受业于著名书画家沙曼翁、宋武功 先生，精多种书体，工篆刻、善绘画。作品参加过第二至第十届全国书法篆刻展、第1 至第四届全国兰亭艺术展、数届全国中青年书法作品展、国际书法展和当代名家书画篆刻作品展，前后 在500多次国家级、国际性和各类全国性展览中入选并数次荣获大奖。作品还多次赴日本、韩国、新加坡、巴西、加拿大、美国、法国、德国、英国、墨西哥、澳大利亚、印度尼西亚、菲律宾和中国台湾、香港、澳门等国家与地区交流，并于2010年11月在纽约联合国总部“首届中文日”举办特展。
1987年全国“当代中青年‘书苑撷英’评比”中，作品以最高评票被评为全国37位优秀作者之1 。作品还被选刻于全国各地100多处碑林，并被中国国家博物馆、中国美术馆等国内外100多家博物馆、美术馆、纪念馆和中南海、人民大会堂布置与收藏。书学论文多篇参选“全国书学研讨会”，选入《当代中国书法论文选》，获中国文联“第5 届全国文艺评论”二等奖，“第七届全国文艺评论”1 等奖等。出版《抱云堂》等书画专集与《抱云堂艺评》等专著，《当代书法名家》（字帖）及教材，参与合编《六体书字典》、《中国书法名作鉴赏辞典》等。
作字行文，文以载道，书以焕采，切如时需。此言虽然朴素无华，却高度概括了中国书法的内涵和价值。书法首先是表达、记述的需求 ，在此基础上，它又要担当起“助人伦，成教化”的道义，然后才有“笔底龙蛇，万岁枯藤，几至若皮、肉、筋、骨、气等如人普通 的审美需求”，因而 ，书法上升到了艺术的高度。当然，书法的艺术价值不仅仅体现为线条的遒劲和神采奕奕的气格，它更应当 是能把握住时代的脉搏，从某种意义上讲，它是1 部以线条艺术的视角记录时代特征的史诗。这就是书法的内涵和价值所在。
言恭达以其雅正、高格的书法艺术向这两股歪风宣战，中国书法不容忽视本体美，书法还是要在传统和法度中汲取养分 ，在规矩中无限 的拓展，展示 出具有中国传统审美的大气象、大格局。言恭达认为书法的线条是心学，每1 笔下去都是书家心电图的写照，是书家生命形态 的体现。诚然，1 个具有较大影响力的书家，他的血液里流淌着的是中华文明刚劲而又内敛的基因，他的气格是阳刚正大的，他的审美是中华民族5 千年来1 脉相承的，是真善美的化身，是体现时代的脉搏，鼓舞国人更坚定、英勇 、文明地迈进新时代，从而完成了“助人伦，成教化”的道义担当。挺起脊梁，这是1 个书法大家应当 有的勇气和担当，是1 种社会的道义和历史的使命感，也是言恭达用其书法艺术默默地担当着。
上文笔者浓墨泼彩谈言恭达先生书法审美的意义，如今 请诸君随笔者的笔触，解读1 下先生的书法风格及其内涵。笔者以为，言先生特长 于大草，同时也精通篆书和隶书。他对历代草书都有深入的研习，特别钟情于张芝、王献之、张旭、怀素、黄庭坚等书法大师的作品，对篆隶书体的创作也达到了相当的高度。更难得的是，他对经典的研习不是简单的停留在法古的层面，而是以先贤法度入而出之。每1 种书体，不仅创造了极具个人特色的艺术风格，而且在深刻领悟各种书体特征的基础上，做到在几种书体之间自在 “切换”，融汇贯通，体现出他深厚的综合艺术涵养 。像他的篆书作品用笔雅正，取《泰山石刻》和石鼓文的拙厚与朴实天真，加上对草隶的借鉴，构成 了独特的书体和面貌;他的隶书在强调那种蝉头燕尾的感觉时，取草书的动态和气势，强调结体的动态美，同时，也用大草的写意性加强了隶书的生命感性经验，使其隶书充满才情和意境之美;坚实的篆、隶功底，也使先生能将篆、隶的笔墨和审美取导游 入大草创作，可以说，他是在用篆书的笔法作草书，所以其草书在矫若惊龙的同时，处处呈现1 种入木三分和屋漏痕的笔力。
习气 决定成功。有人总结恭达老师“习气 ”的三个特征——养成做事的紧迫感，寻求 出色 的信誉感，加上激情而投入的工作。
恭达老师语重心长 地说：“我十分看重三条：个人涵养 上要重视 人格的完全 性；思维切入点从‘小我’进入‘大我’形态 ；工作效果上则坚持艺术本体价值和社会价值的同1 性。”艺术“为学”先“为 人”，这就是他求道的支持 点。
