Liu Jingwen, 1967, a native of Lingxian county, Shandong province, is currently a member of the Calligraphy Committee of China Calligraphers Association, a professor at the Training Center of China Calligraphers Association, a tutor of calligraphy studio, distinguished professor of Tsinghua University Academy of Fine Arts, a member and deputy secretary-general of the presidium of Hebei Calligraphers Association, and a vice-chairman and secretary-general of Langfang Calligraphers Association.
Chinese name: Liu Jingwen.
Nationality: China.
Place of Birth: Ling County, Shandong Province
Date of birth: 1967
Occupation: calligraphy tutor
Graduate school: Xu Beihong Art College of China Renmin University.
Main achievements: calligraphy creation
Representative works: cursive calligraphy
outline
Liu Jingwen, 1967, a native of Lingxian county, Shandong province, is currently a member of the Calligraphy Committee of China Calligraphers Association, a professor at the Training Center of China Calligraphers Association, a tutor of calligraphy studio, distinguished professor of Tsinghua University Academy of Fine Arts, a member and deputy secretary-general of the presidium of Hebei Calligraphers Association, and a vice-chairman and secretary-general of Langfang Calligraphers Association. His works have participated in many national calligraphy exhibitions and Lanting Awards, and won the second prize of the second national youth exhibition and the first prize of the third national fan exhibition. 20 13 was selected for the "Three Places" project sponsored by China Book Association and the "60 Young and Middle-aged Artists in China" exhibition sponsored by China Book Association. He served as the judge of the National Calligraphy Exhibition sponsored by China Calligraphy Association for many times, and was in China in 20 15.
works appreciation
achievements of art
In 2004, his works were selected into China Calligraphy magazine;
In 2004, he entered the first national calligraphy graduate class of Xu Beihong Art College of Renmin University of China, where he studied under teachers such as Ouyang,,, Zheng Xiaohua and won the title of "Top 20 Excellent Students".
Nominated by Calligraphy in 2006, he is one of the top 100 young and middle-aged calligraphers in China.
In 2006, he participated in the "Liang Piyun" Cup National Calligraphy Exhibition sponsored by China Calligraphy magazine;
In 2006, he entered the first national book fair sponsored by China Book Association;
In 2006, he entered the second Lanting Award sponsored by China Book Association.
In 2007, he won the third prize of the National Calligraphy Exhibition to commemorate the 400th anniversary of Fu Shan sponsored by China Calligraphy Association;
In 2007, he became one of the top ten exhibitors of cursive script, and was grandly exhibited in China Art Museum on August 20th.
In 2007, he entered the ninth national calligraphy and seal cutting exhibition;
In 2008, he entered the exhibition of thousands of works sponsored by China Book Association;
In 2008, he joined the second cursive exhibition sponsored by China Book Association;
In 2008, the exhibition of ten cursive artists of "Calligraphy Brothers Company" was exhibited in Shanghai Art Museum on July 24th.
In 2008, he won the second prize in the top 100 list of young and middle-aged calligraphers in China by Calligraphy magazine.
In 2008, he entered the Shen Peng Project Class of China National Painting Academy;
In 2009, he won the nomination award of Weng Tonghe's calligraphy in Jiangnan Cultural Festival sponsored by China Calligraphy Association;
In 2009, he entered the 500-person boutique exhibition hosted by China Book Association;
In 2009, he entered the sixth national couplet calligraphy exhibition;
In 2009, he won the second prize of the second national youth calligraphy exhibition;
20 10 won the first prize of the third national departmental exhibition.
20 1 1 Enter the 10th National Calligraphy and Seal Cutting Exhibition;
20 1 1 The 3rd Lin Sanzhi Prize Calligraphy Biennale entered the exhibition (China Calligraphy Association).
criticisms (up)on art
Looking for two kings
-Liu Jingwen's calligraphy speculation.
