lin Zaicheng's calligraphy art of sharpening his sword for ten years. It turns out that for more than ten years, he has been immersed in the long river of ancient calligraphy and practiced silently. In today's materialistic era, I have hardly seen a calligrapher in the 1970s who can stand loneliness. Facing the technical content in his works compared with ten years ago, he had to use the word shock to express it.

In contemporary times, it is obviously very lucky to engage in calligraphy. Professional calligraphy college education, so many materials and resources (even some ancient people have never seen them), developed media and numerous national exhibition platform resources, so this is also an era when teenagers become famous. The so-called "heroes have emerged as teenagers since ancient times" has been fully reflected in the field of calligraphy in recent years.

However, I always believe that although contemporary is an era of outstanding young calligraphers, "precocity" can't hide "youth", which is also the biggest problem of contemporary calligraphy-insufficient technology! Many calligraphers rely on their own talents, and their works are full of natural passion and elegance. However, if you consider a calligrapher all your life, your talent and talent will always fade with age. Some people say that when you are old, you fight for knowledge and skill. What are the skills? It's skill!

It is a well-known truth that "technology approaches the Tao". On the lonely road of tempering technology, it is rare for a calligrapher to immerse himself in it again. Some people may say that calligraphy is an art and an art form to express one's heart. However, if the technology is not enough, how can we carry an artist's emotions and thoughts better, more accurately and more freely? At this point, Re-cheng is very smart and rational in tempering technology, and only in this way can it break out.

Chong Cheng is a calligrapher who mainly creates cursive scripts. Although the works we can see are basically cursive, the book path is very wide. For example, he used cursive scripts of various schools in the Song Dynasty, especially Mi Fei. His brushwork is vigorous and powerful, his lines are thick and straight, and he looks like a "writing brush". Wang Yang was deeply touched by his views. It is difficult to write big characters, but many people have a rough problem with writing big characters with pens. Although there is momentum, there is no shortage of pen and ink. Thirdly, Chinese cursive script is very particular about the use of pens, with delicate strokes and accurate Lian Bi, which shows its superb skills in using pens. It is difficult to write big characters, but it is difficult to achieve momentum and accuracy. Many people have to take a look, which is not uncommon among ancient calligraphers.

If you read through the fine-print cursive script, you will be surprised at his ability to master several styles. For example, he can do the fine-print running script in Mijia style, and his pen lifting and pressing changes greatly, which can be described as graceful opening and closing. He can also write Zhao Mengfu-style quiet and mellow running script in the Yuan Dynasty, only to see a brush on the rice paper, and the smell of loose snow of a school of three girls overflowed on the paper like Wei and Jin demeanor; When you see his other small seal script, you will be amazed at the neat and precise statutes flowing rapidly under the pen tip, and the charm of Kanglizi Mountain naturally arises under the wrist between the small pictures.

I used to wonder how Lin Zaicheng was formed under several different styles of running manuscripts. He said that one is skilled and solid technology; One is a profound understanding of the classics of the ancients. I don't think it is easy to distinguish between different styles and "technical parameters".

As a calligrapher, you need to have your own artistic opinions. The most terrible thing is to drift with the tide and eventually drown in the long river of the times. The most valuable thing is that you have a clear mind and can dig deep into the blind spots that others ignore. Under the creative pattern of contemporary Wei-Jin calligraphy style, Lin Zaicheng aimed at Song-Yuan calligraphy style for ten years, honed his own skills, and made a smooth technical integration with the ancients. In the end, he was different.

There are many people who learn rice, but they are clever enough to immerse themselves in Mi Fei's handwriting, extract their own technical language and form their own artistic style. Concentrate on learning Zhao Mengfu's calligraphy. Isn't this another channel of Wei-Jin calligraphy style? Is it just a unique way to set foot on kanglizi mountain and integrate into an artistic language of your own? I think this may be the embodiment of deep understanding and discovery of classic works.

This is a daily - happened thing. The first person who finds his way becomes a leader, and the people behind him become followers.

The other day, I once told a person who just learned calligraphy-in fact, calligraphy is very simple. First, you can control the brush and use it correctly and reasonably. Second, you should have something in your head. So, show it accurately by hand, and you are a calligrapher. It is very simple to say, and it can be done, that is, "the heart and hands are smooth."

A calligrapher needs to copy the classic calligraphy of the ancients all his life This process is actually a process of honing his skills repeatedly. This process is nothing more than constantly training his skills and constantly strengthening his memory of ancient calligraphy. Those two skills of the oil man are technology, but aren't those two skills his performing arts? He finally revealed the true meaning of "only skilled ears"! As the art of calligraphy, our emotions, hearts, thoughts and aesthetics are ultimately conveyed through pen and ink lines. Without skillful and accurate technical expression, everything is empty.

No wonder some people think Lin Zaicheng's handwriting looks like print. This is because his technique is wonderful. Every stippling, every line and every pen movement are very rigorous and familiar. His pen writing technique has completely surpassed ordinary manual writing. Only in this way can he correctly and accurately convey his aesthetic pursuit with brushes and lines. The so-called "unintentional Yoga Yu" in art should be understood as the expression based on skillful skills and natural expression.

In the face of Lin Zaicheng's calligraphy, I insist that his tempering of techniques finally determines that he will constantly surpass others and surpass himself today; His tempering of techniques finally determines that his works will continue to be perfect. Only near-perfect techniques can determine the artistic quality of a work of art. A work of art without wonderful techniques is not a good work of art, just like a calligraphy work without technical content-it is definitely not an advanced calligraphy work.

Calligraphy techniques include pen, structure and composition. Now Lin Zaicheng has completed the melting and casting of techniques, so the techniques are close to the present Tao!