The famous calligrapher Mo Tian, whose original name is Deng Deping, is from Beijing, president of China Modern calligraphy theory Research Institute and vice president of Beijing Chinese and Foreign Painting and Calligraphy Research Institute. Zeng studied calligraphy with the older generation of calligraphers, Mr. Huang and Mr. Kang Bofan, and visited the excellent ancient inscriptions in China.
Chinese name: Deng Deping
Alias: Mo Tian
Nationality: China.
Ethnic group: Han nationality
Place of birth: Beijing
Date of birth: 1949 65438+ 10 month.
Occupation: calligrapher
Main achievements: His works have been included in calligraphy exhibitions at home and abroad.
Representative works: Preface to Wang Tengting, Diamond Sutra, Paramita Heart Sutra, Tao Te Ching, etc.
outline
Mo Tian, male, formerly known as Deng Deping, a Beijinger, lives in Huangchuan County, Xinyang City, Henan Province. Born in 1949, he is a famous modern calligrapher in China, the president of China Modern calligraphy theory Research Association, the director of the office of China Academy of Sciences, and the vice president of Beijing Chinese and Foreign Painting and Calligraphy Research Institute. His works have been included in calligraphy exhibitions at home and abroad. He has held solo exhibitions in Japan twice in 1992 and 1993, and his works have also been exhibited in Japan, the United States, Singapore, Canada, Malaysia, Thailand, Hongkong and Taiwan Province. Scattered in large picture books, collected in many cultural and artistic units such as China Art Museum; His published works include Appreciation of Hou Xiaozi's Monument in Han Dynasty and On the Form and Spirit of China's Calligraphy. It contains several large-scale artists' dictionaries. He followed his father to Linchi since childhood, and later studied calligraphy with the older generation of calligraphers Huang, Tang Bofan and Er Shui, and visited the excellent ancient inscriptions in China. I have a deep understanding of Ode to Shimen, Monument to Zhang Jian, Monument to the Book of Rites, Shi Chenbei and The West Chamber. On a solid foundation, he also studied the official script, wooden slips and silk scripts in the Han and Tang Dynasties, and learned from others and became famous far and wide.
Personal work
1984 participated in the contemporary geographical names exhibition in China, Asia.
Preface to Pavilion by Wang, 1985, collected by China Art Museum.
1985 The Diamond Sutra was collected by Boston Museum.
1986 "Mo Tian Calligraphy Exhibition" was held in Tokyo at the invitation of Tokyo Avenue Painting and Calligraphy Institute.
1986, he was invited to write the "Bano Paramita Heart Sutra" for Singaporean President Huang Jinhui.
1987 was invited to hold Mo Tian's personal calligraphy exhibition in Osaka. (* * * There are 160 real works on display). In the same year, he published an article "On the Form and Spirit of China's Calligraphy" in China Calligraphy and Painting Newspaper.
1987 In March, the works of Tao Te Ching were collected by the British Museum.
1987 was invited to write Coca-Cola for the Coca-Cola Company of the United States.
1987 65438+In February, Li Shu's works, Xin Qiji's poems, were permanently collected by the China History Museum.
1987 The work was presented as a gift to former Japanese Prime Minister tanaka kakuei by the Ministry of Foreign Affairs of People's Republic of China (PRC).
From 65438 to 0988, Bai Juyi's poem "Song of Eternal Sorrow", an official script work, was selected for the 100 exhibitions of famous Chinese and Japanese artists.
1989 was included in the China Contemporary Who's Who.
1990 works were selected into the works collection of Chinese and Korean calligraphers.
199 1 The work was selected in China Modern Celebrity Painting and Calligraphy Collection.
1994 inscribed "Up the Mountain" for Deng Xiaoping's 90th birthday, and obtained the collection certificate issued by the Central Military Commission.
In 2000, Li Shu's works were selected into the Collection of Famous Calligraphy Works of China, Japan and Korea in the 20th Century.
20 1 1 Wang Changling's Poems, an official script, was selected as one of the 300 famous Tang poetry paintings and calligraphy works in contemporary China.
Personal character
Mo Tian is modest, elegant, frank and sincere. He has a profound cultivation, is good at setting ink with a pen, and his calligraphy is becoming more and more exquisite. High understanding, rich aesthetic taste, and profound pen and ink skills; He is used to winning by imposing manner when writing books. "The wonderful way to write is to look up." I have a deep understanding of this famous saying His calligraphy not only pursues the perfection of pictographs, but also pays more attention to the agility of verve. After careful consideration, he always paints freehand, splashes ink, or understates, and his calligraphy and painting are isomorphic and dense.
Mo Tian has a quiet personality and treats others peacefully. He has studied calligraphy for decades, linking the past with the future, bringing forth the new, and has profound artistic attainments. Known as an outstanding young and middle-aged calligrapher with a unique style. His calligraphy can be divided into five styles: seal script, official script, regular script, running script and cursive script. He is especially good at seal script, official script and Oracle Bone Inscriptions. Every pen is famous and is not restricted by laws and regulations. It has both the meaning of the ancients and the spirit of the times.
Evaluation of works
Mo Tian's calligraphy has a unique personality. He combined the brushwork of Han bamboo slips with the round pen, emphasizing structural changes in his creation, but not limited to traditional methods such as hiding the head and protecting the tail, striving for charm, change and simplicity. In his works, odd and positive words are intertwined and transformed into shapes by touch. In the visual image, the dynamics and tension of the glyph enrich the aesthetic expression, make the work have special artistic conception and effect, and give people a strong visual impact.