Zhoudechong
If there was a popular calligraphy style in China in the 2 1 century, it must be another activation of the two kings in the Eastern Jin Dynasty. Looking around, in recent ten years, the annual exhibition, solo exhibition or some high-standard exhibitions of China Book Association have not only occupied an absolute advantage in the number of cursive scripts, but also the winning works, cursive scripts are the most romantic, and the cursive scripts dominated by the two kings are outstanding!
Liu Jingwen is a member of the "two kings" camp in the new century. Most of his works have been well received in many exhibitions and are his best cursive scripts. He must have something extraordinary to win frequently in the huge camp of the two kings.
At present, in the book world, because the majority of scholars are "motivated by the wind", they all point their finger at Er Wang, thus forming a new trend, and similar Er Wang Zhan is popular. The drawing of many works is not so much the return of the traditional two kings as the mutual influence of the contemporary "two Feng Wang", which gradually loses its individuality and makes it difficult to distinguish you from me.
Liu Jingwen's cursive script thinks that his method is not limited to the two kings, but is an upward and downward expansion and extension on the basis of the two kings, and tracks, simulates, blends and changes the generation, establishment and deduction of the two kings' method. Thus, a book style with free and easy momentum, quaint atmosphere and heavy charm is formed.
On the surface, his brushwork is spontaneous, and the lines flow away with the word potential, and the brushwork is always straight down, or like a waterfall in the air, if the potential is like a dragon entering the sea, or like a clear spring, it will naturally flow into lines. Behind this "nature", we can see how long Wen Jing has been immersed in the two kings, and thus realize the essence of brushwork. The rhythms and rhythms with rich musical beauty conveyed by its twisting, fast and slow are not limited to the ontological understanding of calligraphy? The Law of Everything in the Universe-Harmony of Yin and Yang. Isn't it confirmed in his brushwork? Because of this, the wind rules that are neither exciting nor vigorous are now in sight.
The most interesting thing is the linearity of Liu Jingwen's calligraphy, which is characterized by strong lyricism. This can be achieved without the encouragement of bells and drums, such as melodious piccolo. It must have gone through hard technical training, and there are many imitations of the two kings, as well as many masters of his later studies. In repeated copying, we can appreciate the writing methods of the sages and correct our own writing inertia and habits, so as to achieve the purpose of understanding ancient society. This linearity, if there is a deficit in any aspect of linearity, linearity, linearity and structure, will affect the normal play of lyric. It is in this sense that Liu Jingwen shows his superiority in controlling lines and expressing "linearity".
In the current popular calligraphy style of Erwang, it is not difficult to see deliberate brushwork and ridicule, and it is not allowed to see the dignified combination of Shengjiao style and cursive style in Song and Yuan Dynasties. Perhaps this is the symbol of the flattening and patterning of the two kings' tradition. However, under the same cultural background and similar posting methods, Liu Jingwen showed different new ideas and personalized pen and ink context. For example, the profile of his word potential is not a paradigm of low left and high right, and the performance of time or inversion is refreshing. In the opening and closing of the word structure and the change of density, Joe quietly revealed a different kind of ingenuity.
As far as brushwork and word formation are concerned, the classics created by the ancients have become an insurmountable peak, and the pleasure of "imitators are precious" gained by trudging through the classics has become the greatest satisfaction for later learners. Any calligrapher will be beaming if he can read the inheritance of the classics in his current writing, not to mention Liu Jingwen's integration with his own personality in the almost perfect "legal system" in ancient times, or his interpretation of a different flavor in the popular context of "popularizing the two kings", which has been recognized by fans of the two kings.
The pure expression of inheritance and the diversified presentation of deduction may be better in Wen Jing's creation, but both the conversion of Zhen Erwang and the reflection of Song and Yuan Dynasties are branded with "Wen Jing color". No matter what kind of writing style, as long as it is written by others, it will never be lost in the popular "pseudo-two kings", but will stand tall and graceful.
