He was born in Wang Xiang's hometown in the early 1970s. Hometown complex, he especially likes the water in his hometown. Because the body in spring is made of water. With water, spring will be full of color and vitality, and human beings will be wonderful and brilliant.
On the day when he was a teenager, he jumped over the river to see the sea ... what a broad mind and unparalleled heroism! From then on, he really began to understand the sea.
Life is silent, years are like songs, and how many dull lives have been interpreted. Now, Wang Weijun, who is over thirty years old, will never forget the loneliness of being stationed in the mountains. He often misses his devotion to Xi 'an Military Academy, and often chews the true meaning of his life, life, art and life in different jobs. The tempering of colorful military life, the infiltration of traditional culture in the sea, and the root system of his life stem from the richness of wind and frost and the washing of stormy waves.
The guards are simple, humble and wise. When I first met the guard, I was moved by his extraordinary clarity and purity. Full of heroic spirit, resolute and calm, just like the works he showed me, fresh and beautiful, peaceful and implicit, full of real power. I really like such young people. Life in the army endowed him with wonderful understanding and also cast his indomitable character. The world of black and white pen and ink makes him magnanimous and full. Happiness in poverty is also the most distressing place for secular people. Young people who can stand loneliness have a chasing sun in their hearts.
Put your food in the middle and strengthen your health like a hero. He learned ink from a famous teacher in his early years. After more than ten years of writing, he trembled for his long-cherished wish to pursue his life, and persistently got a different kind of beauty. Have a keen insight into tradition, capture free artistic pregnancy, and reproduce your roots, leaves and flowers.
He is following the traditional pulse. At first, Tang Kai and Wei Bei started, and then attacked cursive script. He is learning "Zhang Hei Nv", which is very charming. Learn the Declaration Form and learn the beauty of profundity and elegance; He was fascinated by Preface to Lanting, Preface to Saint Education, Huang Tingjing, Yue Lun, Yi, Thirteen Lines of Luo Shen Fu and Shu Su Tie ... Wang Xizhi, Su Dongpo, Huangshan Valley, Min Nangong, Wang Juesi, Huang Daozhou and other masters all deeply influenced him. From reality to consciousness, he kept company with the ancients and talked with the classics day and night. Jinyun, Tang Fa, Yi Song, and Mingzhou, who are afraid of being unprecedented in their works, created an elegant, classic and almost perfect artistic space with Fiona Fang's round and beautiful pen, and created his own complete and full artistic language and visual schema. The meaning is intrinsic and the style is superb. He does not regard calligraphy as a form or symbol that repeats the classics, but devotes himself to a kind of ultimate concern for art and the expression of vitality, and is a re-creation of grasping the essence of calligraphy.
A philosopher said: Art creates the artist himself at the same time, and the artist fully expresses his life in constant creation, and the process of creation is also a process of self-improvement.
The organic integration of classical spirit and modern consciousness makes Wei Jun's calligraphy consciously integrated into various plastic arts, leaving people with traces of catharsis. Whether it is his regular script or running script, his brushwork is accurate, smooth and dignified; Linear subtle and exquisite, fresh and free and easy; The structure is flat and strange, and the ancient can be used; Make white and fake just right, simple and far-reaching; The breath is heroic and quaint, simple and quiet. The brush strokes of wisdom pour out his customized, unique and clean emotional world.
Yao, a member of A Qing Dynasty, once commented: clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean. Clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean, clean. From Wang Xizhi, a Muslim in the right army, to Lin Sanzhi, the magical charm of China's calligraphy is unobstructed here.
Xu Zhongyun has a history of thousands of years. The essence of a book lies in the mastery and application of laws. Constantly changing the appearance of the body, unchanging spirit. Exquisite, smooth, concise and clear, dialysis of noble spirit in Qing Yi and display of strong character in Qing Yi are the positioning and height of Wei Jun's calligraphy aesthetic characteristics and artistic essence.
Today, the Guards have won the national awards of the 7th and 8th National Expositions in succession, accumulated far-reaching achievements and sublimated latent learning. As a new generation of trendsetter, he is very lucky. When I reached the top of the mountain, I knew I was standing on the palm of the mountain. In this way, his mood is calmer, his eyes are deeper and his mind is broader. I wish young friends, in the tide of today's times, to seriously think about classics with a normal heart and pursue loftiness!