言恭达的草书正是在这样的时代背景下，对书法盲目 的自动 探索就具有了盲目 书法的特殊价值和历史意义。他的大草书法的取法、笔法、章法、字法、墨法和 书写工具和书写载体的盲目 应用 和思考，达到了新的历史发展阶段。他用古代书法常用的长卷艺术情势 为这个充满世界意义和影响的奥运题材服务，不仅创造了书法白话文长卷的历史纪录，而且用这类 最具东方文明 魅力和典型代表的书法情势 ，宣扬 奥运的和平精神，展现 中国文明 独特魅力和书法的特殊价值。
面对言恭达的大草长卷，我们似乎看到了古老的书法艺术在飞速发展的信息化时代焕发出新的生命。它既承载着几千年东方神秘的艺术密码，让我们的心灵得到震动 和升华，同时也同样覆载着古代 的人文精神，伴随着特殊的奥运文明 走向世界、走向将来 。
言恭达乃言偃后裔，深厚的学养、人生历练和诗书画印的全面浸染，培养 了他宽广的胸怀 和广博的艺术襟怀 。特别是他的书法以甲金籀篆为根本，贯穿于真草隶行，更运之于大草当中 。该长卷，气息纯正、高古，格调高雅、飘逸。给人以纵横奇逸、张弛有度、仪态万方、大气充沛、风神外跃、卓荦高迈之审美感受。
言恭达于篆隶书体有着深厚的笔墨功底，是当代篆隶书之高手。他以中锋用笔使其线条厚实、凝重，偶用侧锋取妍、得飘逸之恣。他承接张芝、小王、张旭、怀素、黄鲁直硬毫中锋用笔而来，更以长锋羊毫的裹锋用笔之法独创之，是将古人的“中锋”用笔之法，应用 于生纸、长锋羊毫的不同工具当中 ，中锋裹毫挥运，纤毫必究，其点画、线条，厚重如高峰坠石，坚不可移，飘逸似翔龙在天，仪态万千，呈现出簇新 的艺术魅力。在气息、用笔的大处上，言恭达先生的大草艺术表现出超凡的艺术特色，在点画、线条、墨法等纤细 处，也表现出惊人的艺术表现力。
用墨，也是言恭达先生大草书法的1 大亮点，他尤擅用涩笔、渴墨、涨墨，甚至用宿墨，使书作更增加 了风韵神采，妙尽天然，退去铅华。言先生大草的字法是纯正的，他寻求 草法的纯粹性。
言恭达草书的用笔之法，直接来自于篆籀，和“古法”相合，他绕过了元明清和唐宋相接，他的大草用笔之法具有深远的历史意义，也是他在当今书坛具有强烈个人艺术面貌的最重要的缘由 。然而，“笔墨当随时代”，时代变了，书写的载体、工具和 审美标准变了，所以，所谓的“古法”也要变，也要有所创建，言恭达先生草书用笔暗合于古人，又和古法有所发展，这正是他成功的关键。言恭达先生作大草是用长锋羊毫，喜用生宣纸，这类 纸和笔要到明末以后 才出现。
言恭达作草书，将清人羊毫长锋作篆隶的“裹锋”之法应用 于大草当中 ，这样就避免了笔锋散、倒、瘫之病，既能保持中锋用笔，又将古人的中锋古法有所发展。又由于 长锋羊毫蓄墨多，生纸吃墨深，所以，就能产生高质量的点画和线条。
言恭达的大草书法，达到了较高的艺术境界，是他综合涵养 的艺术体现，是建立在他具有书法本体深厚功力之上，特别是其坚深的篆隶笔墨，运之于“裹锋”的用笔之法，使其全体 书风高古而秀逸。草法的纯粹性，正寻绎了“简约”乃大草艺术乃至中国艺术的最高指归；字字连绵而字中笔断又巧妙处理好了“迟”和“流”的辩证关系；用长、短线条，大、小块面对空间的分割，添加 了章法的变化和节奏的强弱，以达到超凡的艺术表现力和超越同侪，力追古人的艺术境界。
言恭达盲目 地背负起对传统文明 的弘扬与发展的责任。就书艺而论，言恭达的书法是“为人生而艺术”的艺术。
言恭达以书法的艺术情势 彰显了“为人生而艺术”的人生理想，特别是他的篆书与草书更是盲目 地交融了某种心灵形态 和精神形态 ，我们姑且理解为道德的境界。他的人生艺术，系在这类 心灵形态 中所产生与成就的。1 个大书家的成就，必是“道”之修成，这是万古标程。
言恭达的“1 笔”草书，最具哲学思想中的写意性与“道”之精神。他能在书法的矛盾中（创作形态 下）抽象出生命的意义，从而体悟出生命境界，在道、艺中践行其人生的至高境界，正如孙过庭在《书谱序》中所曰：“穷微测妙之夫，得推移之奥赜”。可见书法中的“道”与哲学中的“道”，其深层面是分歧 的，也是统1 的。理解了这点，也就理解了中国艺术的“写意”精神，也就理解了言恭达书法中追随 的人格精神，这就是中国艺术的特无方 式——写意传统。
言恭达以篆书笔意入草的“线性”，生动地凸现了他人格精神中“清、正、中、和、厚、朴”的生命情怀。这是中国书道追随 的最高精神境界，它实是“和善敦厚”的社会道德在艺术中盲目 觉醒的社会责任感，书家以其个人的审美艺术寻求 在完善这1 社会使命和社会责任。
