Changshui Wang's calligraphy initially benefited from Mr. Wang Jinghe, a primary school teacher. The teacher praised the "two kings" and wrote Zhao Ti well, which benefited Changshui Wang a lot. 1960, he entered the journalism major course of Chinese Department of Shandong University, and the Chinese answer sheet written with a brush caught the attention of Cheng, then president of Shanda University. On the recommendation of the headmaster, he was admitted as a student in China. There are many famous teachers in Shandong province, and Qilu culture is rich. They are famous for literature and history. Changshui Wang was deeply impressed by this, and his epiphany deepened day by day. His charm was at the bottom of his wrist and flowed to the end of his pen. I also learned the true meaning of learning books and being a man from the words and deeds of my teacher, Mr. Jiang Weisong.
Changshui Wang attaches great importance to the accumulation of learning realm and artistic accomplishment, because he has the inheritance of good teachers. With the improvement of learning skills, he pursues a kind of pen and ink interest, a kind of bookish spirit left in the hearts of literati. In his fluent and beautiful brushwork, Changshui Wang has mastered the statutes and emotional discretion properly, and gained the natural interest and lively vitality of "loving God, being detached and leisurely, adapting to the environment and changing".
The innovative beauty of gold and silk
The academic research on silk calligraphy is relatively thin. With the help of existing materials, Changshui Wang tracked the latest unearthed discoveries and studied the silk books of Han Dynasty earlier and harder, which was deeply influenced by the silk books unearthed from Mawangdui Han Tomb. Changshui Wang took the continuous charm of silk calligraphy, and incorporated the elements of line, grass and official script. The structure of the characters was cuboid, echoing little by little, fluent and elegant, showing dignity and agility. His brushwork follows the tradition but does not stick to the rules, so he loses the dullness of ancient silk books and increases the dexterity of modern writers. In addition, Changshui Wang's research on bronze inscriptions is also full of innovative spirit. Li Yong in the Tang Dynasty once said, "Those who learn from me, those who die from me, are vulgar", and Changshui Wang has a deep understanding of this. His bronze calligraphy, based on Mr. Jiang Weisong's elegant spirit, pursues a vigorous, simple and quiet realm, which has a unique flavor. On this basis, his calligraphy not only has traditional cultural background, but also has modern aesthetic spirit, which embodies rich talent and natural temperament: he writes freely on paper, draws accurately, attaches importance to learning from others without hindering the expression of feelings, and reaches the natural realm of Taoism.
Devote oneself to the study of Oracle bones
20 1 1 year, Changshui Wang devoted himself to creating more than 0/00 pieces of Oracle Bone Inscriptions's new works, and collected and published the book The Charm of oracle calligraphy-Changshui Wang. In addition, 20 1 1 introduced three calligraphers, Zhang Hai, Changshui Wang and Shen Peng, into the famous academic series "Research on Contemporary Calligraphy and Painting", so that we can fully appreciate the charm and essence of their calligraphy. Changshui Wang's research on Oracle Bone Inscriptions can be traced back to the time when he took the course of ancient Chinese characters in university. At that time, he was the representative of the class, diligent in mechanics and fruitful. After graduating from college and staying as a teacher, he also tried to find and write various Oracle Bone Inscriptions rubbings in Shanda Library, trying to collect relevant information. When I was engaged in calligraphy teaching, I took Selected Readings of Oracle Bone Inscriptions edited by Mr. Li Pu as the teaching material, and personally guided graduate students to learn, which was divided into mentoring and mentoring. Changshui Wang and Oracle Bone Inscriptions have an indissoluble bond, and they both want to contribute to the artistic inheritance. As he said, "The Oracle Bone Inscriptions unearthed at present is the richest in a century, and the task of standardization and artistry in oracle calligraphy is imminent. We must do our best to make the old trees and new flowers reappear and the excellent culture will be passed down from generation to generation. "
Pin Gao yun Xin
Zhu Hegang's New Interpretation of Linchi in the Qing Dynasty said: "Learning calligraphy is only a skill, and establishing a product is the first moment. Those with high quality have their own integrity and elegance. " Calligraphy is a kind of "skill", and what Changshui Wang pursues is a kind of "avenue". Different personalities have different temperaments. His calligraphy pursues "high quality", and his writing style is elegant and unconventional, which is more profound and meaningful in plain and honest. He integrated the pursuit of independent personality into cursive script and gave full play to the writing characteristics of brush on Xuan paper. From the aesthetic perspective of modern scholars, this paper explores the inner beauty of ancient China characters and transforms them into modernity. Changshui Wang has a lonely and tireless spirit, which makes him establish his own artistic quality.
