Wang Yong/Text
It is not easy to truly understand a person. This is true even for Liu Yanhu who is close by.
Not long ago, I saw Liu Yanhu's Ouyang Tong "Master Daoyin Stele" from the Tang Dynasty in the second issue of "Chinese Calligraphy" this year. I thought it was very exciting, especially the seal script forehead, which is more "new". Reasonable abnormality". After talking to Yan Hu on the phone, I noticed that the 16-character inscription on the monument was "made up" by him. I was a little surprised at the time: Just imagine, if there is no solid foundation of ancient philology and no means of artistic composition, how can one "self-reveal from ancient times" to such an extent?
The birth of writing is the division between the barbaric era and the civilized era in the process of human society. The art of calligraphy based on words has undoubtedly become the carrier of the aesthetic psychology of the Chinese nation. Therefore, it can be said that calligraphy is a unique visual art with the most Chinese cultural genes. However, the education we have received today has caused most people to only recognize the appearance of their own writing - Chinese characters, but not its origin. As a result, there is no way to comprehend the beauty of its form and study its transformation. The method of deformation to express ideas is one of the footholds of today's calligraphy creation and highlighting of artistic personality.
Liu Yanhu is one of the few calligraphers and seal carvers today who has artistic accomplishments closely related to calligraphy. He is outstanding in ancient philology, ancient classics, ancient literature, and history of calligraphy and seal cutting. At the same time, you can pay attention to and understand contemporary art, and have the ability to express and create. Especially in the current impetuous and noisy social atmosphere, people like Liu Yanhu who are dedicated to academics deserve more attention.
Today’s calligraphy art is in a period of historical transformation. Regarding Liu Yanhu, we have reason to have high hopes for his tomorrow.
At the Xifeng Pavilion in November 2003
His works have a very rational and extensive inheritance of tradition. Just now I talked about his Han Dynasty seal script. In fact, he absorbed bamboo slips, Dunhuang scriptures, Tang Dynasty regular script, oracle bone inscriptions and bronze inscriptions. This is why I think he is a representative among contemporary calligraphy creators. The embodiment of calligraphy, this kind of contemporaneity may not be available in the Qing Dynasty, Ming Dynasty, Tang Dynasty, and Song Dynasty. Archaeological or art archaeological history will prove that the creation of our contemporary calligraphy generation has achieved the contemporaneity of contemporary calligraphy. Well Liu Yanhu is a clear example. I think multidisciplinary communication truly finds the value of our contemporary calligraphy creation. So for Liu Yanhu's own microscopic research, I think his achievements have made a big step forward. His best, what I admire is his running script, which is very good, and then his seal script. The cursive calligraphy I saw today, especially the cursive calligraphy written by Zhu Yunming, is very accomplished. Of course, it is not only Zhu Yunming, Zhang Xuhe and Wang Duo who create. I found in his micro world that he had a kind of contradiction, and this contradiction may be the basis for his further progress. The shift of Chinese calligraphy from handwritten works to epigraphic works resulted in a major division. In epigraphic works, attention was paid to those written on bronzes, inscriptions written in the Han Dynasty, or on steles. It emphasized the decorative nature of calligraphy. Literati have focused on expressiveness in writing since the Eastern Han Dynasty, but we can clearly see that Liu Yanhu's calligraphy is drawn from every detail. He is balancing two pursuits, one rational and one emotional. His wild cursive writing is full of sensibility. It is expressive, and his seal script is very decorative. This is his artistic rationality. It is this contradiction that may contribute to the further development of his art. When it can be properly handled and reaches the best point, or the best degree, then his calligraphy may achieve real success. But today he is already a great success. After all, he is only in his forties, and there will be times when people are old.
