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Cao Xiangchun
Time: September 11, 2018

Cao Xiangchun_opt

About the Author

 

年生,中國書法家協會會員,河南省書法家協會理事,鄭州市政協書畫院專職副院長。 Cao Xiangchun, born in 1972 , is a member of the Chinese Calligraphers Association, a director of the Henan Calligraphers Association, and a full-time deputy dean of the Zhengzhou CPPCC Painting and Calligraphy Institute.

 

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China Calligraphers Association Exhibition Office

 

Cao Xiangchun

 

Creative notes

 

Lishu is generally considered to be the easiest of the five types of writing. I think this is an illusion. For beginners, the threshold for Lishu is relatively low, but raising it is quite difficult! It is harder to write a work that is both ancient and thick, elegant and agile.

 

Based on the "Cao Quanbei" at the beginning of my study, I learned the monuments of the two Han dynasties in the following ten years, and gradually realized that trying to write a good Han li is by no means a copy of the Han monument. There are hundreds of Chinese monuments with different appearances, but they are unified in a clear big pattern, and the power to command this big pattern is "Chinese style". The so-called "Han style" does not only refer to writing style, writing style, music style, or even folk style. This is actually a national character and is caused by the collective spirit of the Han Dynasty. Therefore, while copying Han monuments, I studied various Han dynasties' documents: buildings, costumes, poetry, song and fu, lacquer ware, Han portrait bricks, Han seals, etc., and their sum was "Han style". Only by fully understanding the "Han style" can we better approach the Han people's spiritual style, and only by infinitely close to the Han people's spiritual style can we write Han Li well!

 

For so many years, I studied Hanli under the spirit of "Han Feng". "I will go to the Han people" is my conscious pursuit. I liken the transformation of the creative process in the study of Hanli to "moving trees". For example, a character is this shape in a copybook, but when it is transplanted into my work, it must adapt to the air, soil, light and temperature here. In fact, this is the same as the processing of the "printed" characters during the engraving.

 

Mastering Fengshen is the top priority of studying Hanli, and the technique is still second.

 

Wang Wei's Forty Years Without Returning Home, Its Forty  

 

× 124cm[ 248cm × 124cm ]

 

There is no hidden person in the sun. Then Dongshan guest was not allowed to Gu Caiwei. As far as Kinmen is far away, Jin Yunwu is wrong. JAC eats cold food and Jingluo sew spring clothes. Set wine on Chang'an Road, concentric with me. When the line is floating, the Gui Gui is not a few. The far tree leads the traveler, and the lone city becomes Luohui. I do not want to use it.

 

Wang Wei's "Send the Wife without Returning Home". Years Ding Yixia Yue, Xiang Chunshu in the ancient mall.