言恭达的书有1 股清气、淡气。这说的是他书法的“内美”，即意境之美。意境其实是1 种文明 内涵在作品中的生发与彰显，意境也是1 个时代文明 精神在作品中的盲目 与冥契。我们溯源其书法的“法意”精神，他是从魏晋、汉三代，到钟鼎大篆，再到商代甲骨文的。在笔法上，他把汉三代深奥高古的笔意，于古法（有“道”之精神）中化解出今意，并能突破窠臼，自成风貌，于虚淡敦厚的点画中阐释出蕴涵大朴大美的大境界。我们在他的“真线”中，常常体会到那弥漫 着生命情怀的宇宙之源，这“线”是充满着生气与精气的生命之线。
言恭达早年以篆书名世，他是当代书坛最早进行写意大篆探索的书家。他的写意《散氏盘》笔墨淋漓，以涨墨强化线条张力和金石气表现，同时在结撰上又融入强烈的主体认识 ，在视觉外型 中传递出时代审美趣尚。在大篆这1 古老的书法审美领域开拓出本身 的疆域。在当代不多的大篆名家中，言恭达无疑是取得较高成就并具有开拓性的代表人物。
因此 ，可以说言恭达对篆隶古法的研创并未停留在法古层次，而是在对篆隶古法的深入研味中寻觅和体悟表现性的审美向度，并在表现性中强化书法的生命感性经验。也正是在对篆隶古法的写意性审美价值追随 中，言恭达终究 转向对大草的创作与探索，并以大草建立起他书法创作审美价值的中心点。
言恭达正是在经历了在写意大篆领域几十年的创作砥砺而完成实现了他创作上由篆隶古法向大草飞跃的转进。从这个意义上说，言恭达始终是1 个具有强烈主体认识 及表现性的书家。
对篆隶古法的信守和创作审美价值寻觅，使言恭达对大草的历史认同具有强烈的主体性，他始终强调大草的篆籀古法，而他在草书创作中将篆籀气视作大草笔法的最高表现。他认为篆隶古法才是大草的主调，所以他的大草在全体 上倾向于唐宋传统。他的草书以旭素为基，强化线条的纯粹性及由对篆籀气的崇尚所带来的力量感，同时又引入空间结构认识 ，化裁黄山谷，强化草书的空间表现。在草书文本情势 上，他采用唐宋草书惯常的手卷情势 ，将时、空结构表现相整合，融化草书大的章法结构和欹侧穿插咬合，体现出强烈的唐宋草书精神。言恭达大草的对篆籀古法的强调，显示出他对草书史的个体化分梳与洞见，这对当代草书创作特别 是大草创作无疑是有启迪意义的。
此作品近25米长，整篇调和 分歧 ，动中寓静，古质遒美。将书法艺术与我国举办上海世博会这1 严重 历史事件相结合，记录了世博会的辉煌时刻，能够唤起民众的艺术感觉与文明 思考，是书法艺术内容与情势 在时代创新中的无效 尝试，具有独特的理想 意义与文明 价值。
Yan Gongda, born in 1948 in Changshu, Jiangsu Province, professor of Tsinghua University, doctoral supervisor, national first-class artist, and expert with special allowance from the State Council. Member of the 11th and 12th CPPCC National Committee, Vice-Chairman of the 5th and 6th Chinese Calligrapher's Association, Director of the Education Committee, Director of the Professional Committee of Character Carving, Dean of International Art Exchange of the National Association of Friends, Member of the Academy of Chinese National Painting, Nanjing University, Part-time Professor of Southeast University, and Chinese Book of Southeast University President of