Zhongguancun: Have you been engaged in calligraphy education, research and creation for a long time? How to deal with the relationship between the three? Ye Peigui: These three aspects are unified and complementary. Scientific research is actually learning, and education is teaching. As for creation, it is a process of continuous learning. On the one hand, "teaching" needs to learn from ancient and modern sages, which requires doing scientific research, learning how to create, and learning a lot in the process of discussing with students. So it is "learning from teaching". I am a fool, so everything is on thin ice.
Zhongguancun: What is the connotation of your calligraphy creation and what is your artistic value orientation?
Ye Peigui: I'm ashamed. I'm superficial and I'm still trying to make progress. I dare not say "creative connotation". I put more energy into Mi Fei in the Song Dynasty, Chu Suiliang and Li Beihai in the Tang Dynasty, and intend to trace back to Wang Xizhi, which is basically the way of literati in the past. I studied Chinese in university, and later I followed Mr Ouyang Zhongshi. I teach more in this field, which is more in line with my own temperament. Naturally, I came down like this, forming a value orientation that favors both refined and popular tastes and pursues both refined and popular tastes. The tradition of literati is profound, and I try my best to explore it, but I can't reach it.
Zhongguancun: Who did you owe your calligraphy enlightenment to?
Ye Peigui: My teacher is Huang Jianxun, a calligraphy teacher in Shunchang, Fujian. They teach in Shunchang Youth Palace. They are very persistent in calligraphy and care for students. They have a spirit of sacrifice, which I will never forget.
Zhongguancun: Who inspired and influenced you the most in Beijing?
Ye Peigui: After I arrived in Beijing, I studied at Beijing Normal University and Capital Normal University. There is Mr. Qi Gong in Beijing Normal University. His spirit permeates the whole campus, and the students are very enthusiastic about learning calligraphy. In addition, although I didn't have the opportunity to directly consult Mr. Qi Lao, I was fortunate enough to listen to the teachings of his high-footed Mr. Qin Yonglong, which prompted me to stick to this hobby I developed in middle school. Later, I was admitted to the master's degree and doctor's degree of Mr. Ouyang Zhongshi, and I did it as a major, so it had the deepest influence. Mr Ouyang is very kind to me! I followed him, not only to learn my major, but also to learn the spirit of scholarship, and the most important thing is to learn to be a man. He is a truly respected and knowledgeable master and a truly respected elder.
Zhongguancun: What is your artistic life like?
Ye Peigui: Reading, teaching, posting, living, completing some calligraphy and painting activities arranged by the community. Read a good book with clear eyes; It is refreshing to teach a class well and bring a few good students. Good posts in the book, slippery hands; Life is wandering, and the heart is bright; Complete some social tasks, people and peace. I hope this state can make me better understand the spirit of calligraphy.
Zhongguancun: What is the theme of calligraphy creation that interests you?
Ye Peigui: Of course it's a good poem. Calligraphy is the art of writing, so is poetry, and there is naturally a mutual incentive mechanism between them.
Zhongguancun: Calligraphy has been revived for 30 years. What's your general view of the book industry?
Ye Peigui: Thirty glorious years. It makes calligraphy, which has been absent from China's cultural system for many years, fully return, and in response to the wave of reform and opening up, it has launched a surging pursuit, opening up and reform-tracking the progress of other humanities and social sciences, and even tracking the frontier trends of world art, opening its mind to the whole world and trying to create a new atmosphere in the new era. So I think the contemporary book industry is actively fighting for it. Of course, it's not that there is no problem, but when will there be no problem? So it still depends on the main aspects.
Zhongguancun: What do you think of "pen and ink should keep pace with the times" advocated by the literary and art circles?
Ye Peigui: In principle, this is the inevitable development of art, but we should treat "keeping pace with the times" dialectically. The "times" are often fascinated by the authorities, and the latecomers are clear, so what they think of as "compliance" may just be "violation"; On the other hand, if there is no "following" on the surface, there are three possibilities, one is "surpassing" (of course better), the other is really "following" and the other is actually "falling"-but these may not be clear at that time. What you can see clearly is the bosom friend of the times, who may become the spokesman of the times and even the prophet of the future.
Zhongguancun: How is the time for artistic creation arranged? What new works are there?
Ye Peigui: If there is no deliberate arrangement, it is easy to publish a book when there is little redundancy, so I will write more; When I have teaching tasks, I also take time to review some classics. I wrote a batch of things. At the request of a friend in Xinyang, I wrote some poems by He Jingming, a famous poet in Xinyang, Henan Province in the Ming Dynasty, and published them in Henan Fine Arts Publishing House. He Jingming was one of the "first seven sons" in Ming Dynasty. This friend admires the country sage and is sincere and sensible.
Zhongguancun: What do you think is the most difficult problem in creation?
Ye Peigui: I think it's thought. Under modern conditions, it is not difficult for savvy scholars to learn one school or even synthesize various schools, because it is much more convenient than the ancients in material conditions such as copybook publishing, research methods and copying methods. However, the problem of "hand" is easy to solve, but the problem of "heart" is difficult to solve. Art is inseparable from the "heart". This is a period of social and cultural transformation, the old tradition has been destroyed, and the new tradition has not been completely clear. It is necessary to have a "heart", otherwise it will be troublesome to calm down and count all empty.
The problem of education is more complicated. First of all, there should be a place for calligraphy in the education system and a series of corresponding protection and management measures to make it orderly; Secondly, because calligraphy has been relatively silent in modern times, how to improve its own academic research content and system as soon as possible is the fundamental guarantee for the normal implementation of education, and it is impossible to explain it clearly.
Zhongguancun: No one is perfect. What do you think is your weakness?
Ye Peigui: There are many shortcomings. The first skill is not deep, especially the classic depth is not enough; Secondly, there is not enough knowledge, especially too much knowledge of traditional culture; Third, I don't have much experience. Reading thousands of books and Wan Li Road, I didn't do it. Therefore, I positioned myself as "still on the road" in the interview. I hope I can get the guidance and supervision from my friends, so that I can move towards the expected goal step by step.