In the southwest corner of Wuwei County, Anhui Province, there is an ancient town-Xiang 'an.
Baiheguan, located in the town, is a cultural site of Shang and Zhou Dynasties. Nowadays, a Luoyang shovel can also touch the scattered fragments of Shang and Zhou pottery and touch those scattered civilizations.
In the ancient town of Xiang 'an, the heaviness and lightness of bronzes have already penetrated this magical land.
Forty-seven years ago in October, Jin was born in this magical ancient town.
Maybe it's a hint that God wants to give this land. One day many years later, he fell in love with Da Zhuan, a part of Shang and Zhou civilization.
After that, he traveled through time and space and became attached to the mysterious symbol 3000 years ago. After he wrote it down all the way, Da Zhuan has been sublimated into a beautiful beauty. Every time he writes an inkstone, the ink is clear, and in an instant, it seems that black and white are distinct, and the rhythmic lines are like songs.
On that day, it was not so much that Jin Huayou chose Da Zhuan as that Da Zhuan chose Jin Huayou. ...
one
More than 3,000 seal scripts, after more than 2,000 years, have a legend, and each word is a symbol like a spell.
Because of its pictographic essence, Dazhuan is difficult to understand. Due to the age, today's ink templates are rare. Unless you have a good knowledge of ancient literature, you dare not act rashly, so few people manage seal script.
Maybe it is a profound family study, maybe it is a genius. Jin, who has always loved Chinese studies and history, has never looked back since the day he fell in love with Chinese studies.
When he entered the world of Da Zhuan, he was attracted by Oracle Bone Inscriptions, Jin Wen and Shi Guwen, infatuated and sincere.
So, he visited Zhong Ding's inscriptions such as Da, Pan, Mao and Pan, and completed Da Zhuan's ancient-seeking journey, and returned with a full load. Jin's seal script art has reached a new height. No matter its form or pen and ink, it has become superb.
The first thing that impressed people was Jin's understanding of Da Zhuan, his sense of structure from Chinese characters, and his "anatomy" and "reconstruction" of the "ancients" thought. Those lines and clusters of ink are full of calls for life, memories of ancient times and devotion to art.
His seal script lines are smooth and euphemistic, the rhythm is symmetrical and natural, the vicissitudes are moderate, simple and heavy, and spirituality and nature are integrated, showing a brand-new atmosphere; In the aspect of image texture of Da Zhuan configuration, he made a lot of aesthetic and exploration on the visual symbolic meaning of Da Zhuan configuration. Through these in-depth academic explorations in art, we can confirm that he didn't simply grasp the specific features of Da Zhuan, but went deep into the roots of China culture to seek roots and ancestors.
two
After the year without the word tablet, Jin's seal scripts are all four-body, especially the big seal script. His seal script is full of ancient meaning and unique style, which can be described as unique.
From the moment when he was a teenager, he wrote his first work "Leng Yue at a Cold Window", starting with "European style" and "Yan style", and he has never left his brush until now. After 40 years of hard work, in calligraphy, the use of "line" and "ink" always grasps the modeling relationship between rationality and sensibility freely with skillful lines, making his works tangible and vivid, and achieving perfect unity in the combination of "line" and "ink".
Therefore, he skillfully mastered the dialectical relationship between fast and slow, dry and wet, part and whole in the process of writing and ink dropping, and formed a sharp contrast between creativity and tradition, freehand brushwork and neatness, black and white and shade, dry and moist, skillful and clumsy, sparse and dense, and existence and absence. Therefore, each of Jin's works is done in one go, because he has written the words in his heart.
The book of seal script has been difficult since ancient times. The pen is neither thick nor thin, neither round nor strong, and cannot be changed. Jin has accumulated 40 years of hard work, captured his soul and spirit. As the seal owner, he is calm, his eyes are not narrowed, and his ears are listening. Although the thunder broke the column, the tiger ran away in fear, so we must know it. He said that the seal script can't be compared with the cursive script and can't be indulged. When the interest rises and falls, you can only be calm and calm.
Seemingly casual, but in fact the atmosphere is well prepared. This is the scene when Kim concentrated on his creation.
In the creation of Da Zhuan, changing pens is an important part. Through long-term creative practice, his pen tip has reached a state of mercury falling to the ground and pervasive. Its long front sheep swims between meaning and pen. 90% strength, 10% workmanship, create a perfect realm of ingenuity.
His lines are permeated with the remoteness, elegance and ease of calligraphy lines. Therefore, his works always exude a strong humanistic spirit.
three
If we comb the development of China's calligraphy, we will find that there would be no simplified characters that are popular all over the world today without Da Zhuan. People of insight say: Da Zhuan is the true essence of calligraphy. It is unique, classical and elegant, characterized by hieroglyphics, and has become the basic element of China national culture.
Jin Huayou follows the tradition. After decades of practice, he has now entered the golden age of creation. He writes both tradition and innovation. With his unique understanding, these thousands of years of writing have changed infinitely with creativity and beauty.