Affection fades like water. Affection is not flashy, but simple and fresh, just like a clear cloud dripping quietly in the countryside, pure and true. ...
Just a few words, Wang Weijun.
Text/Qi Yuxin
After you know a person very well, you often don't know where to start. . .
Jin Wei made his debut very early. He won the prize in the 78th National Exhibition more than ten years ago, and then won the prize in the grass-walking exhibition, fan exhibition and book exhibition, so he is also regarded as an old professional winner. In recent years, he has been busy with administrative affairs in the office of Federation of Literary and Art Circles. Every time we meet, he always regrets that he doesn't have time to write, and he envies others for visiting the pool every day. This shows how much he likes calligraphy! For those who like his calligraphy, it's a pity that they can't see his award-winning new work.
Fortunately, in last year's transition, he became the secretary-general of the Jiangsu Calligraphers Association, giving him the opportunity to contact calligraphy every day. However, as the youngest secretary-general of the Provincial Calligraphers Association, especially as the secretary-general of the Jiangsu Calligraphers Association, the burden on his shoulders may be heavier than before, and his work may be more troublesome. But based on my understanding of him, he has the energy and ability to do the work of Jiangsu Book Association better, which will be proved by time.
Wei Jun's handwriting is elegant, typical of Jiangnan calligraphy style, and the fine print is light and dignified, so lovely. With the composition mode he is good at, each work has a beautiful sense of picture. He writes, and he pursues writing very much. His pen is simple and he doesn't show off his skills. A stroke flows naturally, seemingly trickling, and his interest naturally comes out. The structure is naturally shaped by words, without any wriggling. Calligraphy is written in this way, which is pleasing to the eye of the viewer and smooth to the hand of the author.
He is an introverted and low-key person, but he is full of enthusiasm for his friends and work. Contact for a long time, you will find that he has a childlike innocence, very pure, very sunny, just like his words.
Tender, then tender-Wang Weijun's calligraphy
Text/Xue Yuanming
Qing Liu Sizai said, "This is the way books are. If you study, if you are talented, if you are ambitious, in short, you are like a person. " This sentence has been quoted repeatedly. In fact, there are two possibilities: one is to shape yourself according to the requirements and put it into action, worthy of the name; One is to advertise and shout slogans on purpose, which is not worthy of the name.
Based on my understanding of Wang Weijun, I think his personal temperament and even lifestyle are in line with his own artistic attitude, so that he can truly "write books like a human being". In his own words, "I am a person who is persistent in walking and constantly breaking through myself." The literary spirit and elegance revealed in the works come from the literary heart in one's heart. "In this relatively impetuous era, the era of individuality, if my calligraphy still has a little scroll breath, I feel very gratified. The so-called' bookishness' is probably what Liu Xizai called' morale', or' literary talent' and' talent'. " At the same time, the guards in the works are "heroic" and "tiger spirit". Wei Jun was born in Wang Xiang's hometown and grew up in a military school in Xi. In the military camp, he got training and tempering that ordinary people can't get. "After that military life, I feel more practical, more responsible, more patient and persistent, and more heavy and powerful. In this sense, I think calligraphers should go out of their study, free their eyes from the narrow vision of paying attention to art and the art market, look at nature, society, history and themselves more consciously and positively, assume the social responsibility of a calligrapher, enhance the spiritual character and cultural connotation of their works through the continuous enrichment of life, and make their own works more cultural, more artistic penetration and appeal. Only in this way can they support the prosperity and development of calligraphy art in this era. Therefore, reading his works, we can feel the interaction between literary spirit and tiger spirit, combining rigidity with softness. Personally, I don't agree that calligraphy is only bookish or stone-like, with emphasis and emphasis. Because there is a softening problem in the temperament of literati, it is weak and flattering, too rigid and easy to show, and compromise and reconciliation are neither fish nor fowl. This is the difficulty. Many people learn from Wang Xizhi, and finally they can't get out and become kitsch. The reason is that Wang's character is "floating like a cloud and agile like a dragon", which is both fluent and powerful. In short, it is the word "Xiongxiu", which only makes beauty inevitably thinner. This should be carefully considered.
