In 1976, Jiang Xun traveled to Paris, Spain, Italy, the Netherlands, Germany, Switzerland, the United Kingdom and Greece to write art journals, and returned to China at the end of the same year. In 1977, he became the editor-in-chief of Lion Art, expanding it into a diversified publication covering art, architecture, drama, literature, etc., and making Lion Art the most challenging magazine to reflect the localization of Taiwan at that time, setting off a wave of localization and An upsurge in widespread discussions on national character. In 1979, he began to teach at Cultural University, Fu Jen University, National Taiwan University, Tamkang University, etc., teaching courses such as "Aesthetics" and "Art History". In 1983, he served as the founding director of the Fine Arts Department of Tunghai University. He has served as a judge for the Golden Horse Award, the United Daily News Novel Award, the Golden Tripod Award, the International Print Exhibition of the Council for Cultural Affairs, and the World Chinese Literature Award. In 1989, the radio program "Cultural Square" won the Golden Bell Award for cultural and educational program host. In the same year Birthday held his first solo exhibition in Taipei, displaying more than 60 ink paintings and calligraphy works. Currently a professor at Tunghai University and the National Academy of Arts.
Jiang Xun fell in love with poetry when he was in junior high school. His math exercise book was filled with verses. Poetry was the best place for his lonely young mind to rest. The bookstore's translations of world literary masterpieces are his dream to become a writer. I once wrote a romantic love novel, which was published in "Chinese Language". After entering high school, he continued to write poetry and also tried to write novels. During this period, he met two noble people, Chen Yingzhen and Wan Xian, who encouraged him to create novels and new poems. Influenced by English teacher Chen Yingzhen (also a Taiwanese native writer), "Bihui" and "Modern Literature". Duxian introduced him to read many contemporary new poetry works and reviews, which enabled him to enter the palace of modern poetry. His poems have been published in "Free Youth" and "Jiao Feng", and his first-person novel "The Story of Luo Luo" won the first place among high school novels in the province. Unfortunately, after entering college, I stopped writing poetry. Although my horizons broadened, my inner emotions were entangled by the popular existentialism at the time, as if a heavy burden was on my shoulders, and I could no longer be romantic. During the summer vacation of my freshman year, I dealt with my doubts about life by writing a novel and completed "Uncle Robert's Livestock Career", which synthesized the romanticism of middle school and the existentialism of college. It was published in "Zheng", the predecessor of "China Times" "Xin News". In the same year, the novel "Hope I Can Have a Boat" was published in the supplement of Lianhe Daily, and was selected into "Selected Novels of Lianhe Newspaper for Thirty Years" and "Selected Works of the Human World". However, because I was praised by writers Chu Ge and others when I first tried Crying, my original interest in writing novels in the form of storytelling was suppressed, and I stopped writing for more than ten years. In 1980, "Blind Date" was published again in "Modern Literature". It was not until 1988 that the first short story collection "Legend" (Crown) was published. The best-selling novel "Because of Loneliness" (The Times) was a masterpiece that amazed the literary world in 1992.
Jiang Xun stopped writing poetry during his fourth year in college. It was not until the summer of 1974, when he went to France to study the history of Western art, that he started writing poetry again because of the homesickness he could not relieve. Also because of traveling alone, the emotion of nostalgia began to ferment as if it had been fermented, surging in my heart. Unable to suppress it, I bought a notebook and recited familiar verses from the Book of Songs, Songs of Chu, Yuefu, Tang poetry, Song lyrics, etc. And these poems seem to be the root cause of nostalgia. After writing a whole book, it seems that I have vomited all the heavy nostalgia, and my originally depressed heart feels relieved. At the same time, he also picked up the poems that had been abandoned for a long time and expressed his true feelings in the freest form. This habit of writing poetry, which he had lost for seven or eight years, finally came back. This is his first book - "Young China" (Vision). Following this, the second collection of poems "Mother" (Yuanliu) was published in 1982 and won the China Times Special Recommendation Award. Seven years later, he published a collection of poems, "Sentiment Should Laugh at Me", which was selected into the best-seller list and the joint newspaper list. In 1992, his poetry collection "The Day to Come" was published (Donghua).