——Liu Zhengcheng
In my impression of Liu Yanhu’s creations ten years ago, his seal script writing has the shadow of Lin Jian, I say it is a shadow, and his cursive script has Liu Zhengcheng’s shadow. The shadows, I mean shadows, not specifically like them, there are very obvious traces. Looking at it this time, it is obvious that these traces have disappeared from the sky. It is strange that after his traces disappear, he is not like other people taking this shadow. This is a phenomenon of independent development. He has developed his own system here, and his creative form is completely different from others. His ego is expanding from one point to another, which is very interesting. It is different from others, this is a very valuable place.
From this, I think of today’s tradition, because in the Republic of China and Qing Dynasty, there were not as many people engaged in calligraphy creation as there are today. Now the team is very large, and there is a tendency to get closer to each other among the large people. People of the same generation subconsciously follow each other. The earth is influencing each other. Liu Yanhu is very strange. He is almost different from others. Except that his cursive script still stays within the framework of the ancients. His seal script and running script are different from others. There are occasional shadows of Xu Beihong and Yu Youren's composition in the running script. This There are fewer shadows, and they can’t even be called shadows. There are a little traces of deja vu. The degree of this little bit is about one-tenth. It should be considered that it is completely his individual. What about the expansion and development of this individual? Personal opinions vary, some think it’s not good. But it has a meaning, that is, how do we take a grain of sand from tradition and expand it through physics? There is a phenomenon in astronomy in physics, is it expanded from an object? Then, he is far away from all contemporary individual artistic creations. He is not close to others. This is very valuable for Liu Yanhu. He has not converged with others. He has gone further and further away, even if contemporary people cannot recognize or understand him. Identification cannot arouse the appreciation of contemporary people, which is secondary. As an artistic development for him, I think this is very valuable. This is what arouses my thoughts the most, and I still have to digest this when I go back. For this phenomenon like Liu Yanhu, we should think about how he pursues individuality from tradition and expresses his individuality. This is so important. These four words determine the success of an artist. The most important thing is to express his individuality. Of course, individuality must be combined with tradition. Mr. Chen Chuanxi once said about traditional independence and individuality. I used to be very particular about this individuality. Mr. Chen Chuanxi has an article. Although I don’t agree with most of his opinions, this point of view is very good. It is in tradition and personality that we must pursue perfection. However, how to determine the relationship between personality and personality, and how to grasp its degree, is very, very important. Regarding sexual nature, I think Liu Yanhu has a good grasp of it. Maybe the experts here have different opinions, but he is very interesting and does a good job in expressing his personality.
In addition, his work also reveals a kind of morale. This kind of morale is not very popular nowadays. To have famous morale, you must first have the temperament of a scholar. I once heard many scholars say: There are no literati in the contemporary era, and all literati are dead. However, Chinese culture will still be passed down, and it is passed on from generation to generation in a subtle way. I think Liu Yanhu’s classical culture, from his inscriptions and postscripts, and from his various writing materials, can fully reveal information about his classical literary accomplishment. Moreover, he has a reckless, very bold and casual attitude in the writing process. I think this attitude is a manifestation of morale. Of course, Liu Yanhu is relatively reserved in his personal life. Some people once said that he was pretending to be so reserved. He is a very arrogant person at heart. I think he is right. This was said by Shanghai Xu Zhenglian. He said that he was a very arrogant person at heart. Then, because in our world, the relationship between people is very complicated, he should be more humble and more obscure. I think this concealment is necessary and unnecessary. Of course, if you don’t show off your talents, you will run into trouble. If you show off your talents a little bit, it will be better. Therefore, the fact that so many people came to support him today shows that Liu Yanhu Taoguang is valuable. If I were to hold an exhibition, there would definitely not be so many people watching it. Everyone here would be offended by me, which shows that there is a cost involved. This also summarizes a cultural phenomenon, that is, how to deal with people, how to behave, and how to make art. I often think that calligraphy and painting creation and all plastic arts express the state of life. The valuable thing about Liu Yanhu is that when he expresses his life state, his arrogant mentality can still be reflected in his words. It's a close friend. I don't know if I can be Liu Yanhu's close friend. I can also explore this kind of information. This is why he can show a real morale, which is very valuable. And since the Republic of China, like Zheng Xiaoxu, Zheng Xiaoxu's character is of course not worth mentioning. Even after him, writing that truly expresses a kind of morale has almost completely declined, and is basically invisible now. But Liu Yanhu can inherit I don’t know whether Liu Yanhu did this (fame morale) unintentionally or intentionally. Anyway, I clearly see this message in his works. This is where I want to congratulate him and learn from him. I will say here.