Any calligrapher lives in a certain time and space, which is very important for understanding and grasping time and space. The interpretation of Wang Weijun's calligraphy also began.
From the perspective of time, there are both the tempering effect of time on him and his dialectical understanding of time. Simply put, the role of time is that temperament comes from cultivation and needs long-term accumulation and immersion. This is not a day's work. "Rome was not built in a day." The so-called "repair" means soaking and soaking. Usually, the word "aristocratic temperament" emphasizes the subtle influence. However, it emphasizes the cultural ideal, brilliant personality and charisma, and emphasizes the quality of thought and behavior, rather than the particularity of political and economic status as customarily understood, but only the "nouveau riche". What calligraphers should do is to be a cultural aristocrat and a spiritual aristocrat. Wang Weijun can accumulate while walking and think through continuous accumulation. Only when people stand higher and go further can they see farther and more beautiful places. Wang Weijun has a classical complex, pursues the ancient and the strange, and thinks that calligraphy can't be without water. In Sun's Book Score, it is emphasized that "Chinese is not empty, and there is a reason for writing", while in Song Xuezhai's Collected Works, there is a saying: "Learn books while enjoying ancient books, and know the meaning of writing." But at the same time, "fashion" is also his attitude and lifestyle. True fashion should have a deep artistic temperament, never close itself, never rest on its laurels, pay attention to the trends and changes in the book world, reflect on itself, and never stop pursuing self-realization.
From the space environment, there is also a dialectical understanding of his role and individual. The role of the environment is nothing more than the comprehensive influence of various factors. On the one hand, the art of a pluralistic society is unpredictable, "pen and ink should keep pace with the times", and many people only care about pen and ink and forget themselves. Individuals must grasp the pulse of the times, otherwise they cannot follow the times; On the other hand, all words and deeds are present, and a particular era is insurmountable. There are many contradictions between the sociological transformation of calligraphy and the specialization and professionalization of calligraphers. Calligraphers' plasticity and variability have increased, so they should learn to face all kinds of complicated and changeable situations and shape themselves according to their personal temperament. The last thing people know is themselves, or there is a possibility that they often go against their true mentality. There is one thing that needs to be faced all the time-the relationship between calligraphy and real fame and fortune. Buddhism sums up the mentality of all beings as "mixed feelings" As the saying goes, "He who has no long-term worries will have near worries". As long as everyone comes to this world, from the day of birth, they will face all the disadvantages such as death and need to face gains and losses. In other words, people's troubles stem from their worries and obstacles to the future, and people always hope that the future will have results that meet their own wishes. In view of this, the guards warned themselves with the words of the feast master, that is, "face it, accept it, deal with it and put it down."
Put it down. Therefore, the guards can keep their true colors in the complicated and changeable social environment. At present, there is a trend of imitation and show in the book world, with too many kitsch and affectation, and artistic means are extremely deviated from personal temperament, because personal ideas are chaotic and free. Creations that follow the trend of the times and lose their individuality abound, full of vulgar tastes and paper. Returning to the view that "books are like people", the guards not only pay attention to the cultivation of their own temperament, that is, the prominence of "I", but also pay attention to "writing" to achieve pure writing. Yao, a Qing man, once said, "Qing is clean, clean is ancient, and ancient is new." "Clear" eliminates "turbidity" and "clean" eliminates "vulgarity". "Vulgarity is hopeless", showing off skills is a kind of vulgarity. Calligraphy should attach importance to "skill" and take the avenue as the basis, otherwise it will be the end of skill, and it should attach importance to technique, not just technique. "I have been consciously or unconsciously walking on the edge of the book world, so that I can participate in some major activities in the book world with a clear aim and always keep a certain aesthetic distance, so as not to fall into the whirlpool of calligraphy tide." You know, calligraphy is a lifelong practice, and keeping your distance means keeping yourself. At best, the exhibition is just a stop on the artistic journey, and the goal of life is in the distance.