Jiang Xun once said: "I have written novels and published two collections of poems, but prose has always been my favorite literary form. But I also know that in the end, prose is probably not just about literary techniques. , but to complete a model in terms of sentiment and magnanimity." He believes that prose has almost always been the orthodoxy of Chinese literature, and poetry and novels must be developed from the basis of prose. In 1984, Jiang Xun's first collection of essays, Encounter by Chance (Erya), was released, and it was an instant success. The following year, he won the Zhongxing Literary Award and the China Times Prose Recommendation Award.
1983 was a harvest season for prose. Two collections of prose were published: "Dadu Mountain" (Er Ya) and "Joyful Praise" (Lin Bai).
In the world of written creation, Jiang Xun has a very broad reach. He sings about the passion and nostalgia of youth in poetry, and details the graceful situations of life in prose, as well as his deep reflection on aesthetics. He also uses The novel deals with the mysterious and complex heart of human nature, always taking care of society's intentions. And because I have been engaged in art work for many years, my works often reveal my care for "people" and also display rich visual images, as if words have replaced lines. Through the fusion of art, I have produced an extremely deep and friendly aesthetic feeling.
As a child, Jiang Xun began to practice calligraphy under the strict supervision of his father. Every day's daily lessons include three articles with large characters and one article with small characters. To avoid a severe beating, my father would always pick a few characters with simple strokes before getting off work, such as "上", "大", "人", "九" "Wait to muddle through. But after eating my mother's sumptuous dinner, there was another evening class, laying and grinding paper again, my little hands were covered by my father's strong and firm palms, and I listened to my father's breathing while writing. Although father and son were so close, writing calligraphy was still a chore in childhood. . More than twenty years later, Jiang Xun really got close to calligraphy and felt that the frustrations in it were a kind of practice of life. From Yan Zhenqing's majestic momentum to Wei Bei's vigorous brushwork. He also learned the art of calligraphy from Wang Zhuangwei when he was in the institute. Such a change turned out to be a panacea for relieving his homesickness in France. From then on, calligraphy has become a belief in Jiang Xun’s life, and he considers himself to be a reflection of the previous stage. The shameful feeling of impetuous and arrogant life.
When he was in elementary school, Jiang Xun liked to draw comic strips in his math books. The masterpieces he created were the beginning of his love for drawing. After junior high school, he attended a painting class at a public service station. The teacher who taught landscape painting was Mr. Xiao Yiwei, a disciple of Pu Xinshe, but he only taught him to write with his wrist hanging and memorize ancient Chinese prose. On the contrary, teacher Chen Ruikang, who taught flowers, encouraged him to paint a rich peony and a majestic rooster. Later, he suffered a fracture in a car accident and interrupted his practice of traditional Chinese painting. He could only paint celebrities with his sister to entertain himself. When he was admitted to college, he gave up the art department due to opposition from his family, but he wanted to have fun carrying easels for art students. It was not until he entered graduate school that he returned to the art field. Influenced by Teacher Zhuang Yan's art of life - writing, drinking, reading and painting in Shuangxi's house outside; being intoxicated with the history of Chinese art with Teacher Li Lincan, and walking on Huagang with Master Xiaoyun, listening to the gurgling stream, and comprehending Buddhist art. Follow teachers Na Zhiliang and Tan Danjiang to learn jade, bronze, pottery, etc. in the super classroom - the Forbidden City. The second time I studied painting was with my friend Xi Song, who was a disciple of Mr. Zhang Gunian. I only remember an upright and rigorous old man who laboriously demonstrated "horizontal, horizontal and vertical" on paper.
In order to study the history of Chinese painting, I asked the old gentleman for help. Although the old gentleman did not stick to the landscape of his motherland and chose the beautiful scenery of Taiwan to paint, he still used the brushwork of "Mustard Seed Garden Painting Book". Many axes were used to chop the rocks in Alishan, but Jiang Xun’s careful observation found that the forests in Alishan are mountain forests with varying levels of subtropical, temperate, and frigid zones. Therefore, in addition to personal experience and academic verification, plus on-the-spot During the drill, I found that some of the forests in Alishan are like the "Jie Suo Cha" used by Zhao Mengfu, and some are like the "Niu Mao Cha" used by Wang Meng, but they are a little more moist. From now on, returning to the Forbidden City to look at paintings is no longer boring, because each landscape can see its different features, show its unique style, and also tell the story of history. This is Jiang Xun's unique view on painting. It is pointed out that Jiang Xun's aesthetic taste is ahead of the readers. Until one day our society returns to simplicity, his works will be taken seriously. His "Where Are You Sober Tonight", "An Unexpected Encounter", "Dadu Mountain", etc. all use his own ink sketches as covers. From the simple lines, it is not difficult to see his characteristics of both elegance and clumsiness.