Academy of Law, Honorary Dean of Art College of Beijing Language University, Vice-Chairman of National Association of Education Calligraphy and Painting of Ministry of Education, Honorary President of China International Institute of Calligraphy and Painting of Ministry of Culture, and Consultant of Chinese Literature Museum.
Professional in well-known calligraphers and painters, Mr. Samanton, Mr. Song Wenzhi, a variety of calligraphy, seal carving, good painting. His works have participated in the 2nd to 10th National Calligraphy Seal Carving Exhibition, the 1st to 4th National Lanting Art Exhibition, several National Young and Middle-aged Calligraphy Works Exhibition, International Calligraphy Exhibition and Contemporary Celebrity Calligraphy and Painting Seal Carving Exhibition. He has been selected in more than 500 national, international and various national exhibitions and won several awards. His works have also visited Japan, Korea, Singapore, Brazil, Canada, the United States, France, Germany, the United Kingdom, Mexico, Australia, Indonesia, the Philippines and China, Taiwan, Hong Kong, Macao and other countries and regions for exchanges, and held a special exhibition on the First Chinese Day at the United Nations Headquarters in New York in November 2010.
My Heart of China, created at the 29th Olympic Games in Beijing in 2008, the 41st World Expo in Shanghai in 2010, and the 21st APEC Cultural Forum at the University of Hawaii in the United States in 2011. Cheng Ren's Poetry Copy has won unanimous praise both at home and abroad.
His works are included in more than 500 national monographs, such as Complete Works of Modern Chinese Art (Calligraphy Volume and Seal Carving Volume), and Masters of Contemporary Chinese Calligraphy.
