A Brief Comment and Analysis of Zhu Sixie's Poem Style Calligraphy Creation

The so-called creative calligraphy is a writing method based on the philosophical thinking and word meaning of the ancients. But also breaks through the solidification and control of the original structure of Chinese characters on human thinking, giving Chinese characters a new deconstruction form and personalized creative expression. -Shi Feng

On Shi Feng's Calligraphy Creation

Text/Zhu Sirui

Figure/Stone Peak

Designers' words and painters' words pay more attention to the overall plane composition consciousness and the painting style of combining point, line and surface. For example, Gu Gan, Wei Ligang, Shi Feng and others regard writing as the image of a book, seek spirituality from the meaning of words and the aesthetic law of abstract art, endow writing with modern aesthetic consciousness, try to break the traditional precepts, pay more attention to self-interpretation, re-perceive the strangeness of Chinese characters, and try to distance themselves from traditional writing. But is this calligraphy?

This essence is more obvious in ancient Chinese characters, such as Oracle Bone Inscriptions, seal script and inscriptions on bronze. The decline of this trait begins with the practical function of Chinese characters. The emotional expression in Chinese characters is the conscious expression of literary significance, environment and soul, but Chinese characters are still practical. As a functional reading text, the standardization of its writing has been replaced by printing. Today, it is more meaningful to write traditional calligraphy, which is more inheritance and difficult to innovate.

What modern calligraphy should do, I think, is to liberate Chinese characters from their functions on the basis of absorbing the essence of traditional writing, take the structural rules of Chinese characters as the structure itself, use this structural thinking to infiltrate modern and contemporary art and even interdisciplinary design ideas, reconstruct the image of the book, dare to break the combination of brushwork, order and other materials, and let Chinese characters become independent from sentences and poems and become their own aesthetic monomer.

Chinese characters are born from images. In the process of evolution, due to the needs of sound, form and meaning, it was gradually symbolized. The combination of words on radicals and the connection of words into phrases become the combination relationship of languages. From the appearance, it is an abstract evolution from image to non-image, but it is different from the letter generation method and syllable formation method of other characters in the world, and it still maintains the independence of a single character.

When the unique structure of Chinese characters is condensed horizontally and vertically, it becomes the art of spatial structure completely, and the arousal of aesthetic feeling is the coincidence of the basic laws of lines and formal beauty in the structure. Western plastic arts also follow the same needs of all mankind for formal beauty, and their modeling cornerstones are also space, structure and architecture. The difference is that it introduces the three-dimensional consciousness of depth by extending the plane space of characters, while modern painting is free to reduce the depth and move towards abstraction, which can also be said to be close to the spatial structure of Chinese characters from a certain angle and significance.

So we will see the pursuit of mondriaan, Klee, Newman, Crane and so on. And we will also see Zhao Wuji's early attempt to bring the text structure into abstract art after this feedback. Various experimental attempts of modern calligraphy are also a kind of innovative desire under feedback. However, if we really understand the root thinking process of the formation of Chinese characters, we will find that some aesthetic thinking close to Chinese characters in this feedback is actually a filter nutrition that goes around a big circle of exports and turns to domestic sales.

Shi Feng's recent writing of Chinese characters touches on returning to the image. The imagination and collision of the image itself is not a return to the traditional pictograph, but a re-abstraction of the abstract Chinese character image based on the law of formal beauty, not from the concrete, but from the symbolic text. As long as this exploration goes deeper, the writing of new Chinese characters will inevitably open up a rich world.

Shi Feng explained that the so-called creative calligraphy is a writing method based on the ancient philosophy of word creation and word meaning. But also breaks through the solidification and control of the original structure of Chinese characters on human thinking, giving Chinese characters a new deconstruction form and personalized creative expression.

It is true that for a very good artist, it is very valuable to master a variety of artistic expression languages and styles, which means that this is a self-challenge and reflects personal talent and ability. At this point, Shi Feng's quick thinking, diligence, diversity and creative spirit, as well as his grasp of different art forms, make him have all the potential and possibilities.

bright red

Zhu Sirui, a member of Yunnan Artists Association and a member of the theoretical committee of the association, studied in Wenshan College, Yunnan Art Institute and China Art Research Institute. His works have participated in many exhibitions inside and outside the province and have been published in various newspapers, magazines and picture books.

Artistic creation includes oil painting, ink painting, installation, behavior, photography, poetry and so on. Up to now, he has published artistic comments and poems in Meiyuan, Jiangsu Pictorial, Jianghu (a special collection of China's folk poems in the library of Leiden University in the Netherlands), Dianchi Lake, Influence, Grand View of Art, Art Vision, Dangdai and Frontier Literature. 46860.88868688686

He is the author of Bilingual in Chinese and English: A Critical Biography of Blades Breaking Inflationary Desire (China Fine Arts Publishing House 20 14 today), Intangible Painting Art (author) (Yunnan Fine Arts Publishing House 20 16) and Poetry Collection: Time Scale and a Cup of Moonlight (produced on 20 19).

Appreciation of "Tao" and "Learning" in Shi Feng's Calligraphy Creation

Shi Feng, independent artist, freelance writer and senior designer. International online cultural interviewer, cover figure of Time Man, winner of New Silk Road Cultural Promotion Award.

/kloc-0 was born in Shaanxi in 1967 and now lives in xi' an; I studied painting since I was a child, and my works were published in magazines and newspapers when I was young. Has been engaged in multimedia and Internet-related design work, widely involved in art cross-border and art categories. Now engaged in contemporary artistic creation and theoretical research.

Adhering to the artistic style and painting concept of combining magical deconstruction with geometricism, we reveal the essence of human nature in an artistic way and angle, dispel the appearance of things, deconstruct real life, and be an art with soul and belief.