What is the historical significance of horse calligraphy

Horse style, also known as horse calligraphy, horse calligraphy and horse calligraphy, is a new calligraphy style created by contemporary calligrapher Ma Yongan. Ma Ti, in 2009, was named "Ma Calligraphy" by the Chinese Calligraphy Xintiandi Research Center, and was included in the compilation of "Modern Calligraphy". On February 13, 2010, after expert argumentation, it was approved by the National Copyright Administration of the People's Republic of China for registration, and was officially named "Horse Calligraphy", known as "the sixth calligraphy".

Horse calligraphy has rewritten the history of Chinese calligraphy About Mr. Ma Yongan's calligraphy spirit and art For thousands of years, the writing of Chinese characters has formed a complete and rigorous normative system. Children and grandchildren, grandchildren and grandchildren, Turning over and over again, it is still "Orchid Pavilion Preface" and "Duobao Pagoda", which are always those few models. Therefore, the constraints of rules and the monotony of the calligraphy style have led to the silence and lack of vitality in the calligraphy world.

The birth of Ma's calligraphy can be said to have been born out of nowhere, with a loud bang, which broke the silence of thousands of years in the book world and illuminated the silent night sky of the book world. From the dot painting structure to the transformation of the momentum, the Ma's calligraphy has refreshed the calligraphy and refreshed the century. Ma's calligraphy is diametrically opposed to traditional writing habits, and the dot paintings are smart and dignified, exaggerated and subtle, and full of artistic tension.

It can be said that the opposite is the "way". It sounds like a myth, but it's a great fact!

2. The sixth type of book was born.

We have made a rigorous comparison between the Ma's script and the traditional five types of calligraphy, including Xingshu, cursive, Lishu, seal script and regular script, and found that the Ma's script may have traces of five types of calligraphy, just as Xingshu has traces of regular script and cursive script has traces of Xingshu. However, none of the five types of books can contain the Ma style, and even far from it, or even diametrically opposed. The distance between it and any kind of script is far greater than and greater than the distance and span between Xingshu and regular script, Xingshu and cursive script.

Moreover, Ma's book is as small as a hair and as large as the universe, all of which are in the opposite direction. Therefore, the result is necessarily a completely new look. At this point, we announce:

Following the five artistic calligraphy styles of Xingshu, Cursive, Lishu, Seal and Kaishu, the sixth calligraphy style Ma's calligraphy has been born! So far, thousands of years of searching and doubting have finally reached a conclusion and a result. The birth of the Ma's calligraphy confirms the existence of the sixth type of calligraphy with ironclad facts!

However, we have come through thousands of years for this!

What's the point, there is only one, that is, to spoil the art of calligraphy.

I agree with the point of view on the first floor, it is simply an insult to the quintessence of China!

Ma Ti, also known as Ma Shu Ti, is the sixth type of calligraphy after the five types of calligraphy, which not only ended the history of the domination of the five types of calligraphy, but also one of the most thorough revolutions in the history of Chinese calligraphy, promoted the development of calligraphy art, enriched the content and art form of Chinese calligraphy, and had epoch-making significance. The birth of the Ma script not only ended the art of Chinese calligraphy, but also ended the Chinese characters, sent a signal for the reform and revolution of Chinese characters, and created a new era of "Han Wen", also known as "Ma Wen"!

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

Ma calligraphy, also known as horse style, horse calligraphy and horse calligraphy, is created by contemporary calligrapher Ma Yongan, in 2009 by the new world of Chinese calligraphy research named "Ma calligraphy", into the compilation of "modern calligraphy".

On February 13, 2010, after expert argumentation, it was registered by the National Copyright Administration and officially named "Horse Calligraphy", which is known as the "Sixth Calligraphy" of Chinese calligraphy.

Horse calligraphy is based on traditional calligraphy, the development of a new style of calligraphy, in the Chinese calligraphy six stool ruler comparison standards, there are five standards completely different from traditional calligraphy, is a new concept.

Ma Yongan, whose name is Huaiyi, was born in Shangcai County, Henan Province.

He graduated from Beijing Normal University and Renmin University.

He has worked as a journalist and published a number of literary and artistic works.

Accustomed to reverse thinking and creative thinking, he has a unique profile in multiple disciplines and fields, and has made outstanding contributions.

