Shang Ji, born in 1979, is from Shangqiu, Henan.

A member of the Chinese Folk Writers and Artists Association, he currently works for the Federation of Literary and Art Circles of Suiyang District, Shangqiu City, and as vice chairman and secretary-general of the Suiyang District Calligraphers Association and the Artists Association.

He studied in the first postgraduate course in calligraphy at the Chinese Calligraphy Institute of the China Academy of Art, the postgraduate course in Chinese painting, and the Cheng Dali Studio of the China National Academy of Painting.

He successively studied under Zeng Xiang, Wang Yong, Cheng Dali and other teachers.

In July 2011, he held a personal calligraphy and painting exhibition at the Chinese Calligraphy Court Exhibition Hall of the Chinese Academy of Arts in Beijing and published the "Collection of Shang Ji's Calligraphy and Painting Exhibition".

Chinese painting is an art of lines. In the process of drawing, it pays attention to the technical requirements of horizontal movement, lifting and twisting. The specific demonstration of the shape of the brushwork is the five-character formula of "flat, round, left, heavy, and change", which emphasizes twists and turns.

, use landscapes as characters and characters as paintings.

Chinese painting is an aristocratic art, but it is not the kind of aristocracy with a palace background in the traditional sense. The aristocracy of the palace is tied to power and always pursues something seemingly perfect. However, the aristocratic spirit of Chinese painting comes from the heart.

, deep down, purely spiritual.

Chinese painting is an art of annealing. Annealing requires age. Excessive anger is detrimental to the creation of Chinese paintings.

The masterful Chinese painting focuses on condensing Qi into an inner strength, something that is not very eye-catching at first glance but becomes more and more flavorful the more you taste it, that is, inner beauty.

Chinese painting is an art of pen and ink. Huang Binhong said that Chinese painting "gives up the inner beauty of pen and ink but nothing else." Pen and ink are extremely important, but most people today focus on graphics, or specifically on certain techniques, and pay attention to visual impact.

force.

For example, when it comes to the seal carvings of Old Man Baishi, everyone’s attention is often focused on the single-knife carving method, often ignoring the culturally relevant aesthetic information such as dignity, perseverance, and wonder contained in them. Instead, one-sided understanding of Old Man Baishi’s “happy” feeling

, as well as the so-called density contrast and other techniques that are just copied by others.

Of course, this is related to the contemporary reality. Because calligraphy and painting have changed from study art to exhibition hall art, handwritten notes and hand scrolls that were originally played among friends have been transformed into art that can be displayed on any occasion. This situation has never been encountered by predecessors.

.

So, a very important thing is lost, that is, the power of introspection.

Zhao Mengfu, a native of the Yuan Dynasty, proposed that "painting has an ancient meaning", which was because he wanted to revitalize and restore the essence of the Chinese painting tradition.

When Dong Xuanzai was young, he often argued with Zhao Mengfu, who thought his calligraphy was too familiar and too vulgar. In his later years, he realized that Zhao Mengfu was superior to him and was convinced. Huang Binhong advocated "ancient meaning", which traced back to the origin of three generations of ancient times, that is, the inscriptions on bronzes.

The mottled, clumsy, old and spicy appearance caused by rust is the simple, original and simple beauty.

It contains both inner beauty and inner strength, and can be seen in the brushstrokes of breaking hairpin strands, leaking marks on a house, and drawing cones in the sand.

Although they are different, they both emphasize restraint, secretly use ancient methods, have methods without showing off, and appear to be powerless but internally generated.

There are different approaches but the same effect.

If inner beauty still needs to appeal to vision, then inner strength needs to appeal to feeling.

The second advantage of using a pen is that the power of the pen penetrates into the back of the paper. The first advantage is that the pen can press on the paper when it is on the paper.

Mountains can be heavy, water can be light, and people can be alive, just by holding down the paper.

When using a pen, the power in your wrist should be hidden in the pen and must not be exposed outside the pen.

The edge must be hidden, not exposed, let alone show strength in the painting.

On the surface, it looks loose and powerless, but in fact, it is exerting force without showing strength. The power blooms from within, and the strokes are full of tension.

Of course, the power of the pen should not be too strong, otherwise it will be dry and hard. It will never go back, and it will not shrink or droop. It should be subtle and subtle, but it should not be exposed. The best quality is to be strong but soft.

From this we can see the importance of calligraphy to painting, that is, the depth of calligraphy skills determines how far a person can go on his artistic path, the quality of his works and the level of his artistic achievements.