Ling Haitao —— The confidence in his bones is not generated like The Waves, but is covered by a "tradition" similar to his smile. Haitao's pen and ink are supported by an inexplicable force, highlighting the tension and impact. Therefore, under the dual support of academic and traditional art forms, its connotation and space are enough to make people daydream and speculate. (Director of Wang Yazhou China Calligraphers Association, Vice Chairman of Anhui Calligraphers Association)
Ling Haitao's inscriptions are bold and unconstrained, and he is good at grasping the overall situation. He is still very talented in spatial division and structural reorganization, and he knows how to change without losing his statutes, giving people a strange aesthetic feeling. Calligraphy creation pursues the mutual learning of righteousness and strangeness, and the charm of ease and agility. His cursive works are subtle and meaningful, and his brushwork is particularly correct. At the same time, bold exploration in modeling contains the expectation of inheriting the past and bringing forth the new. The writing style has also gradually changed from the previous intentional arrangement to the shaping of the situation, which is more fluent. (Recommended by Lu Art Institute's Painting World)
1Ling Haitao, born in 1979, received national attention for winning the Lanting Prize. He pays attention to speculation and self-reliance, and his works pursue sincerity and vitality, avoiding falling into dullness and cliche, which fully shows his personality, knowledge and thinking about life, and also shows his correct understanding of the essence of calligraphy. Of course, his traditional foundation is excellent, and his formal beauty is also very good. (Introduction of Beijing Ink and Wash Public Welfare Foundation)
Whether you are a famous teacher or a self-taught teacher, you will follow suit. At most, you just stand on the hillside and watch the scenery, which is farther than the average person, but it is always more than the people standing on the top of the mountain. Only by innovation can we stand on our own mountain. (Editor-in-Chief of Chundao Zen Art Society)
Haitao is a talented calligrapher. He frequently appeared in professional exhibitions when he was very young, which attracted people's attention. Before learning calligraphy, Haitao studied Chinese painting, and later pointed out that "a blank sheet of paper is easy to write", coupled with his innate talent, he directly switched from painting to calligraphy and took fewer detours. A few years ago, I saw several frames of his pen landscape sketches. The lines are refined and elegant, strong and powerful, and have the quality of calligraphy. Recently read his new calligraphy works, although varied, but do not lose the traditional brushwork, with contemporary forms of beauty. Traditional calligraphy attaches great importance to brushwork, and too much emphasis on "law" will inevitably inhibit the "artistic" value of calligraphy. Realizing the transformation from "calligraphy" to "calligraphy art" and placing calligraphy in the category of great art should be the direction of future calligraphy, which is also the value orientation of "modernist calligraphers" who share the same interests with Haitao. They believe that graphic art should attach importance to visual beauty and aesthetic feeling. We can't just work hard and be satisfied with the excellent clothes, but we should give full play to our personal endowment potential, absorb the nutrients in related art categories sensitively and efficiently, and constantly enrich ourselves with me as the main object and everything else as the object. In their creation, they pay attention to the present feelings and convey happiness and care. Finally, I should accept Shi Tao's old saying-respect. (Editor-in-Chief of wang hong China Art Vision Network)
Jump into the sea, open your arms, plow out and try your feathers.
For three years, I dreamed of Lanting.
Embroidered Shui Xin Bi Bo, smelting mountain is in full swing.
Looking at the sky, I saw the stars in autumn. (Zhang Benying is a member of the Chinese Poetry Society)
You don't need to beat the frost. Twenty years of hard work have made you successful.
Ink gathers heart marks to express meaning, and books are clumsy to Zen.
Chang Huai and dream are brave, only knowing how to clear the source and stand up.
The idle clouds outside the mountain have nowhere to live, and the autumn colors hide their names. (Lin Baorong, member of China Poetry Society)
My friend Ling Haitao is a happy family.
Outside the window, it is a romantic future, and the table is full of meaning.
Light is light and rich, and books are full of sleeves.