In 1987, among the national "Contemporary Young and Middle-aged `Book Academy Picking Ying'Rating", the works were rated as one of the 37 excellent authors in the country with the highest rating. The works have also been selected and carved in more than 100 monument forests throughout the country, and have been arranged and collected by more than 100 museums, art galleries, memorials and the Great Hall of the People in the Central South China Sea, China National Museum of Art and other domestic and foreign museums. Several papers were selected for the National Calligraphy Seminar and Contemporary Chinese Calligraphy Thesis Selection. They won the second prize of the Fifth National Literature and Art Review of the Chinese Federation and the first prize of the Seventh National Literature and Art Review of the Chinese Federation. Publishing books such as "Baoyuntang" and "Baoyuntang Art Review", "Contemporary Calligraphy Masters" (posts) and textbooks, and participating in the co-compilation of "Six-body Calligraphy Dictionary" and "Chinese Calligraphy Appreciation Dictionary".
Rise up the backbone
Writing words, writing to carry the Tao, books to glow, as necessary. Although simple and unadorned, it highly summarizes the connotation and value of Chinese calligraphy. Calligraphy is the need of expression and description at first. On this basis, it also acts as the morality of "helping people, cultivating adults". Then it has the aesthetic needs of "pen-bottom dragon snake, long-lived withered vine, as many as skin, meat, tendons, bone and qi", so on. Thus, calligraphy has risen to the height of art. Of course, the artistic value of calligraphy is not only reflected in the vigorous and graceful style of lines, but also should be able to grasp the pulse of the times. In a sense, it is an epic that records the characteristics of the times from the perspective of line art. This is the connotation and value of calligraphy.
Yan Gongda declared war on these two deviations with his elegant and elegant calligraphy art. Chinese calligraphy should not neglect the noumenon beauty. Calligraphy still needs to draw nutrition from tradition and law, expand in rules and regulations, and show a great atmosphere and pattern with Chinese traditional aesthetics. Yan Gongda believes that the line of calligraphy is the study of mind. Every stroke is a portrait of the calligrapher's electrocardiogram and a reflection of the calligrapher's life state. Admittedly, a great influential calligrapher, whose blood is flowing with the vigorous and introverted genes of Chinese civilization, his temperament is masculine and upright, his aesthetic appreciation is the embodiment of truth, goodness and beauty for the past five thousand years of the Chinese nation, is a reflection of the pulse of the times, and encourages the Chinese people to be more firm, brave and literary. Mingdi entered a new era, thus fulfilling the moral responsibility of "helping people, becoming a civilized person". Standing up the backbone is a courage and responsibility that all calligraphers should have. It is a sense of social morality and historical mission. It is also a kind of respectful expression and silent responsibility with its calligraphy art.
Release and release freely
Above all, the author talks about the aesthetic significance of Mr. Gongda's calligraphy. Now, please follow the author's brush strokes and interpret Mr. Gongda's calligraphy style and connotation. In my opinion, Mr. Yan specializes in Dacao, and is also proficient in seal and official scripts. He has a deep study of cursive scripts of all dynasties, especially in the works of Zhang Zhi, Wang Xianzhi, Zhang Xu, Huai Su, Huang Tingjian and other masters of calligraphy. He has also reached a considerable height in the creation of seal scripts. What is more rare is that his study of classics is not simply at the level of ancient law, but in the way of sages. Each style not only creates a unique artistic style, but also on the basis of a deep understanding of the characteristics of various styles, achieves free "switching" between several types of calligraphy, and integrates them, reflecting his profound comprehensive artistic accomplishment. For example, his seal script works use elegant writing style, take "Taishan Stone Carving" and "Shiguwen" simple and naive, and draw lessons from Caoli, forming a unique style and appearance; while emphasizing the feeling of cicada head and swallowtail tail, his official script takes the dynamic and momentum of the cursive script, emphasizes the dynamic beauty of the complex, at the same time, also uses the freehand brushwork of big grass. Sex strengthens Li Shu's life perceptual experience and makes it full of the beauty of talent and artistic conception; solid seal and merit also enable Mr. Li to introduce seal and Li's pen and ink and aesthetic orientation into the creation of Dacao. It can be said that he is using seal script's brushwork to make cursive script, so his cursive script presents a kind of entry into the woods everywhere at the same time of curiosity. The pen power of three points and the leak marks in the room.