In terms of art, his works include the graduation thesis "Research on Jianjiang", and published works include "Study on Qi Baishi" (Lion), "Art Notes" (Lion), and "Meditation of Beauty" (Lion) ), "History of Chinese Art for Young People" (Donghua) and other books. In 1987, he held a joint exhibition of "Landscape" with Xi Murong and Chu Ge. On his 42nd birthday in 1990, he held his first solo exhibition of ink paintings. The following year he had a joint exhibition with Xiao Yu and Chen Shiqing, and two years later he had a joint exhibition with his eldest sister Jiang An.
Jiang Xun once said: "I have a dream. I always feel that I am a tree, with roots in the soil, but the seeds have traveled everywhere with the wind and clouds." He is a son of the earth who loves his hometown and is also a hobby. Wandering travel connoisseur.
I went to study in Paris, France in October 1972. In the following year, I spent part of my time in the film library watching three or four films. My favorite directors at that time were Chaplin, Akira Kurosawa, Fellini, Visconti, etc. In the summer of 1974, he hitchhiked throughout Spain, Italy, the Netherlands, Germany, Switzerland, the United Kingdom and Greece, writing art journals until he returned home at the end of the year. In 1981, he was invited to the International Writing Program (I.W.P.) of the University of Iowa in the United States and spent four months with writers from all over the world, including veteran writers Ding Ling, Xiao Jun, Wu Zuxiang, etc. At the end of the year, I revisited my old places - Paris, Greece and other places. In 1983, he traveled to Kyoto and Nara, Japan, in search of the ruins of the Tang Dynasty. In 1987, he used this as a starting point to travel around the world, create the "Books on the Road" series, and went to Singapore to meet with the mainland esthetician Li Zehou. Then go to Bali Island in Indonesia, explore Brussels, revisit Paris, Amsterdam, Greece and other places, take a boat trip to the islands of the Aegean Sea, and visit ancient civilization areas such as Evanescence and Istanbul in Turkey. In May, I embarked on my first trip back to my hometown - Xi'an, visiting Qianxian County and Xingping Ancient Tombs of the Han and Tang Dynasties. In February 1990, he went to Guizhou, Guangxi to collect information on Nuo opera in southwest China. He also went to Beijing to interview old writers such as Qian Zhongshu, Yang Jiang, Xia Yan, Bian Zhilin, and Bing Xin. In February 1991, I traveled with architect Huang Yonghong to appreciate the beauty of Suzhou gardens and the spring of Hangzhou West Lake. In July, he and Xi Murong went on a long march to Ulaanbaatar and the South Gobi in Outer Mongolia. In July 1992, he went to Assisi and Siena, Italy, and then to Paris and Chartres in 1982.
Jiang Xun’s travel experience over the years is that travel is the best way to relax, and it is an excellent natural life course that can educate and entertain, giving him a broader creative space. Therefore, it is recommended to incorporate tourism into the education system so that young people can hone their worldview and independent abilities through "simple" travel. Moreover, he believes that in order to get to know the author deeply, you might as well visit the home where the author lived, in order to understand how the author can create immortal masterpieces.
Jiang Xun’s childhood reading began with the natural influence of Tamsui River and Keelung and both sides of the bank, as well as folk temple fairs and his mother’s storytelling. Reading was a lesson supervised by my strict father: "Tang Poems", "Song Ci", and "Guwen Guanzhi".
The place where he really came into contact with the joy of reading was the library of his youth - Oriental Publishing House, where he read world famous works: "Jane Eyre", "Roaring Heights", "The Enmity of Mount Cristo" "Records", "War and Peace", etc. all made him immersed in the fragrance of books. In high school, English teacher Chen Yingzhen led them to read the original English version of "The Stranger", introduced the works of modern Taiwanese writers Bai Xianyong and Huang Chunming, and read a lot of existentialist works: Faulkner, Kafka, Joyce, Woolford, etc. Nourish his thirsty heart for knowledge. After college, I was more interested in history and philosophy. I also read Buddhist scriptures at Xuanguang Temple on Lion Head Mountain.
