Thank you. You are welcome.
My View onHuangXiangming’s Calligraphy
Calligraphy is like life in the sense that it takes time and experiences to foster both a sophisticated man and a masterly calligrapher. However, there were people who reached great achievements when young, and besides their gift, they mostly reliedon diligence and day-to-day efforts. And Mr. Huang Xiangming, who I know well, falls into this category. He excels in regularscript, cursivescript,runningscript, officialscript and sealscript. He has great skills and I appreciate his works in three aspects.
First, fineness. His works, be it letters, scrolls or others, are detailed, subtle and forceful. The main reason is that Huang can dive into the essence of ancient masterpieces and learn the best from them.
Second, the literary beauty. It is the reflection of literary style in writing, and the impression and the poetic meaningbeyond calligraphy itself. Huang knows Chinese poetics very well, and he can really catch the charm of it.
Third, the spirit and grace. Calligraphy follows certain rules and it devotes particular care to its origin. During writing, the intrinsic nature of the brush and the subjective emotion of the calligrapher must be followed, and he or she must comprehend the spirit, soul and essence of ancient classics.
Mr. Huang possesses a natural artistic pursuit.
The soul of calligraphy embodies nothing and everything, and it can be concluded as an ethereal spirit. The lines and strokes express a combination of spatial structure and the characters themselves, forming a duality of beauty. This process is diversified and irregular, and through the rhythm, exaggeration, softness, conflicts and changes, our mind and feelings can be synchronized with the ink and the brush. Calligraphy involves the separation and fusion of different forces, and this requires the artist to grasp the ever-changing world by his or her own imagination and wit.
Mr. Huang boasts extraordinary comprehension, wit and resilience, which enables him to blend delicacy and force. I hope Mr. Huang can live up to expectations and continue to break new ground in calligraphy and achieve new heights in his life and art.
Dexterous Brush Strokes Inspired by Nature
文艺评论家 汉学家 海村 惟一
Japan/Honorary Professor of Fukuoka International University
Japan/Chairman of Juridical Associationof Weijing Academy
Literary critic & sinologist Amamura Yuiji
My friend Xiangming's works, "The Moon Shining in the Middle of the Sky" and "Elegant Ci Poems and Marvelous Stone", remindme of the famous saying, "language reflects one's inner thoughts and words convey one's mental outlook."
Meanwhile, the impressively graceful and fluent handwriting in Sun Guoting’s BookCharts, namely the sentence in the 37thline starting from the fifth word—“the change of emotion must be conveyed through linguisticform to express the same essential thoughts as The Book of Songs and The Songs of Chu. When the sun shines brightly we feel good and when thedarkcloudsgather we feel blue, which can be attributed to the changes of season and nature” occurs to my mind.
Sun Guoting’s handwriting vividly displays his “theory on calligraphy”, like the Chan sect’s claim of “No Establishment of Words”, in that one can grasp the true meaning without the interpretation of words. The art of writing in the Chinese character cultural circle has the function of penetration and illumination, comparable to that of music in the letter cultural circle.
As far as thehandwriting of "The Moon Shining in the Middle of the Sky" and "Elegant Ci Poems and Marvelous Stone" is concerned, Xiangming has not only traversed the time since Wei-Jin period, but also the space between the Chinese mainland and the Japanese islands. The elegance of Wang Xizhi (a Chinese calligrapher in the Eastern Jin Dynasty) and the openness of Liangkuan (a Japanese calligrapher in thelate Edoperiod) are brought to life in Xiangming's handwriting; the temperament of scholars and the calmness of Buddhist monks can be found everywhere in his literary contemplation. Xiangming's works are created on the basis of copying calligraphy classics and inscriptions on ancient bronzes and stone tablets with the coordination of the relations between literary form and calligraphic style, handwriting and nature, and mind and body and the universe, hence a solid literary context and a penetrating sense of reason.
In addition to his diligenceand intelligence, Xiangming's achievements in calligraphy have been blessed by time and space. Born in Yangzhou, wherethe SlenderWestLake functions as a connection between northern and southern literature and art as well as a symbol of Sino-Japanese cultural exchanges, he is endowed with a gift for contemplation and creation; raised in Taizhou, where Yang-ming Studies serve as an enlightening heritage of ancient and modern academic practice, he is enabled to think and innovate wisely; living in Nanjing, where Yuhua stone absorbs the essence of nature for thousandsofyears, he is inspired to think and create critically. What is more worth mentioning is that, he has grasped the life of art from Zhang Dai's literary context.
Xiangming is nothing less than a young Chinese "thinker andpractitioner of calligraphy". The beauty of his handwriting parallels the sounds of nature and the artistic style of his calligraphy nurturesthemindandthespirit. The quintessence of his calligraphy can be summed up as “Dexterous Brush Strokes Inspired by Nature”.
I have great admiration for Xiangming's solid calligraphic foundation, infinite aesthetic pursuit, and profound philosophical thinking. I’m also looking forward to Xiangming's constant progress!
Having learnt that Xiangming is about to hold his owncalligraphyexhibition, I am pleased to write these words for the exhibition.
Seconddraft finished in the southern study of the Pavilion of Siangzhuitingtao in Kyushu, Japan on the 20thDay of the fifth lunar month in theyearofGengzi (37th year of the Sexagenary Cycle), 2020