Your further study and knowledge-seeking ability —— Thoughts on Reading the Collection of Professor Changshui Wang's Calligraphy
Author: Zhou
Professor Changshui Wang studied in the Chinese Department of Shandong University in his early years. He used to be my student. I am good at literature and aesthetics, but when it comes to calligraphy and ink painting, he can also use his long knowledge as my teacher. As long as the water is long, my shortcomings are really difficult to do.
Changshui loved calligraphy since childhood. He was far away from the Jin and Tang Dynasties and close to Mr. Jiang Weisong. He studies hard, studies hard, practices hard and makes progress every day. He is also good at seal script, official script, calligraphy and cursive script, especially cursive script. Looking closely at his brushwork, he is natural and fresh, bold and tactful, dignified and agile, firm in softness, dynamic in quietness, full of spiritual beauty and inspiring spirit, which actually casts a hundred schools of thought on himself.
When it comes to Changshui's calligraphy, we can't help but talk about Changshui's character. Zhu Heyang's New Interpretation of Linchi in the Qing Dynasty said: Calligraphy is just a skill, but it is the first moment of quality. People with high quality are drawn bit by bit, and they have their own elegance and integrity. The way of calligraphy is small skill, but the pursuit of long water is the avenue. Different personalities, different temperaments, long water is the true nature of people, carefree, not angry and arrogant, without secular spirit, not reserved, often making people feel as smooth as romantic. Therefore, Changshui's calligraphy pursues high quality, which is self-evident, elegant and unconventional, and can be more profound and lasting in plain. In the 1960s, Changshui taught Chinese Department for a long time after graduation. Shanda is famous for its literature and history, and there are many famous teachers. Chinese culture has a long history, and Qilu culture is profound. Long water here, deeper understanding, wider mind, higher realm, transported to the bottom of the wrist, flowing to the end of the pen, elegant and unrestrained, just like the long water in the book! Books, for their part, are believed.
A person's realm is often his artistic realm. The realm of China's calligraphy art is a profound topic. As far as a calligrapher is concerned, his talent, thought, spirit and knowledge can be confirmed in the scenery at the end of the pen, which constitutes his cultural personality charm, that is to say, he can be regarded as a calligrapher. A calligrapher who can inherit the tradition without similarity, vulgarity and pursuit can often have a unique style and a unique realm. Mr. Jiang Weisong once talked with Changshui about Li Yong's "learning from me will lead to death" in the Tang Dynasty, just like the incisive words of "learning from me will lead to vulgarity", encouraging Changshui to follow his own artistic path. In this regard, long water depth has experience. Changshui epigraphy first benefited from Mr. Jiang's teachings, not only learning his methods, but also learning Mr. Jiang's creative spirit. Therefore, his epigraphy calligraphy is more vigorous, simple, vigorous, quiet and unique in Mr. Jiang's elegant style.
Changshui's cursive script enjoys a high reputation in calligraphy, which is very suitable for his academic position. Changshui advocates the style of Jin and Yuan calligraphy, which is precisely the pursuit of a pen and ink interest, a style of calligraphy left in the hearts of literati. In his graceful and fluent cursive script, he is also grasping the appropriate measure of statutes and emotions, that is, the so-called "emotion is superior and detached, and it is in line with the times" (Zhang Tang's Thoughts on Reading Books), thus gaining a natural interest and lively vitality that is popular, rainy, polished and blooming. Therefore, the long cursive script, whether beautiful or vigorous, whether exquisite or unrestrained, whether fluent or unrestrained, or profound and concise, is natural and unrestrained to write, but there is no intention to say that Yoga Yu is a good cook and won three flavors in the book style of Jin and Yuan Dynasties.
I have known Changshui for more than forty years, and the passage of time often makes people lament the preciousness of family ties. Now Changshui is a man close to ancient times, but for an artist, it is a year of fighting. China's art has always been a late bloomer. As far as talent, knowledge and diligence are concerned, its artistic exploration must be a long way to go. Looking at Changshui's calligraphy, pieces of Mo Bao bloom like beautiful flowers. When they bloom, the calligraphy is endless, and the front peak is more brilliant. I wish Changshui a new peak.
An example of calligrapher's growth
Author: Wei Qihou Chen Geng Bridge
I am glad to learn that Selected Works of Changshui Wang's Calligraphy will come to Fu Zi soon. The publication of this book is something to celebrate, not only for the author, but also for the publishing and calligraphy circles.