Summary of evaluation
I have heard many comments from Jiangsu calligraphers on many occasions. In addition to rigorous scholarship and excellent calligraphy skills, Yan Gongda has a strong administrative capacity and a very rich humanity: modest, fair, tolerant, generous and kind. He can unite, understand and treat people kindly. "His work is not to consider whether it is good for him, but for Jiangsu calligraphy. This reason has greatly enhanced his cohesion and affinity in the general membership.
Habit determines success. Someone summed up the three characteristics of Gongda's "habit" - to develop a sense of urgency, to pursue excellence, and to work with passion.
Gong Da said meaningfully: "I attach great importance to three aspects: personal accomplishment should pay attention to the integrity of personality; the starting point of thinking from the"ego"to the"big ego"state; and the effect of work should adhere to the identity of artistic noumenon value and social value." Art "for learning" first "for people", which is the support of his seeking Tao.
Yan Gongda's cursive calligraphy is characterized by its unique style, which is the concrete embodiment of the innovative achievements of stele calligraphy in the Qing Dynasty and the evolution of calligraphy in the times.
The real success of Yan Gongda's cursive script is the combination of stele and placard, which is the inheritance and development of the stele school since Qianjia in Qing Dynasty.
Yan Gongda's creation of seal script has reached a considerable height. He has studied cursive script in depth, especially Zhang Zhi, Wang Xianzhi, Zhang Xu, Huai Su, Huang Tingjian and Wang Duo. Therefore, he has been able to integrate seal script writing techniques and brushwork into the research and creation of the great cursive script, which is a stele from the Northern Song Dynasty to the Qing Dynasty. The combination of inscriptions on stone tablets in the later period of learning is a successful example of compatibility of contemporary inscriptions on stone tablets with calligraphers.
Yan Gongda's cursive calligraphy is precisely in this context of the times, the initiative to explore the conscious of calligraphy has a special value and historical significance of conscious calligraphy. His grassroots calligraphy has reached a new stage of historical development by consciously using and thinking about its methods, strokes, rules, calligraphy, ink and writing tools and carriers. He used the long-volume art form commonly used in ancient calligraphy to serve this Olympic theme full of world significance and influence. He not only created the historical record of the long-volume calligraphy in vernacular Chinese, but also used this calligraphy form, which has the most charm and typical representative of Oriental culture, to propagate the peace spirit of the Olympic Games and to display the unique charm and Book of Chinese culture. The special value of law.
Faced with the long scroll of courtesy, we seem to see that the ancient calligraphy art is glowing with new life in the era of rapid development of information technology. It not only carries the mysterious oriental art code for thousands of years, so that our hearts are shocked and sublimated, but also carries the modern humanistic spirit, along with the special Olympic culture to the world, to the future.
(From Heng Zheng'an's Book of Oriental Mythology and Art, World Peace: Appreciation of He Zhenliang's Statement in Moscow)
Yan Gongda's Grass Art has a very unique aesthetic personality. It is suddenly independent in the contemporary literary world and has a very personal artistic outlook.
Yan Gongda is a descendant of Yan Yan. His profound education, life experience and the comprehensive influence of poetry, calligraphy, painting and printing have created his broad mind and broad artistic mind. Especially, his calligraphy is based on Jiajin seal, runs through the real grass, and is even more fortunate in the grass. The long roll is pure, elegant, elegant and elegant. Give people the aesthetic feeling of elegance, relaxation, graceful manners, abundant atmosphere, exuberant spirit and noble spirit.
Yan Gongda is a master of modern seal and official scripts with a deep foundation of writing skills. He uses the center pen to make his lines thick and dignified, and occasionally uses the side edge to make them beautiful and elegant. He inherited from Zhang Zhi, Xiao Wang, Zhang Xu, Huai Su and Huang Lu Zhijinghao centers with pens. He also created the method of wrapping the front with the pen by Changfeng Yanghao. He applied the method of using the "center" of the ancients with pens to different tools of raw paper and Changfeng Yanghao. The center wrapped the hair and waved the hair, which must be investigated, and its dots and lines were as thick and heavy as high. Peak falling stone, hard to move, elegant like a dragon in the sky, with thousands of manners, showing a new artistic charm. In terms of flavor and brushwork, Mr. Yan Gongda's grass art shows extraordinary artistic features, and in the details of dot painting, lines and ink painting, it also shows amazing artistic expressiveness.
