Wu Yong
He is currently a member of the Industry Construction Working Committee of the Chinese Calligraphers Association, a member of the Presidium of the Guizhou Provincial Calligraphers Association, deputy director of the Cursive Script Committee, a member of the Contemporary Calligraphy Creation Review Seminar of the Chinese Calligraphers Association, and a member of the Central Committee of the Chinese Calligraphy Association. He is a member of the Lanting Calligraphy Class of the Academy of Fine Arts, the first batch of municipal management experts in Liupanshui City, a member of the Liupanshui CPPCC, and the vice chairman and secretary-general of the Liupanshui City Calligraphy Association.
His works won the first prize in the first National Album Calligraphy Exhibition, the first prize in the second National Cursive Calligraphy Exhibition, the first prize in the 4th Guizhou Province *** Literary Award, and the 7th *** Literary Award. Third prize, first prize in the first professional art competition in Guizhou Province, selected for the Current Situation and Ideal - Current Academic Criticism Exhibition of Calligraphy Creation. He was named one of the "Top Ten Calligraphers" in the country by the China Federation of Literary and Art Circles, the Chinese Calligraphers Association, and the Tianjin Municipal Government at the 4th China (Tianjin) Calligraphy Art Festival, and was elected as one of the top ten calligraphers in 2008; in 2012, he was selected by the Chinese Calligraphers Association The association rated him as "an advanced individual in calligraphy among thousands of families". His calligraphy works are collected by the National Museum of China, Guizhou Provincial Art Museum, etc.
Zhangcao is an earlier font in Chinese calligraphy. It was popular in the Han and Jin Dynasties. Although there were successors in subsequent generations, it gradually declined. The reason is that it is difficult to identify and write. To. Although there have been many admirers in the past dynasties, there are only a dozen or so people who are good at calligraphy, which shows that Zhang Cao is a high-minded person.
A piece of "Shishuoxinyu" 45cm×22cm
Among the modern calligraphers in Guizhou, Chen Hengan, Fang Xiaoshi, Xu Zhuangshu and Huang Yuan are all famous for their calligraphy. Known for his good calligraphy skills, Mr. Chen Heng'an once used Zhangcao all over the world, integrating Zhangcao style into running cursive script, making it smooth and clumsy. In "Chen Heng'an Calligraphy Collection", there is a picture of him carrying Zhangcao banners of Song Dynasty on his back and many other works. Calligraphy works created with Zhang Cao's brushwork. Although Mr. Fang Xiaoshi is famous for his paintings, he has been obsessed with Zhangcao throughout his life. Most of his calligraphy works are written in Zhangcao. His poetry drafts and letters are still written in this style, as well as the edges of seals and inscriptions on paintings. Mr. Xu Zhuangshu studied academically throughout his life and was not involved in fame or wealth. He wrote abundantly. All his manuscripts and correspondence were written in Zhang Cao and printed in Zhang Cao. They have the beauty of being simple, heavy, and uncarved. Among calligraphers of their contemporaries, Zhang Guangkai, He Ben'an and other calligraphers also liked Zhang Cao, but they did not take it as their main focus. Calligraphers who were later than them rarely touched Zhang Cao. At a time when the calligraphy world in Guizhou was in decline, Wu Yong was fascinated by the calligraphy industry. In just a few years, he was frequently selected and awarded awards in some major domestic competitions, which had a great impact and became an outstanding figure in the domestic calligraphy circle. famous calligrapher.
A piece of "The Analects of Confucius" 45cm×70cm
Different from the flowing clouds and flowing water of small grass and the thirsty running of big grass, Zhang Cao pays attention to restraint and subtlety, is not ostentatious, and seems to be as slow and leisurely as an old man. The monk enters concentration, but his inner strength is endless. He seems to be still but still moving, using stillness to brake, just like Tai Chi in Chinese martial arts, which has the wonderful combination of movement and stillness. Secondly, the Zhangcao is even more simple and beautiful. Over the years, Wu Yong has written about Lu Ji's "Pingfu Tie" I have made in-depth copies of famous calligraphy works such as Huang Xiang's "Jijiuzhang", Suo Jing's "Ode to Become a Master", Xiao Ziyun's "Yueyi Tie" and so on. Among them, I have especially studied and benefited from "Pingfu Tie". "Pingfu Tie" is known as the "Emperor of Mo". Although it is only about 80 words, it has been highly praised by literati and writers of all ages. Wu Yong visited the pond repeatedly, deliberated and studied it repeatedly, and incorporated the names of these chapters into the structure and composition. In terms of body, spirit, charm and other aspects, it has achieved the effect of having both spirit and form, and surpassing the previous sages. Because of the ancient and thick texture and dangerous structure of its chapters, it can be used at will and at your fingertips.