I often feel that the ancients left us little space in China's calligraphy. In the long history of thousands of years, the evolution of fonts, the change of calligraphy style, the establishment of calligraphy style and the formation of schools are all the same. In the process of prospering calligraphy art, we often "archaize" with reverence and nostalgia. As for the repeated "antique" writing, or the opposition between different classics, it must be a talented calligrapher.
Liu Jingwen is a person who "archaize" and "innovate" calligraphy with the help of heaven, geography and people. What is more gratifying than "archaizing" to get the ancient meaning and "innovating" to get new ideas? What's more, the writing inertia of every calligrapher is far from the laws established by ancient classics. In the process of copying and learning, Linchi will eliminate some ancient meanings while retaining some habits. It is difficult to really get the "ancient meaning". However, in the face of Liu Jingwen's calligraphy works, as long as we know a little about the history, techniques and styles of calligraphy, we can appreciate his subtle expression between "Fa" and "Yi". It is not far from "making the past serve the present, bringing forth the old and bringing forth the new" to make the characters close to the ancients and show their will. We always expect "innovation". In fact, after the Han Dynasty, with the formation and development of font stereotypes, styles and schools, calligraphy was gradually accepted and regarded as a standard by later generations. It can be said that the font remains unchanged for thousands of years, the techniques are rich in inheritance, and the style of the book changes gradually in inheritance, but it has not surpassed it in essence. Perhaps this is the greatness of the "calligraphy tradition".
Of course, the establishment of writing paradigm is likely to bring two results: one is to strengthen style and highlight personality; The second is to repeat the paradigm and form a model. Once the pattern is formed, the written works are like mechanized production, and they meet the "standard" without inspection, which deserves our vigilance!
(The original text was published in Calligraphy Newspaper No.3, 20 13 1. 16).
Worship Wen Jing: To the fans of Two Kings.
-Impression of Liu Jingwen's calligraphy
Zhang Weidong
Among my familiar calligraphy friends, Liu Jingwen is a unique person. The reasons are as follows: First, if you are quiet and modest, your suit and tie are straight and spotless. But after drinking a few glasses of wine, he immediately changed his mind, thinking quickly, talking eloquently, and often generating classic chapters. If excited to the extreme, the guy with the right hand dares to take off his coat, go shirtless and work hard. In a long series of laughter, there are often wonderful works. Secondly, he is both civil and military. Not only is calligraphy played on the road, but he is also an amateur table tennis player. And in the process of playing, he can also experience a set of brushwork. Gee, people have good taste in playing, which reminds me of Wang Xizhi's anecdotes about raising geese and some people watching Gong Sundaniang's sword dance. Third, revolutionary production is correct. Playing calligraphy and table tennis well is nothing, but more importantly, my business is good. With his wife and brother-in-law and the following group of people, we have settled the cultural industry and strived to create our own world in a few years, which makes people envy and hate. He himself publicly called his fasting "Wenjing Hall". Is there any other way out? !
With these three things, it is strange that Beijing is not famous!
As a result, Wen Jing really became famous, and the national exhibition won gold and silver, and various honors followed. By rights, Wen Jing can be occupied by Niu Yi. He has reason to be a cow, and he is also qualified to be a cow. However, Wen Jing was calm during this period. Every time I see my peers, I ask for advice with my latest works. I am so humble, it's like a show. Is it necessary? However, he is still the same, treating others humbly. After a long time, people saw Wen Jing's modest success from the changes in his works. Wen Jing is destined to achieve great things! My conclusion is that.
Calligraphy and calligraphy are different names in China, and they are traditional arts in China and Japan. Tao and law are always the eyes of calligraphers' aesthetic pursuit. The perfect combination of Tao and law is not only the focus in the eyes of a single artist, but also the collection in the eyes of artists. In the long history of calligraphy development, there are many such focus figures, and there are a large number of fans behind them. Among many calligraphy focus figures, the most dazzling stars are Wang Xizhi and Wang Xianzhi, so their fan club has the largest scale, the largest scale and the highest level. In order to get ahead in the fan club, competition is the fiercest. Liu Jingwen chose this gang as the stage of his artistic struggle. These two kings are gods in Wen Jing's heart, and worshipping these two kings is Wen Jing's lifelong pursuit and the whole meaning of life.