Using ink is also one of the highlights of Mr. Yan Gongda's great cursive calligraphy. He is especially good at using astringent pens, thirsty ink, rising ink, and even using Sumo ink, which makes the book more charming and natural, and withdraws the lead. Mr. Yan's grammar is pure, and he pursues the purity of the grammar.
Yan Gongda's cursive script is shining in the contemporary era in terms of style, appearance, atmosphere and technical skills.
Yan Gongda's method of using brush in cursive script comes directly from seal script and coincides with "ancient law". He bypasses the connection of Yuan, Ming, Qing and Tang and Song dynasties. His method of using brush in cursive script has far-reaching historical significance and is the most important reason why he has a strong personal artistic outlook in today's calligraphy circle. However, as the times change, the carriers, tools and aesthetic standards of writing change, so the so-called "ancient law" also needs to be changed and created. Mr. Yan Gongda's cursive pen conforms to the ancients and develops with the ancient law, which is the key to his success. Mr. Yan Gongda used Changfeng Yanghao to make grass. He liked to use raw rice paper. This kind of paper and pen did not appear until the end of Ming Dynasty.
Yan Gongda wrote a cursive script, applying the method of "wrapping up the front" of the Qing dynasty's Yanghao Changfeng as seal script to the grass, thus avoiding the disease of "scattering, paralysis and paralysis of the pen", maintaining the use of the pen by the centre and developing the ancient method of the centre of the ancients. Because Changfeng sheep accumulates more ink and raw paper eats more ink, it can produce high quality dots and lines.
Yan Gongda's Dacao Calligraphy has reached a higher artistic realm. It is the artistic expression of his comprehensive accomplishment. It is based on his profound ability of calligraphy itself, especially his deep seal and lithographic brush and ink, which is used by "Shufeng" to make his overall style of calligraphy elegant and elegant. The purity of the cursive method is to find out that simplicity is the supreme attribute of the art of big grass and even Chinese art; the dialectical relationship between "late" and "flow" is handled skillfully with continuous words and broken strokes; the division of space with long and short lines and large and small pieces adds to the change of the chapters and the strength of the rhythm in order to achieve transcendence. All artistic expressiveness and beyond peers, strive to pursue the artistic realm of the ancients.
(From Heng Zheng'an's Hawthorn Pen Stirring the Sea and Flying the Dragon in the Heaven: Appreciation of Yan Gongda's Dacao Works <Long Volume of Tang and Song Poems>)
Yan Gongda consciously shoulders the responsibility of promoting and developing traditional culture. As far as calligraphy is concerned, Yan Gongda's calligraphy is the art of "art for life".
Yan Gongda shows his ideal of "art for life" in the art form of calligraphy. Especially his seal and cursive script consciously blend a certain state of mind and spirit. Let's understand it as a state of morality. His art of life is produced and achieved in this state of mind. The achievement of a great calligrapher must be the cultivation of "Tao", which is a milestone of the ages.
Yan Gongda's "one stroke" cursive script has the spirit of freehand brushwork and "Tao" in philosophy. He can abstract the meaning of life in the contradiction of calligraphy (in the state of creation), so as to realize the realm of life, and practice the supreme realm of life in Tao and art. As Sun Guoting said in his Preface to the Book of Records, "A man who is poor and subtle has to be moved on". It can be seen that the "Tao" in calligraphy and the "Tao" in philosophy are identical and unified in depth. Understanding this, we also understand the spirit of "freehand brushwork" in Chinese art and the spirit of personality pursued in Yan Gongda's calligraphy. This is the unique way of Chinese Art - freehand brushwork tradition.
