Shi's life experience

Calligrapher Shi was born in Shengyue. At the age of seven, I began to learn calligraphy under the guidance of my uncle and learned all kinds of calligraphy. Before he was twenty, he won many prizes in provincial and national calligraphy competitions. In the early 1980s, the road to reform and opening up in China began to take shape. Whether China's traditional calligraphy art can break through the formal barriers and connect with the world's aesthetic consciousness has become a proposition that a group of calligraphers struggled to find the answer at that time. This paper introduces the modernist exploration information in Japanese calligraphy field one after another, which is of great inspiration to contemporary young and middle-aged calligraphers in China. Therefore, the first batch of calligraphers with modernist calligraphy as the breakthrough appeared in China. Compared with traditional calligraphy, the so-called modernism has made great breakthroughs in font, brushwork and ink use, and fully explored the aesthetic connotation of Chinese characters and brush lines in an eclectic way. Yuejushi has become one of the few people who dare to eat crabs. Compared with modern calligraphers of the same period, his breakthrough is broader and richer. He boldly borrowed many years' experience and techniques from Chinese painting, and made great breakthroughs in pen, ink and lines. 199 1 1 In the "China First Art Exhibition Competition" in February, Master Jian Yue won the first prize in calligraphy for his modernist works, which made the spirit of modernist calligraphers at that time at a low ebb high. At the beginning of 1992, Master Jian Yue was invited to Osaka, Kyoto and other places in Japan to hold a roving exhibition of personal modernist calligraphy works, which set off quite a whirlwind in the Japanese calligraphy circle, which is known as the birthplace of modern calligraphy. Osaka "Pioneering School" Calligraphy Association specially invited Master Jian Yue as its distinguished guest and tutor, and a group of young Japanese learners also worshipped at the gate of Master Jian Yue.

However, just as China's modernist calligraphy art is developing vigorously, it seems that it will become the mainstream of contemporary calligraphy, but the layman Jian Yue suddenly disappears from the ranks of modernist calligraphy explorers. Three years later, at the beginning of 1995, Master Jian Yue returned to the calligraphy circle, and unexpectedly put forward a set of new calligraphy ideas aimed at treating the disadvantages of the modern calligraphy circle, which is the "Modern Zen Calligraphy School". 1997, Jian Yue Zen Book was published for the first time by Fa Yin magazine of Chinese Buddhist Association. 1998 went to Jian Yue to spread Zen books in Yunnan, and many media such as Yunnan East Road Times, Life Daily and Spring City Evening News followed up. Zen School has been widely spread in China, Hong Kong, Macao and Taiwan, Japan, South Korea, Singapore and other places, and calligraphers who are interested in exploring and creating Zen books at home and abroad are constantly emerging.

Anyone familiar with Jian Yue knows that he began to believe in Buddhism in his teens and began to study Buddhist scriptures more than 20 years ago. He converted to Shi Rende, the abbot of Tanyuan Temple in Jiuhua Mountain and a famous Zen master, and practiced meditation for a long time. The proposal of "Modern Zen School" is the crystallization of its understanding and realm of meditation and calligraphy. In the view of Yue Opera, traditional calligraphy is trapped by techniques; Although modernist calligraphy has broken the tradition, it can't get rid of affectation and dryness, while "Zen Calligraphy School" is the desire to pursue "line reduction", that is, to let go, which is detached, not only to let go of techniques and habits, but also to take "style" as a burden. Let go of one point, improve one point, or even let go, so that people, hearts, hands, words and hearts are consistent. At this time, the book is a heart mark, not floating on the desktop. What kind of mood and what kind of book environment are the principles and goals of Zen books. Different from meditation, meditation often has the bias of "liking the upper and hating the lower", while Zen books do not seek beauty, but only "correspond" with the heart and be close to the heart. As for what you think, whether it is aesthetic or not is not the direct goal of Zen book creation. However, modern Zen books are not divorced from calligraphy itself. In order to maintain the characteristics of Zen calligraphy, monk Jian Yue put forward two wishes of Zen calligraphy. One is to highlight the noumenon feature of calligraphy-line art, and the other is to write rather than draw, that is, to require the continuity of time and the order of space when using the pen; It needs to be completed at one time and cannot be repeated; Emphasize the simplicity and publicity of lines, and put emotion, strength and rhythm in the writing process at one time-this is the quality of lines. At the same time, Qian Yueju emphasized the role of traditional calligraphy and modernist calligraphy skills in the creation of Zen books, and advocated not emphasizing the basic arrogant style. He believes that Zen books are not castles in the air. Without the practice, tempering, pondering and understanding of traditional and modern calligraphy skills, it is difficult to appreciate the true taste of Zen books. Without the exercise of traditional calligraphy and modernist calligraphy skills, it is impossible to be "one and the same" and to show one's heart easily.