Mr. Ma Yongan's sixth calligraphy post, Fan Zhongyan's Yueyang Tower.
Recently, it was exhibited in Sixi Hall, Luoyang, the ancient capital of Henan Province.
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Engraving of Yueyang Tower by Ma Yongan
Luoyang, the Millennium Imperial Capital, is the root of Chinese culture. Heluo people have created immortal Chinese civilization for the world with wisdom and hard work. In the new era, with the rise of the Central Plains, keep pace with the times, inherit the wisdom of our ancestors, create the wind of the times and create new highlights in the new era. Luoyang Sixitang came into being under the background of China's economic prosperity and Renaissance.
It coincides with the grand opening of Sixitang. Following the Emperor Qianlong's decree that three rare treasures, Wang Xizhi's Quick Snow Post, Wang Xianzhi's Mid-Autumn Post and Wang Xun's Yuan Bo Post, were incorporated into Sanxi Hall's Sanxi Post and Fan Zhongyan's Yueyang Tower Post, the sixth post of Mr. Ma Yongan, the founder of China's sixth book style, was held in the ancient capital Henan as scheduled recently. The exhibition Yueyang Tower is not only a visual feast of contemporary calligraphy art in China, but also a milestone and epoch-making significance in the history of calligraphy in China.
Ma Yongan, a native of Zhongyuan, Henan Province, is currently the chairman of China Calligraphy Artists Association and a researcher of China Academy of Social Sciences. After decades of unremitting efforts, he finally independently completed China's sixth calligraphy style-horse style, also known as horse style, after the five calligraphy styles of running script, cursive script, official script, seal script and regular script, which filled the blank of China's calligraphy style and made great contributions to the research and development of contemporary calligraphy and China's calligraphy. The birth of the sixth style of calligraphy ended the ruling history of five traditional styles of calligraphy in China for thousands of years, turned a new page in the history of calligraphy in China and opened a new era of calligraphy in China.
The structure of horse calligraphy is based on the original book, supplemented by the side book (not mentioned before, but relative to the original book), and the front and side are interactive and vivid. Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front is clear and slightly dull.
Horse calligraphy follows the trend, with high left and low right. It follows the trend and stretches smoothly, which conforms to the mainstream aesthetic orientation and is more concerned. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.
Horse calligraphy is smooth and natural, without any affectation. The cursive brushwork of seal script has opened up a broader aesthetic space for calligraphy art. Traditional calligraphy, because the pen moves against the trend, can only fold the pen to write, with an extra pen, lacking flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.
There are many kinds of stippling in horse calligraphy. Compared with traditional calligraphy, it is an invention. Horse calligraphy, pen in the pen, pen in the plate, as thin as silk, with the nib outside. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing. Traditional calligraphy, a method throughout the ages, wants to be right first and then left, and wants to be up first and then down, and accepts everything. Everyone is stuck in a rut and lifeless. Mi Fei, a great calligrapher in the Song Dynasty, said, "A good book is enough." . Horse calligraphy has formed its own unique style in structure, posture, brushwork and stippling.
The Story of Yueyang Tower is the first calligraphy of China's Sixth Calligraphy Style, written by Mr. Ma Yongan, the founder of China's Sixth Calligraphy Style. Dotting is a representative work of Mr. Ma Yongan, with rich varieties, vigorous brushwork, roundness and massiness, vividness and mystery, and full of tension. Li, manager of Sixitang, said that while building the industrial brand of Sixitang in the Central Plains, they should publish various popular and rare books of Yueyang Tower, and carve stones to set up monuments, which are precious. Therefore, "Yueyang Tower Sticker" is also praised as the first sticker in the world by the industry. The great pioneering work of Sixitang will surely go down in history. (? 20 12.8.9 announcement)