Thirty years of hard work is for fun, and I am caressing Zhong Wang.
Broken pieces, cocoon paper and Han and Tang Dynasties.
All rivers run into the sea, and the waves are hidden at the bottom.
Looking for simplicity, endless taste.
Don't flatter people with vulgar words, but think hard with high standards.
The world loves flowers and butterflies, and the nobles in the mountains enjoy autumn frost.
Old chrysanthemums grow old before frost, but old chrysanthemums are cool.
Ink grinds people's hearts, and spring flowers and autumn moons have become common.
I don't see it at ordinary times, and occasionally I see madness.
When you meet a bosom friend, you will get drunk and do your best.
Full of poetry and painting, chic article.
Drunk and full of books, dripping and carefree.
Under the pale wrist, dragons and snakes walk and dance on paper.
The pen keeps the truth, and it is always hard and soft.
Hiding in the dark is a coincidence, but telling the truth is a trick.
Lanting gathers momentum and is flourishing.
Yunshan is quiet, the world is wide, the spring breeze is eternal and radiant.
Haitao naturally tied the dragon's hand and hung Yun Fan straight above the surging waves.
(Chen Kenian, member of China Calligraphers Association, member of China Poetry Society, member of Jiangsu Literature Critics Association)
True colors, words, flowing.
-Ling Haitao's views on the first prize of the 4th Lanting Prize.
Zhou Decong (Vice Chairman of Hubei Calligraphers Association, Dean of Art College of Three Gorges University)
As a kind of culture, writing has a long history. With the progress of human civilization and tools, it has changed several times. From the perspective of writing alone, contemporary people have gradually developed nostalgia for the daily behavior of ancient people writing with brush. Now, it seems that expelling brush has become a practice of calligraphers' artistic creation.
The historical fate and living environment of China's calligraphy have been changing, with peaks and valleys, high reputation and loss. However, in any case, the cultural and aesthetic value it carries is irreplaceable by other styles. Because of this, calligraphy is unique in the forest of art and has won the respect of the world with its unique style.
Throughout the history of calligraphy development, writing on paper with a brush dipped in ink is the most permanent. Whether it is ancient practical writing, contemporary or even future calligraphy creation, this original state will give it new humanistic connotation in inheritance. Ling Haitao's album "Jin Dong Xin Ti Hua Ji" restores the inherent condition of calligraphy in a very real writing state. After experiencing the "visual impact" brought by "deliberate" creation, it is really delicious to see such a beautiful calligraphy album.
Is it Ling Haitao's careful design or his careless work that makes the album, inscription and running script fit together? When he submitted this work to Lanting Prize, I prefer to call it a thoughtful work with perfect combination of content and form. If it is placed on the desk of the study as the object of the 35 th Five-Year Plan hobby or something I play with myself, I would rather believe that it is a habitual copying of Jin Dongxin's inscriptions and paintings. But in any case, Ling Haitao resolutely threw it to the judges of Lanting Award, and the judges did not hesitate to award it as the first prize, which made more calligraphy audiences see the charm of "gorgeous, returning to the original".
In this album, we can't see the bravado of "using force", the deliberate production of grumpy stippling and boasting, and the color difference change of "multicolored ink" and the transformation to a certain style paradigm. There are only natural paragraphs logically presented in the language of tablet painting, and the "circle" and blank formed by it. The size and regular density of words can be described as carefree.
His pen is concise and lively, with neat lines and firm steps, which shows his leisurely writing mind. His rhyme comes from the study of calligraphy, and the change comes from the North Monument. He is graceful, ups and downs, and knows the principles of singularity, density, size, vertical convergence, unevenness and patchwork. He combined the spirit of Nantie with his personal creative interest, and formed his elegant style with the method of escape. The ancients said, "Big characters are hard to be dense and seamless, while small characters are hard to be generous." The album itself is small in appearance and rich in word selection. Therefore, we can't express our passion with wild grass characters, so we can only make a stream of "gurgling" and "writing naturally" with small scripts, and sing a leisurely "pastoral" with soothing style and scattered words. In-depth reading, we will find that behind the seemingly loose knot, what is hidden is his implicit and restrained pen, and he interprets the essence of the "golden mean" brushwork of China's calligraphy in his desire for release and return. In the small running script, the lines with little amplitude not only express a kind of forbearance and gentleness like a scholar, but also express a kind of innocence and romance like a three-year-old child. How many people yearn for this lofty feeling!
