43-year-old party member, bachelor degree, national first-class artist. He is currently a director of China Calligraphers Association, a member of the judging committee, a professor at the training center, and the executive vice chairman and secretary general of Hebei Calligraphers Association.
Since 1987, calligraphy works have won awards in the whole province and the whole country: the first prize of the first calligraphy appraisal exhibition in Hebei Province, and the title of "Top 100 Excellent Calligraphers in Bookstores" in China.
"Dragon" Cup Calligraphy Competition All-around Gold Award, Single Cursive Gold Award, Excellent Works Award of the Fifth National Exhibition of Young and Middle-aged Calligraphers, Excellent Works Award of the First China Calligraphy Award, Eighth Literature and Art Revitalization Award of Hebei Province, and the title of "having both ability and political integrity" in Hebei Province. In recent years, she served as a judge in important exhibitions organized by China Calligraphers Association.
He has published monographs such as Learning Calligraphy, Shuo Fan's Collection of Paintings and Calligraphy, and Two Poems of Li Bai in Shuo Fan Cursive. He was hired as artistic director by Hebei Higher Calligraphy Education Society. China Calligraphers Network (introduction and quotation)
Mailing address: 05005 1 Shijiazhuang City, Hebei Province, Provincial Federation of Literary and Art Circles Tel: 03 1 1-7042580.
Shuo Fan's Inner Embrace and Spirit?
Limuma
I have liked Mr. Shuo Fan's calligraphy for more than ten years. In addition to appreciating the overall artistic conception of his books, I also like to taste the words and even open them to appreciate each line. I think Shuo Fan's calligraphy lines are constantly changing in practice. Especially in recent years, the lines in his works tend to be introverted, and I pay special attention to his pen-picking: the pen tip is not sharp (this "sharp" is like a rusty private room unearthed), which is quite similar to the texture of Oracle Bone Inscriptions and bamboo slips. Collecting a pen is like raising a pen. It doesn't show its edge, but occasionally shows its true meaning. Quite lofty and extraordinary, like a Taoist scholar, he understands in peace and introspection, but he is not in a hurry to express and state. I know that Fan Shuo, like these "Gao Shi", has been waiting for an aesthetic exchange of understanding and tacit understanding. I often stare at his calligraphy lines in a daze, which convey some enlightenment in self-sufficiency and confidence. Staring for a moment, the static lines seem to swim slowly, such as Youlong getting up and the white clouds are light. The lines in his works, though sharp, powerful and orderly retreated inside, are not dormant, full of loyalty and inexhaustible power, waiting for some mysterious call at any time. These lines are dynamic and static, which can reflect the sense of movement and Enron in agility. Have personality but not dull and eccentric, have aura but not make public and frivolous, grasp and hold its discretion and temperature can be said. The lines in his works, such as the unearthed cold weapons, gradually faded away from the slightly flamboyant personality in the early days and tended to be introverted, and approached Huai Su, Yu Youren, Xie Wuliang and Wang Xuezhong ... The difference is that Shuo Fan's lines have a heavier smell of vegetation and are a vigorous and powerful stone spirit. Here, I have no intention of praising Shuo Fan as a master, but I just understand and appreciate his pursuit.
I like Mr Shuo Fan's calligraphy. Lines are on the one hand, and more importantly, structures. When describing his words, the word "small towering" popped up in my mind. What a rare "small towering"! Instead of deliberately pulling the posture to pretend to be big and tall, it is an arrogance. This majesty reminds me of the word "Emei Bo Belt". From this word, I then thought of Qu Yuan (I thought of Qu Zixing's "Yin Tu" written by Mr. Fu Baoshi). Therefore, we will think of the character, style and style of the characters, which will be meteorological and vast after flowing through them. Bend along the line, and then we March into the subtle depths of the structure, and you will feel a little sad. This subtle sadness is not sadness and grief, but a great feeling of sympathy for others and understanding everything. His words always remind me of those tragic literary masterpieces, which make people feel the same from the heart and can't be let go. In these lines, vegetation, mountains and rivers, roads, flowing clouds, galloping horses, wise men who have no intention to stay or stay, and noble people who pitch heaven and earth can all be seen in a trance. There are images in the trance, and there are no traces in the details. This subtle transformation between existence and nothingness brings people an indescribable artistic pleasure.
Whether it is lines or structures, we can clearly see the track of "return" and "reflection" from Shuo Fan's works over the years. In his early works, it is obvious that his desire and personality are expressed in elegance and elegance. His works at that time showed a kind of arrogance and stubbornness. This arrogant stubbornness was quickly recognized and affirmed by the book industry. However, Shuo Fan was not satisfied and insisted on his honor. He has been thinking. I don't think his March is outward expansion, nor is it to strengthen and exaggerate his personality. He took an "inward" road, a road to the "core". It is a way of thinking and realizing. If I guess correctly, this is the state of mind caused by clarity, and the thinking close to Zen and enlightenment. His words, such as the harmony and embrace of Tai Chi masters, extend the artistic conception in the process of simplicity and homeopathy: his words seem to be a wise man who looks up at the greatness of the universe and overlooks the prosperity of categories. This kind of life with different temperament and nature is harmonious in harmony, like a play, which shows the distinct personalities of different roles in mutual comparison and reflection, and these different personalities can deepen the theme of * * * and set off the whole plot.
