——Everyday here, meet life, meet Art——
Wang Jingru's small regular script works, which refer to the writing style of the Western Jin Dynasty, do not do the classic style and vulgar style, and open a new realm in the ancient rhyme, are rare. It is easy and clean to use the pen, gentle and gentle in mood, without the strong beam of unbridled and fierce color, and without the posture of reserved and coercive. It can be seen that the author is diligent in his heart and hard work.
Chinese characters are different in length, width, size, complexity and simplicity. They cannot be all in one, and they are also small regular script. It is difficult to move, or gather or spread, or to move, or to move, or to turn, or to turn, or to turn, or to turn, or to turn on, or to turn on, or to turn on, or to turn on, or to turn on, or to turn on, or to turn on, or to turn on, and to make the best of their situation.
The author adjusts the nature, the characters are different and the lines are different. In addition, Zhu Si is the boundary. Although each line is independent, it can also see the spirit in the crisscross. There is interest between the different lines, and they should be compatible with each other, without losing the natural gas. If we take time and stick to the ancient calligraphy, we will increase our brushwork and breath, and we can expect good results.
The second national exhibition of College Students' calligraphy and seal cutting works
When tens of thousands of people walk on the street, people who attract people's attention are all of outstanding beauty and beautiful pavilions; when tens of thousands of works are placed in the exhibition hall, people who move people are all of unique forms, entering the ancient and creating new.
As a post-90s calligrapher, Wang Jingru's calligraphy is fresh, vigorous, gentle and gentle in the distance, and subtle in the pen and pure in the breath in the near future. Her calligraphy is centered on the remnant paper of the western regions and the Dunhuang scriptures, and her style is not only original, but also refined and enriched by the two kings of Dharma. In addition to Xiaokai and Xingshu, they are also attentive to the golden seal script and the Han Dynasty's ritual stele, and the seal cutting is quite considerable, just as Confucius said: "it is a perfect match.". Confucius also said: "crazy Jane, do not know why cut.". If the mind understands, there is no hindrance to the light. Wen Fuchang
Jing Lu Wang
Female, born in 1991 in Lianyungang, Jiangsu Province. He studied in Xi'an Jiaotong University and was taught by Zhong Mingshan, Xue Yangxian and he lianhaizhu; he studied in Nanjing University School of art and was tutored by Fang Xiaozhuang.
He is now a member of China Calligrapher Association (quasi), Jiangsu Calligrapher Association, Lianyungang Calligrapher Association, Nanjing printing society and Cangwu printing society.
Experience of entering Exhibition
The 12th National Calligraphy and seal cutting works exhibition (sponsored by China Calligrapher Association) entered the 8th China new Calligrapher's new works exhibition (sponsored by China Calligrapher Association) entered the 2nd National University Students' calligraphy and seal cutting works exhibition (sponsored by China Calligrapher Association) The Sixth National Women's calligraphy and seal cutting Exhibition (sponsored by China Calligrapher Association) the second Jiangsu calligraphy Award (sponsored by Jiangsu Calligrapher Association) the second national calligraphy and seal cutting works exhibition (sponsored by Xiling Seal Society) The first national calligraphy and seal cutting Exhibition (sponsored by Shaanxi Academy of calligraphy) won the excellent award of the 5th China Xi'an Beilin calligraphy competition (sponsored by Xi'an Beilin District Committee) and entered the 8th Jiangsu new calligraphy and seal cutting Exhibition (sponsored by Jiangsu Calligrapher Association) "Guoyuan Cup" calligraphy and seal cutting exhibition of the essence of Chinese learning (sponsored by Jiangsu Education and Calligraphy Association)
Comments on the creation of the 12th National Exhibition
In recent years, in terms of calligraphy creation, I have devoted my most energy to the field of Xiaokai, especially to the western regions, Dunhuang Scripture writing and Loulan remnant paper. From the perspective of font ownership, it's also Kaili, which is wonderful between the present and the ancient; from the perspective of the form of writing, Kaili is a mixture of rich and implicit brushwork, so there's a lot of room for creation. I'm very infatuated with it and enjoy it.
The contents of the submitted works of the 12th National Exhibition of China were selected from some chapters of Zhang Yanyuan's famous paintings of past dynasties. The form of the works was nearly four feet of the whole gilded batik Xuan paper, which was written in five pieces, without draft or decoration. When writing, the paper and ink are hand-in-hand, well done, not written for the second time, directly contributed and successfully entered the exhibition. Thanks to the Chinese Calligraphy Association and the judges, and proud of the great era, sincerely praised.
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