Collection of calligraphy by Master Hong Yi

Author: Compiled by the Press
Publisher:
Publish Date: 1997-05-01
Features: Master Hongyi devoted great effort to calligraphy. At Mr. Xia Ganjun's place, I saw many of his calligraphy achievements. He practiced all types of stele scripts, and his writing resembled whatever he was depicting. This was perhaps due to his experience with Western painting. The basic practice of Western painting is charcoal sketching, where every line and brushstroke must match the object in front of him exactly. Through such training, his wrist and eyesight became naturally precise, allowing him to achieve a level of effortless mastery. Thus, he could write to resemble whatever he saw.
Art often begins with imitation and ends with originality. Without imitation, one lacks a foundation, but imitating for a lifetime leads to losing oneself, merely following in others' footsteps. However, there is no need to hurry. With a sincere attitude in imitation, one will naturally evolve. Once liberated from imitation, art gains new life—unbound by schools, untrapped by conventions, achieving what is called originality. In recent years, Master Hongyi's calligraphy has reached such a level. Yet, we must not forget that he had spent years practicing, imitating various stele scripts, and achieving resemblance in his writing.
In recent years, some say Master Hongyi's calligraphy resembles that of the Jin dynasty. But which school did he imitate? Honestly, it is hard to say. I am not knowledgeable in calligraphy, yet I deeply admire his handwriting. If asked why I like his calligraphy, I can only instinctively reply that it is full of subtlety and charm.
Overall, his calligraphy resembles a gentle, humble, and respectful gentleman—neither arrogant nor subservient, always smiling and engaging in serene discussions. Even in a single stroke, the sparse areas are not too sparse, and the dense areas are not too dense; every brushstroke seems to fall in the most precise position, leaving no room for even the slightest adjustment. Looking at each stroke and brushstroke, one feels a sense of fullness and dimension. At times, it resembles the innocence of a child's writing, yet it is both primal and mature, with the distinction clearly visible.
In summary, this is what is called subtlety. He shows no arrogance or striving for attention; his skill lies beyond mere brush and ink. The more one looks, the more one finds it meaningful.
These shallow remarks may amuse those who are experts, but I cannot speak of what I do not know. I can only expose my own limitations.