The characteristics of the guards' works can be summarized by rhythm and nature. In Chinese and foreign literary theories, "rhythm" is the earliest concept and term, and the viewpoint that "musicians judge a harmony, compare things with ornaments, and rhythm with words" is put forward in Yue Ji. Plato, a western philosopher, pointed out in his Law that "rhythm is the order of movement". From the philosophical point of view, rhythm is one of the basic forms of space and time. All human activities are inseparable from rhythm. The first is to cultivate a good sense of rhythm and deepen the understanding of the importance of rhythm, and the second is to master the true meaning of rhythm. Fundamentally speaking, it is an effective grasp of human physiology and social practice. Festival is temperance, play is performance, and "play" is the foundation of life, which can be felt whether it is the alternation of day and night, the change of seasons or the ebb and flow of tides. When an individual is personally aware of the rhythm of his breathing and heartbeat, he is aware of existence. Writing is like breathing and heartbeat, so it can be natural. The word "nature" is widely used in traditional and even modern life. Different from the concept of truth, goodness and beauty, which has become very westernized due to repeated references in modern academic pedigree, the word "nature" is not regarded as a special category by a modern discipline, but is hidden in daily life, thus retaining its own "natural state" and more China characteristics. "Nature" is an important philosophical concept with rich meanings. From Laozi and Zhuangzi, the founder of Taoist school, to Kang Youwei, the terminator of Confucian classics, and even poetry and calligraphy in classical art, all witnessed the deep origin of this concept. For Wang Weijun, it is not only a natural state, a natural writing style, but also a natural attitude, a natural rhythm, without false carving, a gentle and subtle book style, without excitement, elegance, gentleness and elegance.
Between nature and self, Wang Weijun found a shortcut to pursue the harmony between inner world and artistic world. "From campus to professional calligraphers, many calligraphers have the same perception, cognition and life experience of society and the objective world, and their life horizons are relatively narrow, so it is difficult to produce profound ideological sparks, distinct emotional demands and unique aesthetic orientation." Therefore, Wang Weijun's calligraphy thought can be summarized as: "Beauty is the only value standard". The study of calligraphy creation is the discovery and understanding of beauty, as he himself said: "People know, express and express their emotional world through religion, art and philosophy. Art is people's experience of the emotional world, and art is essentially the art of life of people who are practicing. "
Elegance is Everywhere —— On the Aesthetic Orientation of Wang Weijun's Calligraphy Art
Text/Gao Buming
I have always been moved by the elegance of the guards' calligraphy. Maybe more people are infatuated with each other and want to be elegant, because indecent is vulgar. Once vulgar, it is very painful and helpless. But it is not easy to have this elegance. To maintain this elegance, it is not what ordinary people do.
The guards are elegant and confident. Since the seventh national exhibition won the national prize, the works of the guards have won all the awards in major calligraphy competitions in one breath. Some people may still be surprised by the elegant charm of the guards' works. In pursuit of elegance, he sat on a bench and worked hard. At the age of 20, he attracted the attention of many judges with his graceful and elegant pen handwriting, and won the special prize in the 5th China Pen Calligraphy Competition. Before he became a soldier, he published several copybooks. Although myopia is not low, he was recruited into the army. At one time, he simply changed his name to Wang, determined to defend the dignity of the refined right army "Book Saint" by law. It is not difficult to see that his confidence is well-founded and unambiguous. More importantly, in order to insist on his elegance, he insisted on his own way and held his own views. He can appreciate other people's advantages and strengths, listen to their opinions and suggestions, and tolerate their short-sightedness and mistakes. But he refused to imitate elegance, idolized elegance and disguised elegance. It is not only concentration, but also courage to adjust yourself to the state of "Yoga Yu has no intention to be better".