The growth of a calligrapher needs many factors.
Rooting should be correct. Mr. Changshui Wang, 1960, was admitted to the Chinese Department of Shandong University, where he stayed as a teacher after graduation. For a long time, in a good atmosphere, I received the formal education of China traditional culture. The study of calligraphy is only part of it. Deep roots and luxuriant leaves, this is the law.
Teachers should be high. The ancients advocated "taking law as the priority", which is completely correct. It is a great blessing for Mr. Changshui to learn from Mr. Jiang Weisong, a famous scholar and calligrapher. Mr. Jiang is rigorous in his studies, far-sighted and concise in his techniques. Mr. Changshui can combine reality with reality and take fewer detours. It can be said that "strict teachers make excellent students."
These materials should be improved. In his later years, Mr. Jiang has been paying attention to and absorbing new discoveries and achievements in archaeology. Mr. Changshui is also trying to learn from Mr. Jiang's spirit of Excellence, dabbling extensively, carefully selecting reference materials, eliminating the false and retaining the true, eliminating the rough and selecting the fine, and making his works innovative.
Work hard. Learning calligraphy is an unusual kung fu process. No anxiety, no tricks, no self-deception, only step by step. Over the years, especially in recent years, Mr. Changshui has worked hard and made great achievements in quantity and quality.
Selected Calligraphy of Changshui Wang is a summary of his calligraphy creation in recent years. This book is not only for people to appreciate art, but also provides an example for the growth of calligraphers, which will certainly bring many beneficial inspirations to readers.
Jinan, May 2007 1
Mr. Changshui Wang's View on Calligraphy
Contemporary calligraphy needs great efforts, starting from me, starting from everyone and starting from the education of dolls.
Our times need calligraphers as well as calligraphy appreciation, and what is most needed is real criticism.
Calligraphy is a treasure of China culture. Anyone who loves calligraphy is my friend, and anyone who contributes to calligraphy should be admired by people. Anyone who desecrates calligraphy or leads it astray should be criticized by people and punished by history.
It is far away, but it is not impossible that China's calligraphy art can go to the world and be recognized as a scientific art by the world. True art has no national boundaries. However, the emergence of an art has its own soil and conditions. China's calligraphy art is a treasure of China culture, with the cultural tradition of China people in China and the unique artistic charm of China people. But nowadays, the charm of China's calligraphy is getting farther and farther away from the literati, the cultural charm of calligraphy is getting less and less, the idea of official standard and name standard is rampant, and too few people really work hard on calligraphy. How does contemporary calligraphy go to the world?
There is no doubt that our calligraphy art should inherit the excellent traditions of ancient times, but there is a lack of serious thinking on how to create today and tomorrow of calligraphy art.
The key to China's art going to the world lies in changing our concept of standing still. Look at foreign civilization, look at foreign art; Looking at the development of ancient foreign culture and modern science and technology, we can't help but admire. The development of world civilization lies in democracy and science. True democracy and science are achieved through heroic struggles against tyranny and ignorance for a hundred years and a thousand years. The development of art is not based on officials or people; Nor can we rely on the great achievements of our ancestors or foreign forces, but on the improvement of cultural literacy and cultural accumulation of our generation and the next generation, and on the self-reliance of our generation and the next generation, and strive to create a beautiful artistic environment and create works that stand on their own feet in the world's art forest. Can't be eager for quick success and instant benefit, and do your part for the prosperity of calligraphy art in later generations!
Where a personal memorial hall is built and a fund with a certain name is set up, it must be examined by the discipline inspection department and the tax department before it can be established, so as to prevent corrupt officials from setting up monuments for themselves if they have money. If they succeed, it will be a shame for contemporary people!