At a time when writing with a brush is threatened by keyboard strokes and paper books are squeezed by electronic disks, I believe that calligraphers and enthusiasts who still have traditional humanistic feelings are willing to recite cultural classics in picture albums and appreciate the art of calligraphy. Because this way of preserving cultural classics and the channel of calligraphy communication will bring people a lot of historical memories! Ling Haitao's "Jin Dong Xin Ti Hua Ji" has played a role in preserving culture and inheriting civilization in a certain sense, and his calligraphy will be appreciated by more people in this spread.
In the modern society full of "visual shock" everywhere, how we expect "calligraphy" to restore the true colors of culture and not be desecrated and subverted by too many "ideas", "behaviors" experiments and "heavenly books"! Cultural consciousness and writing nature should be the direction of calligraphy development. The winning text of the first prize of Ling Haitao Lanting Prize will definitely give us room for thinking. You don't have to win the exhibition with great success to attract attention and gain audience. Sometimes, exquisite prizes are more fun to play. This form of album can be used to taste all parts, or it can be unfolded in turn and made into a banner as a whole. When we focus on the "page" surface, its letter charm will come to our attention, while when we look at the "book" surface, it is like a landscape painting, rugged, dense and natural.
Writing itself is an individual and experienced cultural behavior, and its talent, knowledge, knowledge, ambition and other contents will inevitably return to the writer himself, which is a true portrayal of "true colors". People who don't know calligraphy think it is "mysterious", but people who know it believe it. Because your literary accomplishment, writing accomplishment, calligraphy accomplishment, aesthetic orientation and even personality taste will be quietly revealed in your writing, and there is no way to hide it. All posturing and "learning from the East" will eventually be ruthlessly eliminated by history.
Clive bell called all arts "meaningful forms". What is the meaning of calligraphy? This is a matter of different opinions, which is not only related to the writer's cultural accomplishment and personality strength, but also to the appreciation of readers' life experience and aesthetic experience, and more importantly, to the role and orientation of writing between people and texts. When Ling Haitao chose Jin Dongxin's inscription and painting words, and wrote a book on the edge of an album with an artist's unique intuition, I guess the unity of words, books and mood constitutes the form "meaning" of this work.
There was no such thing as a calligrapher in ancient China. Those people with high cultural accomplishment and good calligraphy are usually called "good calligraphers". In contemporary times, calligraphy has become a profession and a means for a few people to make a living. However, most people's love for calligraphy is inherited from tradition and is a link in the process of human culture and education. You need to have a comprehensive understanding of five-body calligraphy, and it is best to be good at multiple styles at the same time. Although the main body of Ling Haitao's "Jin Dong Xin Ti Hua Ji" album is running script, the title of its cover is seal script, which shows his cultivation of ancient Chinese characters and modern Chinese characters. After the completion of the work, he stamped a large number of small chapters of different sizes and shapes on the work from the visual aesthetic needs, which enriched the color of the picture and the quaint taste, "played" the form out of the content and returned the content to the form, which was a good viewing.
Many contemporary works created in the name of calligraphy contain melodramatic, smearing, painting and design elements. In fact, they deviate from the standard of calligraphy in essence. Isn't Ling Haitao's simple writing and inner expression a good interpretation of the artistic essence of "from avenue to simplicity"? ! (Originally published in Calligraphy Newspaper, 27th issue, 20 13)
When calligraphy returns to the study again
-The ontological presentation of Ling Haitao's calligraphy art.