As far as my personal observation is concerned, although his cursive script has been highly praised by Yan Zhenqing and He He, in terms of line quality, epigraphy has a large proportion and strong stoniness. I think Shuo Fan's contribution is mainly to express the interest and composition of coherent epigraphy with epigraphy lines. At this point, his pursuit is similar to that of Zhang Xuguang. Zhang Xuguang's cursive script not only pays attention to the unfolding of the embrace, but also pursues the reduction of the center of gravity (meaning that cursive script is "flat and heavy"). On the other hand, Shuo Fan's cursive script is an "expansion" in the slight improvement of the center of gravity. This kind of "expansion" radiation dominates the whole and forms a spiritual shadow on the characters. To put it bluntly, his writing, like a knowledgeable person, gives people a full and loyal force. Compared with Yan Zhenqing and He, we have been looking for breakthroughs, except in structure and pointillism. I guess he may be looking for a feeling of "being born", which can be called Taoism or Zen, but it is not all, and it is closer to an aesthetic pursuit of character.
One more thing, Shuo Fan's cursive script not only has the "weight" of artistic impact, but also has an elegant atmosphere. I also noticed that all his books have clear line spacing and are quite bookish. In addition, many of his cursive lines are widely spaced. From the composition point of view, it is difficult to keep wide line spacing, because the distance between words is far, and it is necessary to increase the magnetism and radiation of words. In this respect, Shuo Fan and Mr. Zhang Rongqing can be called bosom friends.
Mr Shuo Fan's calligraphy and painting are very good, which is an intriguing topic. His words have the flavor of mountains, and the mountains he wrote have the rhyme of words. The trace of the line connects his words and paintings. Those Chinese characters reflect the dynamics of natural life, and those mountains and trees are spiritual and knowledgeable. His landscape paintings are written with strokes, and each line can stand scrutiny. Especially as the main means, Jiao Mo's thirst for pens always makes people feel that the cloud paper is full and watertight. These lines are easily reminiscent of Huang He, but they are their own lines. Hong Bin's old lines are full of moisture and clumsy. Mr. Zhang Ding's lines are very spicy (I always think of his big pipe). I didn't raise Shuo Fan, but I felt the change of inheritance. Shuo Fan's lines pay attention to a rich elegance. We can't see the heavy colors, but we can feel the massiness of the picture. Come to think of it, this is a kind of ability to borrow white. With his solid artistic foundation and understanding of the relationship between black and white perspective, he made the thirsty pen shout out the "white" of "counting white as black" and made "white" the protagonist who expressed the quality of the mountain. From a higher aesthetic level, these "whites" also express an ethereal taste. The lines of his landscape paintings are quite rattan. Old and vigorous, vaguely reflects an indomitable spirit. His paintings come from the ancients and more from nature. They are elegant and calm, but they are not happy and sentimental. The Taihang flavor of this mountain and Zhao Yan's personality are dignified and solemn, and there is a feeling of compassion.
In Mr. Shuo Fan's writing and painting, I also clearly understand the grasp of "potential". There is a cloud in the theory of gestures: "it is difficult to make a hanging needle;" The power of inspiring people is charming enough. " Mr Shuo Fan's handwriting and paintings are charming. In my opinion, the so-called potential is a tendency and sense of rhythm of sports. I noticed that Mr. Shuo Fan's words also deliberately converged on "potential". He may be looking for a regular and orderly "potential". In recent years, both the contrast of strokes and glyphs, and the changes of pitch and inclination have narrowed the scope. Interestingly, this dynamic trend of reducing amplitude actually expands the internal tension of the work. Although it is rare to see "potential collapse and deep stone jump", it is true that "there is a strong spirit in the heroic spirit".
Writing here, I can't help thinking that no matter literature or painting and calligraphy, all famous artists have their own base areas, such as Dunhuang of Zhang Daqian, Xinjiang of Huangzhou, northern Shaanxi of Liu Wenxi, Lijiang of Bai Xueshi, Jiangnan of Song Wenzhi, Changbai of Yu Zhixue, Tianshan of Zhou Zunsheng ... Shuo Fan's landscape paintings and cursive scripts give people a strong Taihang atmosphere. He went to Taihang to sketch many times, went deep into Taihang, and had a silent and pleasant spiritual dialogue with Dashan. Artistic exploration is often far-reaching, because every secret opportunity is issued outside the ordinary; Profound principles often lurk between shadows. From this, I think that "if the husband is close, there will be many tourists" in "You Bao Chan"; The risks are far away, but the risks are few. And that kind of strange, magnificent, transcendent worldview often lies in danger and remoteness, and what people have is rare, so where there is a will, there is a way. His words and paintings are deeply rooted in the traditional foundation, but they can faintly glow with the breath of the times. The expression of this modern atmosphere is also forbearance and peace, and there is a kind of humility that contains but does not show, leads but does not send. Thus, this flavor of the times and modernity has become living water and a tree with roots.
20 13 Yu jinghua balcony bookstore in summer vacation