The Wen Jing I know is breathing, breathing, gestating and sprouting in such an environment. Starting from the law, finally reaching the Tao, and gradually forming its own face. Summarizing the elements of Wen Jing's calligraphy appearance, I personally think there are three systems: one is the mountain system. The font structure of layout has always been an important node in calligraphers' works, and how to deal with it is the main aspect of calligraphy style. Wen Jing's works are mainly composed of two French kings, who follow the path of integrity, conformity and generosity. Occasionally lean on it, and the posture is playful. Therefore, I appreciate his works as a whole, and the essays are quiet and peaceful, with a sense of security; Great works with big characters, solemn and vigorous, charming and famous. Throughout the world's famous mountains, Wen Jing's works are very similar to Huangshan Mountain: towering peaks are the main framework, pines and sea of clouds are embellishments, and the description of scenery and human feelings is artistic inheritance. To participate in the study of Beijing School's works, you must visit Huangshan Mountain. The second is the water system. Brushwork lines are the form and quality of calligraphy works, and are the core elements of calligrapher's style. If Wen Jingjie is a teacher and follows the leader and dares not change, then as far as lines are concerned, Wen Jing's personalization is particularly prominent. His pen is smooth and smooth, and all the way is smooth and unimpeded; When there is a stop, I also look forward to my feelings, and then I will follow the trend and follow my heart; No rapids, no waves, if streams, if nymphs, and occasionally bamboo shadow _ wind, you can go to the other side to build a house at will. When you look at Beijing and smell it, you will sometimes be distracted unconsciously. Here, birds are singing and flirting, immortals are drinking tea in the bamboo pavilion, the distant mountains are quiet and lush, and the streams are clear and clear, which makes people linger, intoxicated and yearning. I thought that Wen Jing's works were the Lijiang River in Guilin and Yangshuo of the Lijiang River. They were ingenious, magical, uncanny, clumsy as a village man, agile as a woman, graceful, beautiful and really generous, which made my generation feel: What is life if it is born? ! Three-person system As a calligrapher, time, place and people are indispensable. Wen Jing is a lucky and happy man. First of all, I chose the right team and joined the "Two Kings Fan Group". From the beginning, I asked him to do things according to the weather, stand accurately and start high. He did a good job. Secondly, Langfang, an art treasure, has soaked him, and free air can make people grow up healthily. The atmosphere of Langfang Calligraphy Salon has always been concerned about Wen Jing's artistic growth. Thirdly, Wen Jing's spirit of daring to surpass himself made him what he is today. After further study and humbly asking for advice, every bit of quiet works makes people dizzy, and we gradually find that his works are not dull, monotonous and boring. A living and charming Mr. Calligraphy is presented to us! The interaction of the three systems has formed the face of Beijinger, which has been influenced by the past and the present, and will certainly promote its future development.
During the Spring Festival holiday, many book lovers get together. Wen Jing took out a thick manuscript for everyone to read. Everyone is used to his routine and comments. Finally, he solemnly told me that I was asked to preface his new book. I said happily, then you must propose a toast to me. During the dinner, Wenjing really raised a glass to respect each other. How can you not keep your promise! I said: Mr. Hou Xiang prefaces you in the name of knowing Wen Jing, and I prefaces you in the name of worshipping Wen Jing today. Everyone says no, which is an exaggeration. People go to parties and sit and meditate. I can't help but smile at the thought of what I just said. At the same time, I flashed the air in Beijing and sniffed freely, feeling as if I were in the dream orchid pavilion, and my heart was relieved.
Wen Jing, don't live up to my worship!