One year, when he visited the National Palace Museum in Taipei, he met Mao. He stopped and stared at the bronze inscription engraved on the tripod, which he copied hundreds and thousands of times. He was deeply moved. He said that the solemn, excited and joyful gaze at that moment was better than seeing an old friend in another country.
He explained things in simple terms, rather than mystifying them. He has two completely different views: one is to do calligraphy as learning; The second is to oppose "playing with art". He said that the real artistic creation is serious, the catharsis of humanistic character and the promotion of humanistic spirit.
Because of this, Jin, as the boss of the enterprise, always insists on taking out two hours to practice calligraphy every day in his busy schedule. He has regarded cultural beliefs as life beliefs, which are true and substantial, calm and lofty.
From Jin's persistence and development of Da Zhuan calligraphy art, people can see another vitality and vigor of China's calligraphy. His ups and downs in Mohai for decades have made people lament the power of civilization inheritance. ...
"The road to the national seal is long, and I am willing to climb it all my life, regardless of the cold." Kim always said that.
As the head of the enterprise, he also performed calligraphy brilliantly.
Wu Xue, secretary of the Secretariat of Anhui Federation of Literary and Art Circles and vice chairman of the Provincial Calligraphy Association, once commented on Jin, saying that he also performed calligraphy as brilliantly as the competent enterprises. Jin's calligraphy path is different. He didn't take the popular path of "from writing to calligraphy" and "from calligraphy to cursive script". But tracing back to the source and catching up with Qin and Han dynasties. It may be a deep family history, or it may be a childhood contact. He has always loved Chinese studies and history. Entering the world of seal script, I was suddenly attracted by Oracle Bone Inscriptions, bronze inscriptions, stone drums and Han steles, which can be said to be infatuated and sincere. When he visited Zhong Ding's inscriptions such as Da, Pan, Mao and Pan, he discovered the beauty of ancient calligraphy in China and the source of China's calligraphy. So, he went on to say, from bronze inscriptions to stone drums, from Taishan stone carvings to Shimenming and Shimen ode. By the time he finished his calligraphy tour, he had returned home with a full load. Looking at Jin's calligraphy now, it is not difficult for you to understand where the spirit of the stone came from, and it is not difficult to understand how he made the calligraphy and the atmosphere so naive and natural. The benevolent Leshan, the wise happy water. Jin understands that everything in water conservancy is indisputable. Therefore, his wisdom is not only manifested in his understanding of calligraphy, but also in his expansion of calligraphy. He knows that third-rate enterprises make products, second-rate enterprises make brands, and first-class enterprises make culture. Therefore, in 2009, he decisively put forward the new thinking of "Cai Hua's three oceans, cross-border enjoyment". He brought the concept of "harmony, harmony and * * * win" in calligraphy to his own enterprise. At the same time, he brought the management concept of "scientific, efficient and team" into calligraphy.
Although we may not even have heard of some of the inscriptions mentioned, we can get a glimpse of Jin's calligraphy and his accomplishments between calligraphy art and enterprise management to some extent through Wu Xue's evaluation.
Jin: Calligraphy cultivates temperament.
Anhui Business Daily: As soon as I entered your office, I smelled a scent of ink, and Four Treasures of the Study, who specializes in calligraphy, was different from the offices of many corporate bosses. Do you practice calligraphy in the office every day?
Jin (hereinafter referred to as Jin): Every morning, I will go to the office half an hour early and use my energetic and energetic time in the morning to practice calligraphy. After work, I will also stay in the office for a while, write for an hour, post or create works, which has become a habit and a persistence of my personal hobby.
Anhui Business Daily: After practicing for so long, you must have a lot of experience in calligraphy, right?
Jin: I think practicing calligraphy can make people's strength and spirit reach a state of devotion. In a person's life, the best age to practice calligraphy should be between 40 and 60. People of this age, with rich life experience, will integrate their understanding of society, their perception of life and their personal feelings into calligraphy. After this age, it may be difficult to reach the peak physically and mentally, and then the words written will go in another direction and become more and more Zen. In fact, I sometimes reveal my words in communication situations. This is an ideal gift, which not only has style, but also can enhance the image and character of the enterprise.
Anhui Business Daily: You are alone in the shopping mall, and writing calligraphy requires a particularly quiet attitude. How do you adjust yourself to the contrast between this movement and silence?
Jin: Doing business and writing calligraphy seem to be far apart, but they are actually intrinsically related. A mature enterprise must be influenced by culture, right? Calligraphy is very suitable for this demand. This is from the outside; Internally, calligraphy embodies a set of philosophical and aesthetic spiritual system that was practiced and summarized by China ancestors. Investing in it is also a good means of self-cultivation. By practicing calligraphy, people can restrain their impetuous emotions and think about the strategic management of enterprises with a wait-and-see attitude, so that they will not be rash when making decisions. The projects I have handled are the products of careful consideration, and there are no mistakes in any project. It can be said that after calligraphy became my habit, these changes took place imperceptibly.