The elegance of the guard suits his feelings very well. Calligraphy is the darling of emotion. Just like hand-drawing a cat and drawing a cat's smile, how monotonous the cat itself is. When the guards were in primary school, they began to talk to the ancients in a large number of law posts. While feeling the emotional world of the ancients, they also felt their own spiritual world subconsciously. The grace of the guard is the grace of grace. His works are dignified and generous. At first glance, there is no affectation. Even if the fine print is cursive, the ins and outs of each stroke are very clear, and the lines between the lines are in line with the statutes. The elegance of the guard is also elegant elegance. Under the theme of diluting peace, it shows elegant interest, and overflows with thousands of weather in the process of tying lines, looking around and staggering sizes. The elegance of the guards is even more elegant. He continued the line of "two kings" and carefully polished the inner temperament of his works. Over time, his works exude a gentle and quiet, ups and downs of the true flavor, free and easy charm of the moon. Looking back at the bustling sea of books, what we lack is elegance, elegance and elegance. Many colleagues who were originally intelligent and worked hard the day after tomorrow mistakenly regarded turbidity, domineering and Jianghu spirit as elegance, and then became farther and farther away from elegance. As long as we calm down and look back at the history of calligraphy, it is not difficult to find that Oracle Bone Inscriptions's childish elegance, Zhong Dingwen's clumsy elegance, Wang Youjun's elegance and Su Dongpo's elegance are all maintained and accompanied by one elegant word. These writers convey all their feelings through elegance. It's hard to imagine what kind of feelings those works want to vent.
The elegance of the guards benefits most from the deep humanistic care. Write first, people have strange words since ancient times. The doorman in life is modest and approachable, and has won many awards. He still keeps a low profile. He has an excellent reputation and prestige, just like his works. He has many hobbies, especially literature. I have read his novels and essays for a long time, and his literary works are also elegant and beautiful, which is in tune with his elegant calligraphy. This is irreplaceable by any superb skill. He knows that literature is the mother of calligraphy art and needs her care and nourishment. Otherwise, no matter how fancy and novel your work is, it always feels less elegant and moving. Nowadays, the lack of cultural connotation is the "bottleneck" of the sustainable development of calligraphy art, which has laid the groundwork for cutting off calligraphy! The guards have such concerns, and as a member of the Federation of Literary and Art Circles, they also have such responsibilities. He is diligent in reading and thinking, and knows the limitation of calligraphy skills and the infinity of artistic life. There is a saying that the inner cultivation is in the heart and the outer cultivation is in the shape. After reading a lot of books, the blue sea and blue sky in his heart naturally made his artistic life harmonious, natural, elegant and vivid.
From Solid Progress to Virtual Spirit —— On Calligrapher Wang Weijun and His Works
Text/Wu Guoping
Wang Weijun is a talented young calligrapher with considerable strength and influence in Jiangsu and even the whole country. In recent years, his works have been exhibited in many important exhibitions in China and won numerous awards, making him a prominent figure in today's book world and winning people's attention and praise for his outstanding talent and virtue.
I first met the guards and their books. Seven years ago, he and Guan Jun held the "Olive Wind" calligraphy exhibition of five armed police officers and men in the Provincial Art Museum. The exhibition was a great success and the guards left a deep impression on people. Seven years later, through meditation and experience, the guards' calligraphy has achieved a qualitative leap like a broken pupa and entered a new ethereal realm.
The guard is a persistent and serious person. From studying hard in the cold window to honing in the army, every role and post is excellent, and is deeply loved and admired by teachers, leaders, classmates and comrades. Because of his family studies, he was a boy's boy since he was a child and was influenced by orthodoxy. Because of this, it is not easy for a person like him to write "wild", or to write more broadly and smartly. But once it breaks through, it will have more advantages than ordinary people and play more perfectly. In the works of the guards, besides the wonderful reappearance of traditional writing, we see more emptiness and emptiness in Jin Jian and his expertise, a gentle, gentle, elegant and beautiful spiritual temperament, a reverence, infatuation and valuable cultural adherence to the classic quintessence, a modern interpretation of the classical spirit, and an inclusive and infectious personality self-confidence.