——Shi Kai
Liu Yanhu is a passionate person who is unwilling to remain content. "The Story of the Old Lake" is a masterpiece with honest and naive characters and a tepid sword. In general, the most important thing about art is hard work, difficult words to understand, and a deep state of mind.
——Chen Guobin
It is admirable that Liu Yanhu can handle single-character printing so well. One of his abilities is to create or even fabricate the structure of some words, but the ancient flavor makes you feel that the word has a great origin. Without the long-term influence of tradition and extraordinary adaptability, it is impossible to achieve this state. With such skills and talents, Brother Yanhu should be a proud person. Perhaps because of his cultivation and experience, Brother Yanhu does not seem to show arrogance in life, but he may be unable or unwilling to hide his true nature in his works. I think his seal carvings are a bit arrogant and a bit cold. Liu Yanhu in the work should be more realistic!
——Xu Zhenglian and Xue Yongnian
Yanhu’s talent emerged early and emerged in the world of contemporary calligraphy and seal cutting. It's been more than ten years. His calligraphy is penetrating and subtle, with both compositional consciousness and freehand spirit. He is good at expressing contemporary aesthetic trends among ancients, and can inject strong personality into writing in various calligraphy styles. Wherever the essence is, it can be said that the words are filled with gold and the lines are filled with jade; where the novelty is unique, it can be described as new principles and unique styles. I often feel that behind his majestic and calm style there is a kind of pride that defies ancient and modern times, just like the bright and clear river contains endless waves of passion. And that kind of mind that opens up the ages, as his age and experience increase, he becomes more and more immersed in the efforts to inherit the changes. He seems to be more scholarly than the calligraphers of his generation, exploring more traditions and transforming the ancient into the ancient. Today's consciousness.
Liu Xie has long said: "Literary changes are influenced by the world's sentiments, and their rise and fall are related to the sequence of events." Calligraphy is no exception. Continuous innovation is the undisputed right path in the world. However, this kind of visual art that is imbued with rich culture, in terms of the connection between vision and culture, in the way of thinking and expression of national aesthetics, in the harmony of heart, hand and eye, in the connection between "coquettish meaning" and "heart of heaven and earth" In terms of convergence, the accumulated experience of predecessors, whether expressed in the form of works or theory, is not useless and useless, nor is it an obsolete statement. On the contrary, it is often a beacon that clears the fog and circumvents the reef. Therefore, connecting the inheritance and change of the art of calligraphy requires the sensitivity of a genius and the wisdom of a scholar. Liu Yanhu is exactly the wise man in this regard.
Recently, a batch of his calligraphy works will be published in a collection, and I am fortunate to have a sneak peek. Most of these works appear in the form of ancient texts, referencing objects such as steles and calligraphy, and are mainly in static calligraphy styles such as seal script, official script, and true calligraphy, dating from the Han and Wei dynasties to the Ming and Qing dynasties. Watching carefully, it seems that through selective interpretation of classics, he continues to understand the secrets of the ancient calligraphers' inscriptions, and continues to explore the subtleties of using the pen like a knife and the knife like a pen. Practice the perfect combination of painting within the brush and the edge, continue to observe the interaction between the speed of brushwork and the craftsmanship of space, and continue to study the true talents and achievements of the predecessors in opening up the various bodies. In short, he seems to be more consciously exploring the potential of tradition with a modern perspective, realizing the transformation of modern calligraphy into the essence of ancient calligraphy through the connection of inheritance and change, and further enriching the eternal accumulation of traditional culture in a distinctive style.