Freehand "Ping Fu Tie" 240cm × 120cm
Wu Yong's Zhang Cao creation combines clumsy and clever, light and heavy, capture and verticality, movement and stillness, complementing each other and nourishing each other. . Light all the way, Wu Yong's writing is quiet and elegant. He actually wrote the chapter as big as a fly's head, but it is small and large, spacious and full of momentum, which reminds people of Su Dongpo's instruction: "It is difficult for large characters to be meticulous and seamless, and it is difficult for small characters to be broad and generous." The dynamic beauty of lightness and weight, slowness and urgency is formed through the continuous changes of the ink color, which is thick and light, rising and drying, which is in line with the saying in Sun Guoting's "Shupu" that "the changes are at the end of the hair, and the mood is on the paper." motto. Speaking of changes, I feel that Wu Yong's use of words is also very varied, and he has followed the Han Chinese cursive slips, incorporated them into his writing, and blended them with the chapter cursives and used each other to make them look richer and more beautiful. Wu Yong's small calligraphy is not only exquisite, but his cursive calligraphy is also impressive. We know that since the creation of Zhangcao, it has been written according to the case or tied to jujube pear, which has greatly limited its size. In addition, the practical time in history is like lightning. Among the Zhangcao masters in the past dynasties, except for the recent Wang Shibo and the modern Wang Quchang, Apart from enlarging it for writing, there are very few people who can write it in large characters. Wu Yong used his courage and courage to enlarge the chapter grass to the extreme. Once the Guizhou Federation of Literary and Art Circles held a gala for the province's literary and art circles, the eight characters "Colorful Guizhou, Hundreds of Flowers Blooming" were divided into eight people to write, each character was four feet long, and Wu Yong pressed the corner , the word "Yan" in the book has the potential to stand out from the crowd. His calligraphy and calligraphy are smooth, clumsy and thick, and the lines are pure and simple. They look thick but not stagnant, heavy but not dry. They are broad and ethereal, and they are fast and precise. It is difficult for anyone to achieve such skill, and it does not happen overnight. Linchi, excellent understanding cannot succeed. My general feeling about Wu Yong's chapter writing is that the lines have the power of conveying meaning, and have the ability to speak without being embarrassed. At the same time, they also give people the feeling of making without doing, writing without engraving, staying without flowing, and being still without being stagnant. The freehand and lyrical nature of writing.
Like dragons and phoenixes
In addition to Zhang Cao, Wu Yong is also good at seal script and official script. His official calligraphy is based on the Qin people's bamboo slips and silk scripts, and the cliff tablets. There are few silkworm heads and wild goose tails in his writing, but he makes it ancient and new, subtle and restrained. The structure is like official seal script, with seal characters in the official script, both square and round, and complex The simplicity is mutually interrelated, and the structure is mostly square, or stretched left and right. It is relaxed and ethereal, with the attitude of wild cranes and idle gulls, like wild geese dancing beside a spring. As for seal script, Wu Yong also traveled for two weeks between the Qin and Han Dynasties, copying and creating the Zhongding inscriptions with aristocratic flavor such as "Shi Qiangpan" and "Mao Gong's Tripod", thus forming a clumsy, ancient, quiet and upright style that is in the same line as his seal script. aesthetic system.
Freehand "Gongyang Zhuan Brick" 45cm×50cm
When the author first came into contact with Wu Yong's Zhangcao calligraphy, I always felt that there was something exciting in it, but at the same time it was extremely inexplicable. element, this element seemed familiar yet strangely unfamiliar. It was a power directly derived from the sages’ consciousness, conveying the ancient sounds of nature, and more like the poetic Zen state of Chinese culture. After tossing and turning and meditating for several days, I finally realized that it turned out that in Wu Yongjun's calligraphy carries the spirit of traditional Chinese art.
Ma Hongming is the vice chairman of the Guizhou Calligraphy Association and a member of the Chinese Calligraphy Association.
A poem by Lu Ji, 240cm×120cm
"The Legend of Gongyang" 33cm×33cm
"The Story of Hewuxuan" 152cm×256cm
Suitongren Zhaolian
Li Qingzhao's poems 33cm×33cm
One poem from "Shishuoxinyu" 240cm×120cm
Two ancient poems 240cm ×500cm
"Gong Yang Chuan Brick" 45cm × 50cm
"The Analects of Confucius" 45cm × 70cm