The calligraphy of guards follows the principle of "two kings". There is no doubt that this is the right way. Since Wei and Jin Dynasties, the calligraphy style of "Two Kings", as the mainstream, has been in a dominant position for a long time, which has influenced and created the basic aesthetic stereotype of Chinese people. Although epigraphy rose in the Ming and Qing Dynasties, it once belittled the epigraphy of the "two kings", but its status could not be completely subverted and shaken. In contemporary calligraphy, there is an upsurge of post-learning revival, which is not a full sense of retro, but only a requirement of modern aesthetics. To a certain extent, its painterly and lyrical characteristics, the publicity of its brushwork, the elegance of its posture and more possibilities greatly meet the visual requirements of modern people. However, behind this upsurge, there is also a tendency to kitsch and vulgarize the book style of Two Kings, and even ignore or give up the life consciousness, humanistic spirit and ideological connotation of the book style of Two Kings to some extent. Happily, the guards kept their due vigilance. He regards learning calligraphy as a process of continuous excavation and enlightenment. In this process, we always maintain a good mentality and spirit, earnestly study brushwork, try to contact the ancients at a deeper level, and try to establish a new brushwork discussion system and our own artistic language and expression under the strong support of profound traditions. He believes that the pursuit of individuality with modern significance is an important foundation of modernity. Only individualization can curb class assimilation, and only individualization can lead to pluralistic atmosphere. He also believes that it is progressive to emphasize the great visual effect and exhibition hall effect, but China's paintings and calligraphy have their own unique cultural background of initiation and development. If we simply graft western aesthetic thoughts and artistic thoughts, it may lead to the tendency of formalization and entertainment, thus losing its classic form and rich connotation, which runs counter to the spirit and character of national culture. These thoughts not only reflect the value judgment of the guards on contemporary calligraphy, but also reflect the good mentality and cultural responsibility of a mature calligrapher.
The guard has a classical complex in his heart. Although living in a bustling metropolis, enjoying the modern life and busy with the trivial matters of the unit, he especially likes old things. Ancient dwellings, ancient calligraphy and painting, ancient poems, ancient artifacts, etc. , are very interested. In particular, he advocates that ancient literati love mountains and rivers, lie high in nymphs, feel the spring and autumn, and live an elegant life. Of course, the life of the ancient literati mentioned here has obviously been poeticized by him, which just reflects his desire for calmness and simplicity, which is very important for a person who regards calligraphy as his lifelong career.
winter One afternoon. Light rain. Have a drink with his good friend Mr. Hu Jiayu in Qingliangshan Antique City, Nanjing. Wine is a good old Maotai, and then we talked about the "Eighth National Congress" and the aging of Jingdezhen and Yixing. I'm slightly drunk, drunk and happy. Finally, we invited each other to get together again.
-that's what you want.
Yan Waixiu is also ancient and more modern.
-On Wang Weijun's Calligraphy Art
As a representative of calligraphers of the post-1970s generation, Wang Weijun's pursuit of calligraphy and artistic realm are of typical significance for us to grasp the consciousness of calligraphy, especially the consciousness of "calligraphy form". Through the analysis and research on the artistic features of Wang Weijun's calligraphy, this paper reveals his aesthetic pursuit and artistic value recognition of calligraphy, and tries to peek at the significance and trend of this "shape" in the development of contemporary calligraphy and consciously grasp the development direction of calligraphy.
Judging from Wang Weijun's achievements, there is no doubt that Wang Weijun's pursuit of calligraphy has been recognized by the mainstream of today's calligraphy circles, which is also the pursuit of most young calligraphers today. So why is Wang Can Wei Jun's calligraphy recognized by the world of books and experts? I think the biggest reason is that his artistic pursuit embodies the consciousness of "form" in calligraphy in today's times. Under this metaphysical consciousness, Wang Weijun's calligraphy shows a unique personality.
(A) beautiful fonts
Wang Weijun's calligraphy method and creation are based on ancient classic books, and this calligraphy style is the most suitable and best one, which is mainly used in calligraphy, whether it is Erwang, Song Sijia or Yuan and Ming calligraphers. The most basic and crucial thing in this style and writing form is to grasp the shape of each font, which is also the most basic and difficult. We can find that every word of Wang Weijun's running script is very graceful and elegant, and its writing lines are capable and elegant, which can stand scrutiny. This is the key to the success of Tiepai calligraphy and the most important link. Because this calligraphy does not emphasize the strong contrast between strokes, nor does it pursue the "momentum" between words. He strives for the elegance and tranquility of the whole work with the stable shape of every word. At this point, the "two kings" running script has set an extremely superb example for us, and it is also the key that we can't overcome.
