晏武营Yan Wuying

Yan Wuying, male, born in April 1957. I started learning calligraphy in 2007 and have since copied works such as the "Cao Quan Stele," "Shu Su Tie," "Lanting Preface," and "Qinli Stele." I have also studied and analyzed the masterpieces of many modern masters, and have made significant progress. He has successively joined Mianxian County, Hanzhong Calligraphers Association, Chinese Calligraphers and Painters Association, Chinese Elderly Calligraphers and Painters Research Association, Chinese Elderly Calligraphers and Painters Association, Chinese Literature and Art Network Calligraphers and Painters Committee, World Federation of Chinese and Overseas Chinese Artists, Xizhi Book Pictorial Contemporary Art Garden Signed Member, Beijing Great Wall Chang Calligraphy and Painting Academy Member, Xi'an Tongren Calligraphy and Painting Academy Member, Beijing Guoli Calligraphy and Painting Academy Member, China Folk Calligraphy and Painting Research Institute Member, Dongpo Calligraphy and Painting Art Research Institute Member, etc. Joined the Shaanxi Calligraphers Association in 2024.

 

Since 2001, I have participated in multiple book fairs at the county, city, and national levels and have won awards. My works have been included in the "Calligraphy Works Collection Commemorating the 70th Anniversary of the Victory of the World Anti Fascist War and the Chinese People's War of Resistance Against Japanese Aggression", "2015 National Poetry, Calligraphy, and Painting Works Collection", "Third National Symposium on Innovative Exchange of Middle aged and Elderly Calligraphy and Painting", "Selected Works of Members of the Chinese Elderly Calligraphy and Painting Society", "Dictionary of Chinese, Korean, and Famous Calligraphers and Painters", and "List of Chinese Elderly Calligraphers and Painters" (2018 edition); The work was shortlisted for the first exhibition of retired soldiers' calligraphy, painting, and photography works in Shaanxi Province. In 2018, it won the Excellent Award for the large-scale public welfare activity of Chinese calligraphy and painting creation. It was selected six times for the China Chongyang Book Fair and won the second prize at the 16th Chongyang Book Fair. In 2019, it won the silver award in the first national "Harvest Cup". The calligraphy newspaper's supplement, Calligraphy and Painting Art Garden, published the work twice.

 

 

In Xiongyi, there is a sense of sinking and convergence

——Impressions of Yan Wuying's Calligraphy Art

 

Huang Jinliang (Editor in Chief of Chinese Painting and Calligraphy Guide)

 

Yan Wuying's calligraphy is a symbiotic combination of brushwork and the spirit of life. Looking at his works, such as "Blessing" and "Elegance", the dots and paintings are in line with the metaphor of "falling rocks on the peak" and "long live withered vines" in Lady Wei's "Pen Array" - dots are solid like falling rocks, standing upright like withered vines, which not only captures the thickness of "cone painting sand", but also contains the natural charm of "house leakage marks".

 

His cursive strokes do not rely on lightness and smoothness, but rather on "bone strength": the final strokes are like Emperor Wu of Liang's evaluation of Wang Xizhi's "tiger lying on the phoenix pavilion", with a sense of heaviness in the midst of grandeur and elegance, and the turning points of the strokes have the round force of "folding hairpin strands", without any sharp or thin flaws. Su Shi once said, 'Writing must have spirit, qi, bone, flesh, and blood.' Yan Wuying's brushwork perfectly embodies the 'five elements': the ink color is rich and dry, blending together, creating a wonderful ink technique that' moistens the spring rain and dries the autumn wind. '; The rules of composition are sparse and dense, as described in Sun Guoting's "Shupu": "Within a single point, there is a great deal of bleeding that falls in the slightest glimmer," with ups and downs visible in subtle details.

 

What is particularly valuable is that his book is in line with the principle of "words are like people": the joint work of "Ren Yi Li Zhi Chinese Style" has a broad and upright writing style, without any carving, which is a confirmation of Liu Xizai's "as he learns, as he aspires". Not following the trend of the times, not showing off skills, using pen and ink to express one's temperament, and using dots and paintings to demonstrate one's character, just as Huang Tingjian said, "With morality in one's heart, books are precious.

 

Yan Wuying's calligraphy is a contemporary revitalization of traditional brushwork - in the ancient meanings of "cone painting sand" and "house leak marks", it expresses its own life atmosphere, which is the integration of "heart painting" and "Dao art".