Yan Gongda's "linearity" of writing with seal script vividly highlights his life feelings of "pure, honest, neutral, harmonious, honest and simple" in his personality spirit. This is the highest spiritual realm pursued by Chinese calligraphy. It is a social responsibility consciously awakened by "kindness and generosity" social morality in art. The calligrapher is perfecting this social mission and social responsibility with his own aesthetic pursuit.
Gongda's book has a fresh and light air. This refers to the "inner beauty" of his calligraphy, that is, the beauty of artistic conception. Artistic conception is actually the emergence and manifestation of a cultural connotation in the works. It is also the conscious and tacit agreement of the cultural spirit of the times in the works. We traced back to the spirit of "the meaning of law" in his calligraphy, which ranged from the Wei, Jin and Han dynasties to Zhongding Dazhuan and Shang Dynasty oracle bone inscriptions. In his brushwork, he interpreted the profound and ancient brushwork of the three generations of Han Dynasty in the ancient law (with the spirit of "Tao") to dissolve the present meaning, and to break through the stereotype, to form his own style, and to interpret the grand realm of great simplicity and beauty in the simple and honest dot paintings. In his "true line", we often realize that the source of the universe is full of life feelings, which is full of vitality and vitality.
(Abstracted from Shi Yanping's "Shangshan is better than Dao if water is better than water": Talking about the personality spirit of the famous calligrapher's courtesy)
Yan Gongda was famous for seal scripts in his early years. He was the earliest calligrapher who explored freehand seal scripts in the contemporary literary world. His freehand brushwork "Sanshi Pan" is full of ink, which strengthens line tension and stone gas expression with ink rising. At the same time, it integrates strong subjective consciousness into the composition, and conveys the aesthetic interest of the times in the visual modelling. Dazhuan, an ancient aesthetic field of calligraphy, has opened up its own territory. Among the few famous seals in the contemporary era, courtesy is undoubtedly a representative who has made great achievements and pioneered.
Therefore, it can be said that Yan Gongda's research on the ancient law of seal and Li did not stay at the level of ancient law, but sought and realized the aesthetic dimension of expressiveness in the deep study of ancient law of seal and Li, and strengthened the life perceptual experience of calligraphy in expressiveness. It is also in the pursuit of the aesthetic value of freehand brushwork of the ancient seal and Li calligraphy that Yan Gongda eventually turned to the creation and exploration of Dacao, and established the central point of his aesthetic value of calligraphy creation with Dacao.
Yan Gongda accomplished the leap from ancient seal script law to grassland through decades of creation in the field of freehand seal script. In this sense, Yan Gongda is always a calligrapher with strong subjective consciousness and expressiveness.
The adherence to the ancient seal script and the search for aesthetic value of creation make Yan Gongda have a strong subjectivity to the historical identity of Dacao. He always emphasizes the ancient seal script of Dacao, and he regards the seal script style as the highest expression of the ancient seal script in his cursive script creation. He believed that the ancient law of seal and Li was the main tone of Dacao, so his Dacao tended to the tradition of Tang and Song Dynasty as a whole. His cursive script is based on Xusu, which strengthens the purity of lines and the sense of strength brought by the advocation of seal spirit. At the same time, it introduces the sense of spatial structure, tailors the Huangshan Valley and strengthens the spatial expression of cursive script. In the form of cursive script text, he used the usual hand-scroll form of cursive script in Tang and Song Dynasties, integrating the time and space structure, melting the large structure of cursive script and interlacing and occluding the edges, reflecting the strong spirit of cursive script in Tang and Song Dynasties. Yan Gongda's emphasis on the ancient seal script method shows his individualized combing and insight into the history of cursive script, which undoubtedly has enlightening significance for contemporary cursive script creation, especially for the creation of cursive script.
(Take Jiang Shoutian's The Storage of Wind and Cloud from the Breast with Vigorous Spirit --- Comment on Gong Da Cao Changjuan's Significance of the Times)