The relationship between Yanhu and my calligraphy and calligraphy can be traced back to Changchun, where I came first. During the year when he was studying in Changchun, I returned to Beijing. The Jilin Provincial Museum where I worked is famous for having Zhang Boju as its deputy director. This great collector was not only the old owner of "Spring Outing", but he also organized the Beijing Painting and Calligraphy Research Society as early as the founding of the People's Republic of China. After coming to Spring City in the North, he launched the Spring Outing Gathering, and collaborated with Yan Hu's later teacher Yu Shengwu, Luo Jizu and others held frequent literary meetings, discussed the present and the past, and hand-engraved "Spring Outing Suo Tan" to carry forward the tradition and spread it throughout the country. Although Yu Shengwu and Luo Jizu are paleographers and historians respectively, their calligraphy is also outstanding in their own way. I think that the reason why Yanhu used the collection of spring outings and prefaced it with Qianwo is probably to commemorate the years of studying in Changchun, to remember the traditional Tao Ru received in Chuncheng, and to express the heart of boxing that continues the cultural context in seeking innovation and change. Bar. Zhang Peiyuan
Brother Panshi Liu Yanhu, the story of Shangyu Luoxuetang was retold, and the old man entered the house. I once asked about it in Haitian House, and sat down again in the spring breeze of Xifeng Pavilion. Nowadays Hong is a famous scholar in the museum.
Meet my brother very late. In the fifty-seventh year of the Wei Dynasty and the Republic of China, the year was Dinghai, and the day was Xinhai in the Guichou month.
The "Ten Doctors" jointly exhibited in Liulichang, and they were impressed by the connection. They said: "His writing and handwriting are as clever as clumsiness, and his thinking is as great and wise as stupid. The talents of heaven are not enough, and the way of studying the ancients is thought-provoking." Next year, the "Shupu Society" will be rebuilt and the "Reissue Number" will be compiled.
The concept of "watching the husband rocking the stone" is between ancient and modern times. Before the Han Dynasty, he was proud, but after the Tang Dynasty, he was wandering. Adhering to the popular customs, rarely contradicting the ancestral rules; enforcing the law and acting elegantly, forming family rules by itself. This person is honest and simple yet capable of high-spiritedness, which is described as cloud-water demeanor; he is profound and profound, and he is as humble as a valley. People call him a mountain-sea mind. The vast soup and soup have the uprightness of a gentleman; they are eloquent and eloquent, but not the shabbyness of a scholar. Therefore, it is famous in the Fu domain, and a high standard is hung in the North Tower; Tao Yi Meng is outside, and its foundation is spread in Tokyo. This is the grand view of an open house. However, the book is just an afterthought, and it is not just passed on through this, no. A generation of scholars who were proficient in Buddhism, Confucianism, Taoism, and art: good at metal and stone, seal script, Li, Zhen, Xing, and Cao; they occasionally created works that were often fashionable. The "Five Deng" poems are compiled from the "Si Ku" compiled by Bai Yinlu, book reviews and seals. A few words and horizontal plaques and vertical couplets are combined. Because I know that the "Three Religions" make people feel ashamed, the "Two Han Dynasties" are a good way to get started. So good, Brother Yanhu! How can he be the leader for a moment or lead the trend for a hundred years? The flowers are blooming and lingering in the world, and they are admired and praised by all the good friends. It is better to have them.
I am not being sycophantic, I am insulting He Ya's destiny by accident, I am talking about the last bamboo slips, and I dare not write a preface.
