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Facing the status quo and reshaping the ideal
—— "Status and Ideals" Wuhai Forum was successfully held
Time: September 20, 2018

至17日,中国书法家协会精心筹备的“现状与理想——当前书法创作学术批评展暨乌海论坛”在美丽的中国书法城 海成功 举办 From September 16th to 17th, the “Status and Ideals—Current Calligraphy Creation Academic Criticism Exhibition and Wuhai Forum” carefully prepared by the Chinese Calligraphers Association was successfully held in the beautiful Chinese calligraphy city Wuhai . This is a large-scale academic activity that examines the status quo, analyzes problems, supplements the spirit of the spirit, and promotes the ideal sail. Zhou Junjie, Li Gangtian, Huang Yan, Yan Gongda, Cong Wenjun, Zhu Isa, Xu Liming, Liu Hongbiao, Bao Xianlun, Sun Xiaoyun, Chen Zhendi, Li Yi, Liu Heng, Wang Qiang, Chen Hongwu, Pan Wenhai, Zhu Peier, Gan Zhongliu Experts and scholars such as Zhang Ruitian, Chen Hailiang, Ye Peigui, hundreds of participating authors, representatives of calligraphers from the book associations of all provinces and cities and the book industry of the industry, and more than 1,000 calligraphy enthusiasts from Wuhai gathered in the Contemporary Chinese Calligraphy Museum to find the source Asked, take the pulse together to create calligraphy.

After nearly forty years of development in contemporary calligraphy, many talents have emerged and various thoughts have flowed. The cause of calligraphy has opened a new era. However, due to the changes in the ecological environment of calligraphy and the knowledge structure of calligraphers, contemporary calligraphy has also encountered severe challenges like never before. To a certain extent, there are not ancient times, lack of innovation, heavy skills, light writing, quick success, blind follow the trend, and thunder. problem. In response to the status quo, the Chinese Book Association organized this academic criticism exhibition and forum, hoping to question the "status quo", look forward to "ideal", and strengthen the mission and responsibilities of calligraphy workers in the new era through academics and criticism, and further promote the current calligraphy creation. Implement the spirit of the Nineteenth National Congress of the Communist Party of China and the important expositions of General Secretary Xi Jinping on literary and artistic work through practical actions.

This exhibition changed the previous single-line organization model of "contributions to individual creations → Book Association organization and exhibitions held → professional and public criticism", and created a new mode of "creation ← → academic ← → criticism": a pre-author exhibition Training and seminars on important theoretical issues such as "literature and books", "readable and rewardable", "personalization and publicity"; formation of expert teams to participate in the discussion and judgment of issues related to the creative process; invitation to critics, to study in advance All exhibits to better refine the subject of criticism. The Wuhai Forum is an important academic link of this exhibition of criticism. It is divided into six sessions: 1. Concepts, history, and phenomena; 2. Current criticism of calligraphy creation; 3. Debates among scholars; 4. Creative positions and review Perspectives; five, historical perspective and current calligraphy; six, data-the current status of current calligraphy creation. 专家学者、参展作者和全体书家站在书法事业发展的高度上,带着问题意识和批评精神,展开了热烈而诚恳的讨论。 During the two-day seminar, the participating experts, scholars, participating authors, and all scholars stood at the height of the development of the calligraphy industry, and carried out a warm and sincere discussion with a sense of problem and critical spirit. Everyone collided in exchanges, thought in debates, learned from each other in inspiration, further clarified their ideas, united consensus, and clarified directions. This forum mainly showed four highlights.

1. Keeping up with new ideas and striving to extend the horizon to the depths of tradition

At present, the study of traditional techniques in the calligraphy world has shown a collective enthusiasm, forming a creative trend of "advocating classics" and "borrowing the ancient times to the present". In the keynote speech of the expert, Chen Zhenyong proposed three stages of the development of the "idea" of contemporary calligraphy creation: the period for the transfer of the classic calligraphy techniques and styles, the period for the pursuit of visual forms, the period for the creation of ideas, and the examination of the theme of the work; Zhou Junjie observes the creation of contemporary calligraphy with the "View of the History of Great Calligraphy", and strives to promote the competition of multiple art forms; Yan Gongda analyzes the "common problems" in the current calligraphy creation, that is, despising brushwork, using ink alone, and creating superficial changes. Zhu Isaac excavated in the depth of the calligraphy body, pointing out that neither the technique can be viewed in isolation, nor can the technique and the cultural contradiction be opposed; Xu Liming proposes to further strengthen the concept of "teacher ancient" in response to the current phenomenon of technical creation and shallow aesthetics. Zhu Peier puts forward the problem of boundary of thinking about calligraphy creation, such as single approach and pale expression; Liu Hongbiao analyzes the four key issues of transcription, production, writing, and creation one by one, which inspires the mind; Huang谈 Starting from the "patriarchal view", he deepened the standard of criticism that has long plagued the book world. Thinking. The speeches of the experts were both academic and speculative, but they were also acquainted with the current disadvantages and rushed into them.