"Historical Records", this masterpiece, Jiang Xun believes that it can be read as aesthetics, because Tai Shigong did not judge heroes based on success or failure, and left a perfect image for every historical figure. For example, Xiang Yu and Liu Bang fought against each other between Chu and Han. They are not just two historical characters, but flesh and blood with vitality. Reading this book will give you a heart-stirring feeling. Therefore, it is considered a "classic" that truly affects a person's life. At that time, I was influenced by "Historical Records" and switched from history to the field of aesthetics. He believes that Chinese books have a way of elevating personal life feelings above art.
“Aim for the broad and try for the subtle” is Jiang Xun’s first suggestion for reading. You must first "read a lot of books" and then seek subtle and detailed reading in order to lay a deep foundation. "Literature is not necessarily just literature" was his second suggestion. According to his reading experience, even the medical book "Compendium of Materia Medica" has beautiful words and sentences that touch people's hearts and is worth reading. "Reading everywhere is real reading" is his third suggestion. When he was in Paris, in order to get closer to Paris, he walked for two hours every day, always carrying a collection of poems with him, so that when he rested, he could read a few poems by Baudelaire, Hanbo, Mallarmé, and Apollinaire. Poetry has room to breathe; the French also wander in the world of poetry in small fountain squares with pigeons and outdoor cafes.
The most distinctive feature of Jiang Xun’s appearance is that he has a big head and naturally curly hair. He likes to wear simple and bright clothes. He likes to hang a backpack with pens and paper on his shoulders. He often lowers his head and says nothing when walking. When he is excited, he will sing loudly. The sound is so loud that it is overwhelming, but just like his poems, it gives people a kind of youthful vitality.
He started class very orderly, and timid students were in awe of him. However, on weekends, his house was always filled with the laughter of teachers and students. He is a rare person with a good temper and a good heart. As his best friend Xi Song said: "Hidden inside Jiang Xun is the image of a young man who can sing loudly and shed tears." His most endearing virtue is to share it with others. He planted more than a dozen corn plants in the backyard of his cabin, and invited his friends to enjoy the harvest. Occasionally, he ate some delicious fruits, and he did not forget to leave a painting to share with his friends, with the inscription "This It’s fruit”! Or take the eaten cherry seeds and draw a cherry sketch casually; or write it as "before eating three persimmons."
What is even more valuable is that Mr. Jiang Xun, at the age of sixty years, is like a kind of faith, and I use the mood of preaching to spread the feeling of beauty. ”
Jiang Xun is good at awakening the beauty of low eyebrows and drooping eyelashes, so that we can see the bright and scorching eyes. He is good at awakening the beauty of silence and silence, so that we can hear the singing of orioles and green willows. Gorgeous singing. Jiang Xun has worked hard in literature and aesthetics for many years. In terms of the vertical axis of time, he can be regarded as the son of a filial friend of human culture. In terms of the horizontal axis of space, Jiang Xun is a respectful and humble speaker. He is a product of the poetry and wine romance in this region. He is a calm, elegant, intelligent and comfortable person.
Jiang Xun has won the first place in the Taiwan Provincial Novel Competition, the China Times New Poetry Recommendation Award, and the Wu Luqin Literature Award. Another feature of his is that he once produced the radio program "Cultural Square", which was broadcast by the Taiwan Police Radio Station. It was well received and won the Golden Bell Award in 1988. Jiang Xun believes that "even in In big cities, we can still live leisurely. For people to be able to be at ease and alone, it does not depend on the external environment, but on whether the perception of the soul is sharp. ”
Jiang Xun said, “I stopped classes at home a while ago and learned to use a computer to write and transmit what I think are the most beautiful pictures to my friends and students. They laughed at the pictures, which drove away the anxiety they originally felt due to SARS. "A light in the heart can drive away the darkness in the room. Jiang Xun hopes that everyone can start from themselves, based on life aesthetics and spiritual health, so that their lives and the entire society can be more beautiful and better. .