Wang Yazhou (Director of China Calligraphers Association, Vice Chairman and Secretary General of Anhui Calligraphers Association)
Now there are many books, such as big investment, big exhibitions, big works, big productions and big freehand brushwork, which are all around. Is the prosperity of contemporary calligraphy presented in this state? I'm afraid I don't agree with you. On the contrary, I think that with the change of artistic trend and the constant grounding of calligraphy art, returning to the study-such a practical and beautiful topic should arouse our attention and thinking. The "learning" mentioned here is not only a spatial term for reading and working, but also an idea, a state and a state of mind.
This topic was triggered by Ling Haitao's first prize album of the 4th Lanting Award, and it was quite an epiphany. Haitao's album "Jin Dong Xin Ti Hua Ji" consists of twelve exquisite sketches, each half a foot square. How can I win this honor? Aside from the judges' aesthetic fatigue of freehand brushwork, in my opinion, there are three reasons: casualness, naturalness and Jing Ya. These three trinity, complement each other: spontaneous unnatural is not brilliant, natural and Jing Ya is hard to please, without spontaneous Jing Ya is not pure, and many classic calligraphy and ink can't compare with it. It is these three points that are the ultimate requirements of calligraphy ontology aesthetics, and it is these three points that are the typical symbols of study complex. These twelve sketches of Zhang Haitao are done in one go, without too much design and pretense. Water is flowing and flowers are blooming, which is very common. In this way, casualness, naturalness and Jing Ya must be the flash track of the aesthetic mind and the true embodiment of the "ontological freedom" of art. Facing the fresh wind, it is natural for viewers to shine, read deeply, be gentle and win prizes.
Tracing back to the source, the word "freedom of noumenon" is summed up by the word "emptiness and quietness" in China's classical aesthetics. Zhuangzi's "independence is connected with the spirit of heaven and earth", Lu Ji's "skillful swimming", Liu Xie's "thinking for a thousand years" and Guan Jie's "single-minded, soaring in the world" are all explanations. For more than a thousand years, this theory has been regarded not only as one of the leading spirits of China's art, but also as an "aesthetic personality study", which has created our nation's unique artist personality. It is not the outlook on life, but involves all aspects of life; It's not ethics, but it involves personality everywhere. Friends who have been in contact with Haitao believe that everyone will have the impression of modesty, kindness, sunshine and ability to Haitao. Haitao is adaptable, kind, frank and cheerful, and has always been in this state. This is the flow in ordinary life and the actual embodiment of simple personality. Haitao once wrote some essays on the edge of the inkstone: "Not seeking perfection, but seeking vitality. Because it is vivid, it is infinite. " "All works are autobiographical and sincere. After many years, if we can still vaguely identify the eyebrows at that time, remember the young temper at that time, and have all kinds of worries, we should be gratified. These are undoubtedly his real experience and rational thinking on artistic life, and the revealed texture and temperature are touching.
Ancient scholars are themselves, and today's scholars are human beings. "Thousands of years ago, the artistic creation of calligraphy was only a private daily behavior in most cases. After studying, traveling and helping the world, scholars stayed in the study, recorded their lives, expressed their condolences, put them into practice and passed them down as classics. I think Haitao has a deep understanding here. As far as I know, it only takes a few days for this award-winning album to be formally conceived and submitted for mailing. This is a "simple", relaxed, daily and self-aesthetic work, which was "made" on a small book case in my own study.
Haitao is still very young, and the long road of art has just begun. He also needs to spend a lot of time in his study, copying classics and communicating with sages. I believe that after continuous diving and experience, Haitao's art and life will certainly mature.
Although the thoughts caused by Haitao's award-winning picture album works have not been systematized, writing these lines with the theme of "calligraphy returning to the study" is not intended to promote Haitao's calligraphy art, but also a topic discussed by friends. I just feel more and more truly that it is really impossible to return to the era of learning in artistic creation, that is, the era of artistic imagination, inspiration, accommodation and image creation, without a sense of urgency.