Shen Peng (4th Chairman and 5th Honorary Chairman of China Calligraphers Association)
Zhang Kunshan's calligraphy has a good smell, big patterns, alternating dry and wet, discontinuous ups and downs, and has the taste of being ripe first and then being born later. The ancients talked a lot about the relationship between life and familiarity, one of which I think is the mutual integration of monuments and posts.
Zhang Kunshan took the road of learning calligraphy by combining inscriptions with inscriptions, with a good foundation of inscriptions, rough atmosphere, simple and bold, embellished with inscriptions, and supplemented by the calligraphy style of Wei and Jin Dynasties, so his calligraphy is both ancient and new, with new connotations and manifestations.
As a director of the China Book Association, Zhang Kunshan will definitely adjust and improve from a new starting point and move towards a higher artistic realm.
The style is high, ancient, vigorous and strong.
Zhang Hai (Chairman of China Calligraphers Association, Standing Committee of Chinese People's Political Consultative Conference)
With the development of calligraphy in Qing Dynasty, under the advocacy of Ruan Yuan, Bao and Kang Youwei, the calligraphy circle began to move from the situation of calligraphy dominating the whole country to the multi-track development road of attaching equal importance to inscriptions. Since then, many tablet PC manufacturers have emerged, such as Deng, Shen, He, Zhao, Yu Youren, Wang Juchang and Sha Menghai.
Zhang Kunshan's calligraphy belongs to a school of epigraphy, which covers a wide range. After a long process of integration, it gradually formed its own style. In the early 1980s, he made his mark in the domestic book world, and still maintains a strong desire to create, and new works are constantly appearing, which is commendable. His works are elegant, rich, simple and clumsy, reflecting masculinity, strong personality style and strong visual impact, which left a deep impression on the audience.
The atmosphere is simple and boundless.
Li Duo (Third Vice Chairman of China Calligraphers Association and Dean of the People's Liberation Army Bookstore)
I have known Zhang Kunshan for more than 20 years, and I pay more attention to his progress and development. Especially in recent years, his calligraphy creation level has been greatly improved and introduced, which has attracted more and more attention from the book circle and has a great influence. He is good at writing tablets and all kinds of calligraphy. Of course, he mainly writes inscriptions and is one of the outstanding representative calligraphers in contemporary calligraphy. In his recently published works, cursive script accounts for a large proportion. Because he organically combined the inscription with the cursive script, his cursive script has a new meaning. Integration and combination are quite difficult. Besides learning skills, you need wisdom and courage. It is not only natural, but also requires calligraphers to have the pioneering realm and innovative ability. His works are open-minded, unpretentious, spicy and peculiar, with strong spirit, simple style and military spirit. There are many things in the works, such as Qin and Han dynasties, northern monuments, Wei and Jin dynasties, Tang and Song dynasties and even contemporary ones, and some folk calligraphy nourishes them. It is not easy to concentrate so many materials for refining and smelting in one furnace to reach today's height. I think he will enter the country again, because he has a wide range of knowledge and contacts with many inscriptions. The so-called thick accumulation and thin hair is the truth. Only by accumulating a lot can it be produced at a certain stage, which is also the dialectical relationship between quantitative change and qualitative change. Zhang Kunshan has made great achievements in calligraphy. I believe that if he goes further on the existing basis, he will make greater achievements and have a bright future.
Distinctive personality and lofty style
Liu Yi (Third Vice Chairman of China Calligraphers Association and Consultant of China Calligraphers Association)
I have been in charge of the creative review committee of China Calligraphers Association for more than ten years. It should be said that I pay attention to and care about the overall creative trend of Chinese calligraphy and the development momentum of individual calligraphers. I have been paying close attention to Comrade Zhang Kunshan's calligraphy creation. Just like the ups and downs of China's calligraphy development in the past 20 years, Zhang Kunshan's calligraphy is also developing in changes. He began to write inscriptions, mostly epitaphs of the North Monument, and later wrote a cursive script of the Ming and Qing Dynasties, and then took the old road and rewritten the North Monument. Of course, later writing steles was different from before, steles and cursive scripts infiltrated each other, writing steles in grass, writing steles in grass, and writing some inscriptions and Han Li. In this way, the form and connotation of his works are more abundant, with both the stiffness and simplicity of the monument and the elegance and agility of the post. If you find the coincidence point between the two, you will have the effect of combining the tablet and the post. Even so, he still takes writing steles as the main line and insists on taking the thought of stele study and the creation of stele books as the leading factor. Even if there is a little influence of the two kings and the Ming and Qing Dynasties in the book, after all, he is writing an inscription. His works present a lively and pioneering atmosphere and a broad and vigorous pattern, with distinctive personality style, lofty realm style, sophisticated brushwork lines and loose and natural modeling. He pushed this creative mode, which took Beibei's calligraphy as the leader and promoted the improvement of other calligraphy styles, to success, which had a positive impact on the book world. His creative methods and visual effects are far from his creative forms and aesthetic concepts, which can be confirmed in his series of works.
Neither learn from the ancients nor be bound by the present.
Tong Wei (Third Vice Chairman of China Calligraphers Association and Consultant of China Calligraphers Association)
Zhang Kunshan is an influential military calligrapher in today's book world, with remarkable achievements and wide acclaim.