The advantage of studying books by Mo Tian is that he is thoughtful and rational when he is vague, and he can learn from others and use the macro to get the best. The lines of his works don't win with massiness, but show the fluency and delicacy of his brushwork in beauty, elegance and quietness, and the spirit of elegance and frankness in simplicity.
Mo Tian's concise, calm, harmonious, fluent and elegant artistic style ensures the ethereal between the lines. By appreciating his works, we can get a glimpse of his creative mentality. He is free and loose, full of interest, and his works are elegant, simple and peaceful, with the charm of Jing Ya, which is quite similar to that of scholars in Wei and Jin Dynasties. What's more commendable is that Mo Tian has always focused on all kinds of calligraphy, from calligraphy to calligraphy, and integrated his talents into calligraphy creation. He not only paid attention to the innovation of content, but also was unique in form, and gradually formed his own style. The so-called "words are like people" are vividly reflected in him. Nowadays, with the rich experience, Mo Tian's calligraphy shows more and more mature and steady style, and the style of calligraphy unconsciously reveals the broad atmosphere of Han and Tang Dynasties. He emphasized the change of continuous flying in the action of using a pen, reorganized and shaped the font through the skills of gathering, scattering, opening and closing and looking around, and formed his own artistic language. In particular, his cursive pen is fluent and free, easy to escape and pressure, easy to turn into nature, writing and cursive script interact, interspersed with different postures in the unified physical characteristics, thus forming an artistic effect that is bold and unrestrained as a whole and full of rhythm of reality and reality. Books are paintings of the heart, and books are like people. The art of beauty is not only the expression of mature techniques, but also the materialization of people's spiritual temperament and the perfection of personal morality, and it is also the best presentation of Mo Tian's inner artistic feelings.
Kang Youwei once talked about the lofty realm in Zhou Shuang, Guang Yi. The ancients said truth, simplicity and simplicity. Mo Tian's books are simple and interesting, with steady lines, no decoration, dignified atmosphere, natural structure and quite plain structure, thanks to Mr. Liu Bingsen's spirit.
According to Mo Tian's introduction, he learned books in a regular way and always adhered to the principle of writing books in Qin and Han Dynasties and learning books in Jin and Tang Dynasties. In his early years, he studied many inscriptions in Qin and Han Dynasties, such as Taishan Stone Carving, Yishan Stone Carving, Cao Quanbei, Ritual Monument and Ode to Shimen. While visiting Qin and Han Dynasties, I also learned many famous calligraphy inscriptions of Kai, Xing and Cao in Jin and Tang Dynasties. Wang Xizhi's Preface to Lanting, Preface to Saint Education, Seventeen Posts and Lu Jianzhi's Wen Fu were all written by Mo Tian deliberately.
From "image" to "spirit", we can explore the elements of beauty from ancient Chinese characters, find the highlights of Chinese treasures and feel the unique aesthetic feeling contained in Chinese characters. At ordinary times, whenever it comes to the calligraphy of ancient inscriptions, Mo Tian is full of vitality. He said, "The bamboo slips and copybooks left by these literati are the reappearance of history, which to some extent condensed a dignified history. Every word and stroke shows us a kind of vastness and vitality." These calligraphies are simple, solemn, elegant and beautiful, showing the shocking power of the times in different forms of beauty. In his eyes, these living ancient figures are interpreting a vast history in time and space. After decades of practice, he organically integrated the structure of seal script and the brushwork interest of cursive script into official script, and reconciled the natural and innocent interest of bamboo and silk with the rich and simple atmosphere of official script inscribed on tablets, and finally became his own face.
The calligrapher's personal artistic accomplishment determines the quality of his works. Zheng Banqiao said: "Those who intend to write first make rules; Those who deliberately stay out of the law are also becoming machines. "The" transformation machine "that requires" extra-legal meaning "depends entirely on the artist's personal accomplishment." Mo Tian knows this well, which is also the key to his continuous improvement of artistic character. He admits that China's calligraphy art is not only the relaxation of the mind, but also the accumulation of knowledge. For this reason, he sought an independent artistic orientation from the culture inherited by China for thousands of years, and drew artistic nutrition from The Book of Songs, Songs of the South and Tang and Song poems. In his view, the highest state of China's calligraphy is to return to nature, learn from nature and pursue a natural writing state. The essence of calligraphy is spirit rather than simple technique. The accumulation of reading gave him cultural strength, personality charm and spiritual will, which laid a good foundation for Mo Tian's achievements.
In recent years, our calligraphy art can be said to have entered a "good situation": both Kai's calligraphy and his calligraphy can show his ups and downs, simple and unrestrained personality in strict discipline. I believe that Mo Tian's works will be more mature and perfect with the years' tempering. A brand-new artistic realm was presented to him.
Mr. Liu Bingsen, a disciple of Mr. Shuier and Mo Tian's elder brother, once said, "His scholarship is rigorous, and his book style contains a lot of details. He knows poetry, he knows music, and he can speak well. It laid the foundation for the formation of calligraphy style in the future. Mo Tian's calligraphy "presents an elegant and friendly literati atmosphere" and "always pursues simplicity without luxury, simplicity and purity".
Mr. Song Yongchun, editor-in-chief of China Calligraphy and Painting Weekly, said: "Mo Tian's calligraphy has a unique personality. He combined Korean and Jane's brushwork with a round pen, emphasizing structural changes in his creation, but not limited to traditional brushwork such as hiding the head and protecting the tail. He strives to enjoy himself, seeking charm, change and simplicity in it, which makes his works have a special artistic conception and effect and gives people a strong visual impact. His works are chic, simple and peaceful, with a Jing Ya flavor, which is quite similar to that of scholars in Wei and Jin Dynasties.