In the fifty-ninth year of Ji Chou (Ji Chou), on the Bingyin day of Ji Si month, we met. Zhang Peiyuan of Hui'an was in Hetang. Liu Yanhu
It has been half a century ago. I was not born at that time. A group of cultural figures gathered in Changchun from all over the world and a very poetic story was born. The name - Spring Outing Club. This group of people used knowledge and articles to strengthen each other, comfort each other, and care for each other. With them, they overcame suffering, loneliness, and desolation. Every time they gather together, they spiritually become the characters in Zhan Ziqian's paintings, happily bathing in the wind and water of the Han, Wei, Sui and Tang Dynasties. Therefore, "Spring Outing" became a symbol in the spiritual history of Changchun's cultural people, and the Spring Outing Club became the cultural context of modern Changchun.
The founder of the Spring Outing Club is Zhang Boju, an old man from Cong Bi. Two elders, such as Yu Sibo (Shengwu) and Luo Ganru (Jizu), who are close friends with him, are teachers at my alma mater, Jilin University. , I was lucky enough to get along with my second elder when I was studying and graduating. Before "Spring Outing Chat" was officially published, I had already read some of the yellowed wax paper mimeographed chapters in Teacher Luo's study, and heard fragments of anecdotes about Spring Society from Teacher Luo. Although I was born too late in life and could not enjoy the prosperity of the family, but I could be close to the elders and be graceful, so in my heart I could be regarded as a member of the spring outing.
From the time I was studying in Changchun without anyone at the age of 18, to the time I moved to Beijing with my wife at the age of 38, all my youthful memories were of a spring outing for twenty years! This has become a gentle place where my soul rests. No matter the wind, flowers, snow, moon, firewood, rice, oil and salt, because the soul has a direction to take refuge, it is no longer illusory and misty, nor is it bleak. The world is cold and warm, and the four seasons are spring. These twenty years have become a scenery that I will have endless aftertaste of.
Traveling is a state. Confucius’ ideals of morality, morality, and benevolence will ultimately be implemented in “recreation”. Traveling also reflects different realms. In Wang Jinggong's "Travel Notes on Baochan Mountain", there is a distinction between "the foreigners are close" and the "dangers are far away". When a sea visitor talks about Ying, the misty waves are faint, three feet away from the sky, and the words startle the emperor's seat. Dangerous adventures are one stage of the realm; and "magnificent weather, splendid literary talent, getting older and more mature, and returning to plainness" is another stage! Before I was 40 years old, I liked Dongpo's heroic spirit of "Looking to the west at Taibai and across Emin, with his eyes high and the whole world empty of people." At that time, I still wrote couplets such as "Long-looking and smooth, high-spirited." It's quite imaginable that I Now that I am about half a century old, I prefer Zhang Chunshui's melancholy sentences such as "The white clouds are idle, the new and old rains are abundant, and how many heroes travel to rest." After the grand tour and wandering, when tired, he returned home. Talking to my father about Sangma is a state of mind, and this state of mind is already an unattainable luxury for me. A month ago, my teacher, Mr. Zhou Xifei, the owner of Haitian House, passed away. Since then, all the elders have faded away. This kind of pain is not only worthy of the words "depressed and frustrated", it can even make you cry for a long time!
The exhibition originally scheduled to return to Changchun in the early spring of this year has been postponed to Changxia due to various reasons. He asked the old man for advice face to face, and this wish has now become a dream.
However, I still cheered up and took out my work to meet my colleagues in Changchun. I believe that those seniors who have given me blessings are alive in heaven, and their wise eyes will see my works, and their spirits will continue to inspire me. So, let’s dedicate this exhibition to those pairs of wise eyes, and also to those calligraphers like me who have placed their infinite dreams in the fleeting writing and also wasted their precious youth.
Those spring outings!
I would like to express my gratitude to Mr. Jiang Lihua, the sponsor of this exhibition, and my sincere gratitude to brothers Hailin, Xiyou and Huaiyi who helped me with this exhibition and the publication of the album. Professor Xue Yongnian and Brother Zhang Peiyuan gave this preface despite their busy schedules, and I would like to express my gratitude here.
Early summer of 2009
The dim light of dawn in Anchang Lu