Second, return to the literary heart and focus on shaping the cultural character of contemporary calligraphy

Contemporary calligraphy must be rooted in deep cultural soil. How to effectively combine traditional techniques with cultural connotation? How to resonate with the same frequency? In the keynote speech of the expert, Cong Wenjun talked about the changes from ancient times to modern times. Based on the changes in the cultural environment and the inheritance of knowledge, the cultural attributes of calligraphy have been stripped, and the ability of classical Chinese and literary rhetoric has been degraded. Do not advance the road, and thus lose the root and imagination of calligraphy. We should use history as a mirror to get out of the predicament; Li Gangtian made constructive reflections on the gains and losses of current calligraphy creation, and proposed that contemporary calligraphy enters a "cultural deepening period". The atmosphere of Chongde has begun to form; Bao Xianlun proposed that the writing skills have improved significantly in the past three decades, but this is not the ultimate value pursuit of calligraphy practice; Sun Xiaoyun has not forgotten his original intentions, insists on inheriting the classics, and proves that he is a calligraphy practitioner. The self-confidence of calligraphy is, above all, the self-confidence of culture "; Ye Peigui's methodical exposition of the pits of text and evasive methods highlights the importance of calligraphy internals; Chen Hailiang talked about the reconstruction of the calligraphy tradition from the confusion caused by the exhibition movement Zhang Ruitian, starting from the choice of rhetoric in his works, makes suggestions on how to present the state of thought of the calligrapher's subject; Liu Heng points out contemporary books The lack of humanistic support and various disadvantages under the concept of dazzling technique and light text; Li Yi advocates the return of poetic literary spirit and arouses resonance; Wang Qiang explores the "intellectual" attributes of calligraphy critics, which involves thinking about important issues such as humanities and cultivation; Gan Zhongliu excavated the "cultural characteristics" of the form of calligraphy and sought out the cultural roots of the form of calligraphy. The experts spoke with unique personality and temperament, all shining with humane care.

3. Gather wisdom, and jointly light up the ideal of reconstructing the spirit of contemporary calligraphy

The third book scholar debate will bring this forum to a climax. Mao Guodian, Wang Houxiang, Zhang Zhiqing, Qiao Yankun, Hu Chaoxia, Chen Liang, Zeng Jinxi and other participating authors were invited to take the stage to accept single-edged, straight-forward academic questions. In good faith In criticism and defense, the author reexamines his professional skills, creative mentality, and aesthetic concepts. Zhou Junjie, Li Gangtian, Chen Hongwu, Liu Heng, Zhu Isa, Bao Xianlun, Chen Hailiang and other attending book attendees actively joined the questioner team, inspiring the author to reveal his artistic practice and ideal pursuit from different perspectives, in order to inspire others. The debate culminated in a harmonious atmosphere. Moderator Chen Zhenxun carefully set hot topics, such as why calligraphers are cultural people, what is the culture and spirit in calligraphy works, etc., and use academic methods to mobilize participants to think deeply, causing the two sides of the debate to collide with each other and spark thoughts. Participants said that this was the most sincere and profound academic calligraphy debate in recent years. Many opinions reached people's hearts and illuminated the ideal.

Fourth, expand the horizon, innovative use of data science analysis to locate calligraphy problems

Li Ning, Yang Yong, Tian Yanjing, Bai Rui, Zhang Bing, Yang Jiawei, and Zong Chengzhen, members of the China Book Association's Exhibition and Creative Research Group, use data research methods to analyze the text, genre, path, style, style, style, Questionnaires and other scientific and intuitive image and table analysis are used to accurately locate the current problems in the development of calligraphy with a set of statistics, which is thought-provoking and has become a unique academic intervention in this forum. In recent years, the China Book Association has gradually improved and perfected the exhibition review mechanism with the help of accurate data analysis.

Chen Hongwu made an academic summary of the forum and expounded it from three levels: technique, culture, and spirit. 依循大道,会古通今,将对天、地、人的思考化炼为书,努力实现“人书合一”的至高境界,用手中的毛笔书写新时代,以笃定的恒心不断攀登艺术高峰。 "Face divers are concerned about fanfare, and those who are high on the mountain have the aspiration to fly". Contemporary calligraphers must adhere to artistic ideals, follow the avenue, and pass through ancient times, and turn their thinking about heaven, earth, and people into books, and work hard. Achieve the supreme realm of "the integration of people and books", write a new era with the brush in your hand, and continue to climb the peak of art with determined perseverance.

        

(Text: Fan Guoxin, photography: Sun Haixing)