Zhonghua Wan advocates tradition and culture, and puts forward that "the real calligraphy creation should be an irrational gallop on the rational plateau". Therefore, when studying the famous posts of past dynasties, Li's calligraphy and cursive script are all good, while Zhang Qian, Jin Nong, Xiao Guan and Yi Bingshou are all unique and unique. Cursive lines are the second king, absorbing the width of Lu Gong and the charm of Su Mi. Elegant and leisurely, simple and natural, each with its own characteristics. "
His running script pen is calm and atmospheric, and its structure is rigorous and meticulous. It not only has the beauty and elegance of Nanyou, but also has a beautiful and harmonious tone, and pays more attention to the charm and charm of ancient songs. This is manifested in the rich and meticulous brushwork skills, calm and carefree brushwork style, elegant and elegant artistic style. The style of this grass is fantastic, and it is mainly smart and decisive. This kind of works break through the traditional pattern in composition, and skillfully introduce the concept of modern art composition into calligraphy creation, so that the works give people a strong visual impression in expressing emotions and characteristics, and give people a sense of freshness in composition form. In the use of pen, knot words, composition and artistic conception, he pursues a great effect, rather than paying attention to the accuracy and regularity of stippling. The coherence of momentum, the contrast between reality and reality, clever evasion and free expression of passion constitute the overall characteristics of Zhang Xuguang's cursive works. I have a soft spot for official script, and it is hard to give it up. Taking, Xianyu Monument and Monument as the main official calligraphers, the brushwork follows Deng and others in Qing Dynasty. The brushwork of bamboo and silk in Qin and Han Dynasties is vigorous, smart and full of rhythm changes, and it wins with strong brushwork, dangerous posture and big style. Especially in the whole black-and-white segmentation, it not only highlights the contrast between large and small blocks of black and white, but also increases the strength of black and white, showing high spirits. .
At first, Mr Zhonghua Wan only learned calligraphy by copying everyone's inscriptions. In 2009, he went to the forest of steles in Xi 'an and saw a stone carving of Han Dynasty, which shocked him. Suddenly, he had a strong idea to integrate this vast and majestic feeling into calligraphy and express this heroic spirit with calligraphy.
After returning to Shijiazhuang, he began to look for the shock of aesthetic experience from the posts. First of all, he started with Yan Zhenqing's regular script in the middle Tang Dynasty, which was open, atmospheric and square, and then went deep into the official script of the Han Dynasty. He summarized the artistic style of the Han Dynasty as: vigorous, broad, open, full, romantic and carefree.
In his calligraphy creation, Zhonghua Wan insisted on the principle that China's calligraphy could not be divorced from China's traditional culture. Law embodies the thought and essence of traditional culture.
In a word, calligraphy is a feeling of diligent practice+inspiration+temperament, paying attention to the overall effect, paying attention to one's free will, and using a pen as one pleases. Calligraphy should be full of vigor and vitality in time; in space, static brushwork should be vivid and wonderful, and dynamic line ink should show charm and spirit. It is the blend of skill and artistic conception, and the resonance between mind and nature. Sometimes I wonder where the roots of western calligraphy are, and how the typical sensibility and rationality in Europe have achieved the art of calligraphy. It is clear that calligraphy originated from nature, from humanity, from tradition and from the long-standing cultural accumulation of poetry.