(2) Stick to the same color
The conscious pursuit of modern calligraphy, we believe that the change of ink color can break through the ancients. Of course, successful calligraphers have made successful explorations in this respect, such as the ink color change of Lin Sanzhi, a contemporary grass sage, which is one of the important factors of his success. Surprisingly, however, Wang Weijun pays little attention to ink color in his short stories, and his creation only uses one color. Although this inherited the ink color characteristics of calligraphy and went to extremes as a conscious choice, it cannot be said that this is the charm of the diversified aesthetic orientation of calligraphy.
(c) Unique composition
Wang Weijun skillfully mixed the colors of the subject, seal, blank space and writing carrier, which produced a unique artistic effect and a brand-new artistic feeling. For example, Biography of Mr. May 6th and Chen Jiru's Philosophical Words. In addition to the writing subject, different shapes of signatures, seals and cymbals are printed on different seats to divide the space of the writing carrier, and the color of its colored paper is used to create aesthetic feeling, so that it has its own artistic pursuit. This fully shows his conscious pursuit of calligraphy "form". The use of seals is often "biased", such as the album "Painting Zen Room Essays". Because the words on each page are very small, boldly using a seal larger than the words to enlarge the main body not only does not have the feeling of usurping the role of the master, but also produces a unique artistic effect, which the ancients did not have. In addition, he ingeniously kept the seal in the text, and skillfully designed a number of seals of different sizes to be printed on different seats, which produced a unique effect, with the artistic effects of introducing ancient calligraphy and painting, collecting after inscription and appreciating seals.
(4) Elegant and moist
Beautiful artistic modeling of Chinese characters, unique calligraphy composition and black lines determine that the aesthetic tendency of Wang Weijun's calligraphy is elegant and moist, especially in his fan-shaped works. This aesthetic form not only has the flavor of traditional literati calligraphy, but also exudes a strong modern flavor. He combined traditional calligraphy art with modern ideas and ancient and modern artistic language, and created a series of calligraphy works with classical implications and modern aesthetic characteristics.
We are in a diversified period of artistic development, and various schools and styles of calligraphy art coexist. He is prepared to create and produce great artistic ideas and classics that will be handed down from generation to generation. However, "diversity" does not mean that there is no "mainstream" and no "theme". This mainstream is a direction, a direction and "richness" under historical accumulation. Anyone who violates this principle can only be the "last stream." The reason why the splendid civilization of Chinese culture has not been interrupted is the proof of this law. Therefore, the pursuit of "form" in calligraphy art is the expression of the current "mainstream" calligraphy art, which will surely go down in the history of calligraphy and make its own contribution to China's calligraphy.
The development of calligraphy art is restricted by the development of the whole society to a greater extent. At the same time, it interacts with the development of calligraphy art itself. The aesthetic personality of contemporary calligraphy art is produced under the combined force of these two forces. Wang Weijun has repeatedly explained to me his views on the relationship between calligraphy inheritance and innovation. From his point of view, I clearly see that his calligraphy view coincides with the mainstream development law of calligraphy. The magic of China's calligraphy art development lies in that although he can't completely dominate his own development path, he will actively and consciously follow his own development direction and create his own brilliance. In China's traditional thinking, the form of calligraphy is always a "physical" link that is not particularly valued. This fact can be seen from China's book theory and calligraphy works. Obviously, this is related to China's precocious culture and the influence of Zhuangzi's philosophy. However, we should also see that the "form" and "spirit" of calligraphy are inseparable parts of calligraphy works. Because of the particularity of calligraphy, especially its practicability as a character, calligraphy was conscious as an art in Wei and Jin Dynasties for thousands of years. However, the consciousness of form should not be sufficient, which leaves a lot of room for development today. Wang Weijun's exploration of the form of calligraphy completely divorced from the practical category, and regarded calligraphy as an artistic creation; He skillfully uses the development of contemporary science and technology and the application of new materials, and consciously chooses various writing carriers that are conducive to his own creation, which is a conscious pursuit of form. This is of great significance to the inheritance and development of calligraphy.