Mr. Jin Denian is a famous calligrapher in contemporary China. Professor Jin's original "De Nianti" running script is powerful and self-contained, and has been included in the Chinese character file of Man typesetting system by Founder of Peking University. In the field of calligraphy, it has a certain position. The following is the calligraphy I arranged for you, I hope it will be useful to you!

Pictures of Jin Denian's calligraphy 1

Pictures of Jin Denian's calligraphy 2

Jin De Nian calligraphy picture 3

Jin De Nian calligraphy picture 4

Brief introduction of Jin De-nian's calligraphy

Male, 1934 was born in shenjiamen Town, Putuo District. Professor Tsinghua University, a famous calligrapher, was the president of Tsinghua University Calligraphy Association. At present, he is the chief art consultant of Yuquanshan Painting and Calligraphy Institute of China Calligraphers Association, the founder and honorary director of Tsinghua University Centennial Shu Ren Culture Promotion Fund, the famous calligrapher specially invited by Tsinghua University Centennial Shu Ren Culture Promotion Fund and Tsinghua Alumni Association Culture and Art Workshop, the Tsinghua Denian Public Welfare Art Award, and the art consultant of the student art troupe. Professor Jin's "De Nianti" running script is powerful and self-contained, and has been included in the Chinese character file of Man typesetting system by Founder of Peking University. The famous historical sites in Tsinghua campus, such as "Near Spring Garden Site", "Ziqing Pavilion", "Linyi Pavilion" and "Weilun Building", are all written by Professor Jin. The pavilion plaque of Moonlight on the Lotus Pond was also created by Professor Jin according to the handwriting of Mr. Zhu Ziqing's old photos. Professor Jin has also published more than 30 monographs and editorials on engineering thermophysics.

Calligraphy ink skills

The highest expression of ink painting skills. It is the taste of ink and wash and the subtle and fantastic color changes in calligraphy and Chinese painting works. In modern painting, Huang is a master who is good at ink painting. His stippling is colorful and unique. Huang said; The ink painting of the ancients was better than water, and the ink painting was deified, or it was done with pen power. * * * Painting circles * * * said: Mohist school uses water, taking ink as shape, water as gas, pneumatic, and shape is alive. China's ancient ink painting also makes sense. The "book raft" also said that when it is cooked, it will live without water. Huang is a master who makes good use of thirsty pen. The key to thirsty pen lies in thirst and moistening. Only by unifying the contradiction between thirst and moistening in his works can we produce the artistic effect of cracking the autumn wind and moistening the spring rain. Mr. Li Keran said: Don't put too much water in the pen, it will be pale; When the pen is heavy and powerful, the water can be squeezed out to make the pen wet. A word broke the mystery of thirst and moisture, just as the ancients said. The ancients said: the way of pen and ink, there is pen and ink, no pen and no ink. The author believes that five strokes without ink is right, but a pen does not necessarily have ink. With ink, there is no knowledge.

The effect of pen and ink in works is closely related to the priority of brushwork and the hardness of paper. In fact, the pen is heavy, but it is floating. With new ink and clear water, it is bright and fresh, while with Su Mo and muddy water, it is more gloomy and muddy. The ancients had higher requirements for ink. In Qing Dynasty, Zhang Geng's "On Painting in Pushan" and "On Ink" pointed out that no matter whether ink is dry or wet, it is the ultimate without smoke or food. Lu Tai said: Dong Siwen's pen is beyond the reach of Jewish people whip, with bright colors. Nature is touching and immortal. However, people all know the beauty of Dong Siwen's ink color, and we can see that Siwen's ink color is elegant and delicate. It all depends on its paper. Xuanwu is paper. Nothing is ink. The ink color of Weng's works is mostly light, but it is actually thick ink, so it lies in paper. The same is true of Huang Gu's Li Bai's nostalgic poems. Calligraphy creation and the choice of paper are also knowledge. Without ink, paper can't sprout. Yang Jun's "Caotang said jade" cloud; You should know that ancient jade can be played with and designed to be colorful. The color is amazing and there are many bubbles. The worse the quality, the more mottled it is. Nowadays, most people regard jade as the top grade, which makes no sense. As we all know, solid and delicate paper is solid and it is easy to get a clean pen. But I don't know if the texture is loose or rotten, and the reasoning is related to jade. The more decadent the quality is, the more soaked it is, the more mottled it is, the more traces it is, and the more I see Mo Miao and Qiqi.