I understand calligraphy and life from "wordless books"; Understand calligraphy and history; Understand the size of calligraphy; Knowing the honor and disgrace of calligraphy ... I seem to understand that the history of calligraphy can no longer be measured by the "traditional" Ah Q spirit. Because Ah Q only knows the outdated "Laozi" and the untimely "son", but he doesn't know his poor situation, that is, he was sent to the guillotine in a muddle. What is the situation of our modern calligraphy? The situation is that cultural history has been repeatedly destroyed in the past hundred years, resulting in long-term cultural dating and estrangement. The environment on which calligraphy depends, especially the cultural foundation, "is like holding the bottom salary". Calligraphy without foundation is like "a dish of mung bean sprouts". How can we grow and develop? How can it be compared with any dynasty in history? Even compared with our neighbors Japan and South Korea. Japan and South Korea have experienced the extinction of "practical calligraphy", and now they are at the forefront of the world purely as "artistic calligraphy". Hair pulling can't be compared with others. Japanese calligraphy education is sound and talented people come forth in large numbers; Korean calligraphy is not far behind, and calligraphers emerge one after another. The gap between our calligraphy art and Japan and South Korea is probably not only seven or eight years, but also longer than we thought. We can't just see this side of the surging "calligraphy fever" since the reform and opening up, but we can't see the severe "calligraphy crisis". "Hot" is fast, "cold" is fast. You can't get carried away after eating white steamed bread for a few days. In that case, we are either ignorant or forgetful. I can't, as Mr. Bai Yang said, "Don't sing praises for the king, just speak for Shu Ren." I can only say to my friends standing on the edge of calligraphy cliff: If we don't want to fall, reflection is the best medicine to save modern calligraphy in China!
What is life? Life is a responsibility. Our responsibility to calligraphy is to make calligraphy grow along a healthy road and pass it on from generation to generation. Although I take "entertaining myself, the beauty of spring sleep, the joy of black and white" as my motto, I feel fearless when I associate "entertaining myself" with Su Dongpo's "the beauty of spring sleep". "Amusing myself" is just a "moment" between day and night, but it is my time to soothe my wounds and prepare for work tomorrow. Although I have courage, I have little confidence, because I am not the kind of person to turn the tide.
To innovate in theory, we should not only oppose the conservative concept, but also oppose the so-called "innovation" that transcends the times. Every era has its theoretical needs. If we put aside the needs of modern people to create a super-era calligraphy theory, it can only be an illusion. I don't deny the reaction of ideology to society, but first of all, it depends on whether calligraphy has the power to influence and transform society. Power is directly proportional to the degree of influence.
The freedom of calligraphy criticism is mainly manifested in the random denial of traditional calligraphy and the compliment and blind flattery of some modern people's calligraphy and theory. We believe that traditional calligraphy and theory have both dross and essence, and modern calligraphy and theory also have advantages and disadvantages, which must be carefully analyzed before we can evaluate them. However, in recent ten years, there has been an anti-traditional trend in calligraphy criticism. They used to be anti-traditional and now they are anti-traditional. They are artistic nihilists, and come down in one continuous line with the above-mentioned calligraphy theory. In the practice of calligraphy, traditional calligraphy has been abandoned, and Japanese calligraphy with few words has been imitated. Some pursue painting calligraphy, while others explore subconscious lines. This kind of calligraphy is mixed with some inferior self-made calligraphy, and the voice of flattery in society is rampant. There is no derogatory term for any excellent calligraphy or contemporary master. This not only shows the arbitrariness of criticism, but also shows the naivety of critics themselves. There seems to be no right or wrong standard and aesthetic principle in calligraphy. Therefore, people with lofty ideals in the theoretical circle shout loudly that "calligraphy should also be criticized", which is the hope of the calligraphy circle. We really need a few solid, clear and artistic critics now. Only by real criticism can there be a real rebirth of calligraphy art, as Lu Xun said: "Literature and art must be criticized; If criticism is wrong, you should use it to oppose it. Only in this way can literature and art advance together. If you keep your mouth shut, you will be considered that the literary world is clean, and the result will be the opposite. " We eagerly look forward to honest and sincere critics, and we don't need that kind of flattery, vulgarity and shallowness.
Learning calligraphy is just like being a man. You should be honest, do things openly, and learn to be patient when things happen. Learning calligraphy is not for literary greatness, but for artistic progress. I appreciate an ancient couplet: Gan Kun keeps me quiet, while fame and fortune keep everyone busy. As long as I don't seek fame and fortune, Gan Kun may calm me down to learn calligraphy.
The purpose of learning calligraphy is to "save" China's heritage. Nowadays, the practicality of calligraphy is getting less and less, and the overall level of calligraphy in China may get worse and worse. Without the persistence of calligraphy art, calligraphy may gradually die out in people's "praise".
Contemporary calligraphy needs great efforts, first of all, we must oppose the exaggeration of public opinion. Unrealistic flattery not only harms me, but also harms the practice of seeking truth from facts in calligraphy. A good calligraphy atmosphere should start with me and everyone. After several generations' efforts, China's calligraphy may be able to reproduce its brilliance.