He also serves as a consultant of Nanchang Tengwang Pavilion Cifu Research Institute, a professor of Huaxia Academy of Arts, the director of Longshuncheng Art Museum, the vice chairman of the China Art Artists Association, the chairman of the Chinese Calligraphy Artists Association, the president of the China Art Collectors Association, and the president of the People's Art Magazine.

The structure of horse calligraphy is based on the main script, and the side script (there was no such mention before, it is relative to the main script) as the auxiliary, and the front and side are used interchangeably, which is vivid and vivid.

Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front side is distinct, slightly dull.

The momentum of horse calligraphy, high on the left and low on the right, taking homeopathy, stretching and smooth, in line with the mainstream aesthetic orientation, is more eye-catching, and is vibrating.

Traditional calligraphy, unchanged for thousands of years, is low on the left and high on the right, taking the contrarian trend, there is a sign of obstruction, not smooth, not in line with the aesthetic ideal of human longing for a beautiful beauty.

The movement of the pen of the horse calligraphy, the pause is less and there is no folding pen, the use of the penmanship of the seal cursive, the homeopathic movement of the pen, smooth and natural, without pretentiousness, opens up a broader aesthetic space for the art of calligraphy.

Traditional calligraphy, because of the contrarian trend of the pen, can only be completed with a folding pen, and there are many folding pens and many pens, lacking softness.

The main writing has just passed death, and cursive has gone to the other extreme.

None of these are in line with traditional philosophical ideas and fundamentally contradict the aesthetic sense of the subject.

Compared with traditional calligraphy, the dot painting of horse calligraphy is rich in variations, and compared with traditional calligraphy, it is the opposite, and it is an invention and creation of jujube opening up.

Horse calligraphy, into the pen plate pen, as thin as a filament, the tip of the pen outside.

If the pen is light and heavy, light if it is not a hair, heavy as a cloud, ten thousand millimeters of hair, the pen is not closed, the momentum is like a broken bamboo, it is dripping with joy, it is pouring thousands of miles, giving people a pleasant feeling.

Traditional calligraphy, a method through the ages, want to be right first left, want to go up and down, everything is accepted.

Everyone is stubborn and lifeless.

The great calligrapher Mi Fu of the Song Dynasty said, "Those who are good at writing are enough."

Horse calligraphy, from the structure, the momentum, the movement of the brush and the dot painting, have formed their own unique style.

Calligraphy is an ancient traditional art in China, which has high academic value and cultural taste. Below I bring you the calligraphy font of the horse, I hope you like it.

Horse calligraphy font appreciation:Horse calligraphy font 1

Calligraphy font for horses 2

Horse calligraphy font 3

Horse calligraphy font 4

Horse calligraphy font 5

The beauty of the art of calligraphy:Calligraphy is a unique visual art. When people appreciate an excellent calligraphy work, they will undoubtedly get the enjoyment of beauty and the intoxication of art, but appreciating the beauty of calligraphy art is not an easy thing to fight.

Compared with other arts, such as literary art, ** art, and painting art, calligraphy art is more abstract and elusive. It is not uncommon for a work of art to be judged by the benevolent, the wise to be wise, and the aesthetic results to be very different, even if it is an evaluation of the works of a generation of calligraphy masters, it is not necessarily the same word. So, is there a unified standard for the aesthetics of calligraphy?

Yes, the problem lies in the angle of the aesthete, the basis of the hold, especially the level of self-cultivation.

Many categories of art, simple and stupid, dignified and sluggish, bold and rude, broad and loose, elegant and frivolous, the difference is very subtle, the rock mill in the appreciation and evaluation of the can not grasp the displacement, to draw diametrically opposite conclusions, there is a saying: "will look at the doorway, will not see the lively", the degree of understanding of calligraphy art is different, the aesthetic conclusion will not be the same, "look at a thousand instruments and then recognize the instrument, operate a thousand songs and then know the sound", which is inseparable from the aesthete's own cultivation.

<> Ma Yongan's calligraphy, it is also the sixth body of Chinese calligraphy

The Sixth Body Yanshu.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

<> calligraphy of Ma Yongan, the founder of Yanshu, the sixth calligraphy form of Chinese calligraphy.

Haven't heard of it. It seems that there is no such concept in professional theory.