He has participated in the 4th, 5th and 6th National Calligraphy Exhibition, 5th, 6th, 7th and 8th China Youth Exhibition, 1st International Youth Calligraphy Exhibition (Beijing), 1st Contemporary Famous Calligraphy Exhibition of China Calligraphy Association (Beijing), large-scale stone carving exhibition of 97 Japanese calligraphers in Special Administrative Region (Beijing),-China Friendship Calligraphy Exchange Exhibition (Japan) and China Calligraphy Association. Chinese University of Hong Kong "Exhibition of 20 Young Calligraphers with China Prize" (Hong Kong), "Contemporary Young Calligraphers 18 Joint Exhibition" (Beijing), "Mohai Hong Fei" In 2004, China 12 Outstanding Young Calligraphers went to Singapore-Malaysia Exhibition (Singapore), and the first Dunhuang International Calligraphy Art Festival "Invited Exhibition of National Calligraphers" (Gansu In 2006, the National Excellent Calligraphers Invitational Exhibition in 1960s (Sichuan) and the National Calligraphers Nomination Exhibition of 60 Representatives in 2009.
Invited to participate in the filming of "VCD" (Jiangsu Electronic Audio-visual Publishing House). Biographical income of works: Complete Works of Modern Fine Arts in China, Calligraphy Volume, Works of Mo Bao, Basic Law of People's Republic of China (PRC) and China Hong Kong Special Administrative Region, Calligraphy Collection of Zhongnanhai, * * and the National Calligraphy Department. His works have been collected by the Great Hall of the People, Zhongnanhai and China Art Museum.
Kanto gifted scholar Shi calligraphy.
Wang Lichun
On the shores of the Bohai Sea, there have been many people since ancient times. The land of Kanto is elegant today. As far as calligraphy is concerned, Shi Junen's word Gu Yu is a talent to be reckoned with in Liaodong. At that time, people called him a young and middle-aged calligrapher with contemporary strength, praised him as the most potential artist in the market, and rated him as a national exhibition and a middle exhibition, which can be seen from his many reputations. Today, by inspecting his people and reading his books, we can feel that the facts of his speech are true.
Shi swam in calligraphy since he was a child. He spent a lot of time in calligraphy. He not only tried his best, but also modestly experienced the hardships of learning and seeking art. In addition, with his extraordinary talent, extraordinary intelligence and profound understanding, it is an inevitable accident that his name is famous all over the country. Opportunity, opportunity also; Inevitably, the strength is also. I look up at the history of ancient books, look down at today's book circles, analyze their skills and understand their ways, so as to get a glimpse of the true face of talents.
Shi Jun is famous for his calligraphy, and he is good at all kinds of work, especially cursive script. His cursive calligraphy is very strange, traditional and innovative, and never vulgar. In short, the word "Feng Yi" is the first word and the key to the North Gate.