Kunshan Mountain has long been infiltrated between the northern monuments of Qin and Han Dynasties, Jin Dynasty, Tang Dynasty and Ming and Qing Dynasties, and has a solid traditional foundation. He was fascinated by Wei Bei's version of Mao in Gu Zhuo Park, and he also liked the simplicity of the two kings system. In addition, he also made a careful study of some modern masters, which made his works deeply rooted in the fertile soil of tradition and stand out. He has a wide range of creative fields and a solid foundation. On the basis of mastery through a comprehensive study, he focused on developing creative practice in three directions. First, he deepened the creation of the North Monument, absorbed a large number of North Monument Han Li, and made great efforts in the antiquity, simplicity, strangeness and rhyme of his works, which has a strong sense of ancient style and rhyme. Secondly, the exploration of inscriptions on bronze inscriptions was strengthened and the lines of calligraphy were honed. They constantly honed in the inscriptions of, Pan, Mao, etc., and borrowed from the inscriptions of modern Huang and Wu Changshuo, so that their inscriptions reached a new level. Third, cursive writing ability has been improved one after another. Some time ago, he loved the simplicity and introversion of Yu Youren and Wang Juchang, and later he loved the two kings, Xu Wei, Fu Shan and Zhang Ruitu in the Ming and Qing Dynasties. Recently, it has been adjusted to increase the excavation of classic works, especially the works of Shen, Shen and Shen, in order to strengthen the connotation and charm of their brushwork and get out of a cursive style that is neither radical nor sharp, but belongs to the calligraphy of the tablet school.
He is good at independent thinking and independent creation, lest his calligraphy style be bound by any school, and clearly establish aesthetic coordinates and creative direction. He is neither learning from the past nor confined to the present, but comprehensive, thorough, subtle, bold and innovative. Therefore, his calligraphy style is strong and unique.
The calligraphy is exquisite and full of charm.
Yang (honorary chairman of Liaoning Calligraphers Association, people's connoisseur)
Comrade Zhang Kunshan worked in shenyang military area command for many years, and I have been paying close attention to his calligraphy creation. I am glad to see that he has been exploring, making progress and improving, and has become such a creative trend until today. Kunshan's calligraphy has a solid foundation and absorbed many traditional things. After years of comprehensive practice, his works have a solid foundation and innovative characteristics. He advocates his own style, which is very valuable. I remember when he was in Liaoning, his calligraphy was far from others. He mainly writes monuments, learning from each other and learning from each other's strengths. The work is heavy and powerful, concise and feels weighty. In recent years, he has infiltrated the flavor of epigraphy into his running script, cursive script, tablet inscription and official script. Although calligraphy has different styles, it has the same vein, rich pen and ink, bold pen, front, back, side, middle and broken front, and achieved good results. In particular, the full and proper application of dry pen to his creation makes his calligraphy lofty and full of charm, which is the sublimation of calligraphy aesthetic thought. Only when the tradition is deeply rooted, the quality is constantly improved and persevered will we finally achieve more fruitful results!
Simplicity and novelty are the core of his artistic ideas.
Wei Tianchi (the fourth vice chairman of China Calligraphers Association and consultant of China Calligraphers Association)
The calligraphy of Taoist friend Kunshan is characterized by simplicity, atmosphere, strangeness and interest, from which we can see that simplicity and novelty are the core of his artistic thought. He is good at combining some connotations and artistic spirit of inscriptions on inscriptions on bronze inscriptions, Han Li, Kincaid, epitaph of the Northern Dynasties, Cao Zhang, etc., giving full play to his creative talents and forming a unique calligraphy art, which is widely praised in contemporary China book circles. Appreciating his works from the perspective of the inheritance and development of calligraphy is often both antique and innovative, which can also be said to be the embodiment of his calligraphy art thought.
Primitive, spicy and full of vitality.
Lin Xiu (Vice Chairman of China Calligraphers Association and Chairman of Beijing Calligraphers Association)
Zhang Kunshan's calligraphy creation is simple, vigorous and bold. He entered the grass with a monument, and the cursive script was simple and dignified, with boundless vigor; Input the script with a tablet computer, and the script is concise and calm; Printing with the tablet makes the bronze inscriptions more antique; Input official script with flat panel, the lines of official script are thicker and more vivid; Entering the business with a monument, writing strange and dangerous, has far-reaching influence. He created and cast a new look of epigraphy with the nature of epigraphy system, which enriched his calligraphy and had a positive impact on the calligraphy world.
The main line of creation is guided by the study of steles
Zhang Chuankai (director of China Calligraphers Association and director of China Calligraphers Association Committee)
From an academic point of view, it is of certain significance to study and discuss Zhang Kunshan's calligraphy. Zhang Kunshan's profound knowledge of epigraphy and outstanding achievements left a deep impression on me. He has a thorough understanding of traditional calligraphy and a solid foundation, so he appears carefree in his creation. The five calligraphy styles he created can all reach a considerable level. For example, the book of inscriptions he wrote, especially the couplets he wrote, has a strong style, simple atmosphere and antique taste. The cursive script combines the brushwork of Han Li, the North Monument, from the monument to the grass, from the official to the grass, and incorporates the vigorous brushwork and ancient characters of Han Li, the North Monument, into the cursive script creation, so its cursive script is full of ancient meanings. His official writings can also be transformed from ancient inscriptions, each with its own characteristics. He combined the word-making situation of "Xianbaozi Monument" with the roundness of Han Li's brushwork, and merged the frankness and simplicity of the inscription lines into a furnace, showing a new atmosphere and an elegant taste. His study of inscriptions on bronze attached importance to the study of Zhou and Qin Dynasties, and contained a lot of the essence of inscriptions on bronze in the Western Zhou Dynasty, especially the study of Pan and Mao. On the basis of his predecessors, he strengthened the reference to the golden inscriptions and absorbed the elegant and natural characteristics of Huang, making his golden inscriptions noble and intriguing. Zhang Kunshan criticized all five styles, but his main creative line is still inscriptions. This is his flexible application and practice of inscriptions in various styles, which shows his profound understanding and strength of inscriptions.