Nowadays, there are many people with good books and frequent winners, but few people are interested. What is the wind? The country of Jin and Song Dynasties. From the beginning, it rained cats and dogs, and the ghosts cried and cried at night. By the end of Han Dynasty, the way of calligraphy was formed. In the Zhong Zhang world, the curse began. Since then, every calendar has changed three times. Metaphysics prevailed in Wei and Jin Dynasties, and everyone was interested. Books are a thousand miles away. So there was a tribute to the ancient nature of father and son, which laid a thousand-year foundation. The book of two kings took advantage of the situation in the air, and it was shaped by the situation. It was not exciting, but the wind was far away. One of the liberations of this cursive technique is also. Although the politics of the Northern Song Dynasty declined, Shu Ren admired elegance and integrity, and his poems and books were harmonious, but he hated its vulgarity. Literati calligraphy has also broken the shackles of Sui and Tang Dynasties, which is refreshing and has a unique charm. Strange rise, such as Xiangyang Minnan Gongshu, Kuaima Array, Ma Feng Array, pen-lifting, four-faced, cursive techniques change. Second, liberation. In the late Ming and early Qing dynasties, the thought was civilized, the high hall axis prevailed, and the pen was changed. Famous artists come forth in large numbers, with different styles, and intentionally create their own schools. In fact, this is where they started. Only Wang Juesi of Henan Province really received the essence of Jin and Song Dynasties and got the taste of ancient law. Jin Meng's calligraphy is full of pen power, with ups and downs of characters, dripping brushwork and endless changes of calligraphy forms. This cursive technique is also the third liberation. On the whole, Mi Fei claimed to accept ancient Chinese characters, and the hall number was Bao Jinzhai, but he followed the law of two kings; Wang Duo is both a king and an old man. It is said that he is the king after Sheng Wang. The ancestors of the same clan come down in one continuous line, with the same blood and different times. The master of cursive techniques is only three kings and one meter, and the rest are either water or ugly. All ancient times can be described by tradition, but only this pulse shows the wind, which is unique in the present and sincere in the essence of tradition. From this point of view, it is rare for people to adopt the tradition of law today, and it is even rarer for people with traditions.
Bowen's way of learning books is inherited from Wang Mi, while Xian continues to be a sage of the past. The world has changed, and the face of the wind is as simple as that. Looking at his book, luck turns to square inch, and the atmosphere is better than Gaotang. He is familiar, comfortable and happy. He is magnificent. Its rhyme comes from the distant ancestors of the two kings, its joy comes from the middle ancestor Xiangyang, and its strength comes from the dream of near Jin Zu. It's brewed one by one, so it won't be bad.
Or: I study books in the same way as charity. I'm not a slut. Why can't I do charity? Answer: Although you can't follow the trend, I'm afraid you'll only get the skills of a skeleton, but you won't be able to enter the Fengyi Palace. Style is the style of people, not the style of books. The fake pen turns the heart, the merit lies in the book, and the beauty lies in people. In a peaceful world, there is no such thing as a man. Although the work is not expensive, the impetuous mood of quick success and instant benefit has increased sharply. It is inevitable to split tradition, ignore culture and pretend to be a book. He is not very elegant, but his book is not far away. In ancient times, although calligraphy was a path, it was attached to the end of Confucian classics, so it was also because of its erudition. In today's book world, calligraphers stand shoulder to shoulder and row upon row. Although the situation is spectacular, calligraphy has really become a road.
Yugu is a good man. He is a chivalrous man, a friend from all over the world, brave and charming, just like his books. Good at chanting, interested in Dan Qing, still traveling, becoming famous with flying achievements, and full of ancient customs. How can the temperament of a school of literati and talented people be contaminated with the mud demon of the Qing Dynasty? Although Gong was brave and diligent in his early years, he established a stage name. But he was not confused at that age, and his heart gradually became indifferent. Despite his grandiose reputation, he devoted himself to his work. Gong also added fuel and vinegar, saying, "You donate money to admire elegance, and I'll exchange oil and salt with calligraphy and painting", but it's not vulgar and expensive, and I enjoy myself. Shi made a pair of inscribed couplets to reward relatives and friends, and got the interest of pen and ink. My brother and I only know each other once, sighing about his books, and we are willing to make friends with him-rain is like fog, but valley is close to common but not common. Grain Rain, the fifth son, was there anything unusual that day?
Wang Lichun, Ph.D. in Calligraphy, Jilin University, Yu Ji Gu Zhai.
The waves at the bottom of the moon are writing on my chest.
Thoughts on Stone Calligraphy Creation/Liu Mo
I remember that Shi (pen name Shi Yugu) saw his Zhong You-style lower case letters, which were simple and thick, simple and thick, and quite ethereal and elegant. Looking at it now, ethereal and elegant not only exists, but also increases, simple and heavy but some disappear, which makes me quite sorry.
The years when I was away from the book industry were the years when Yugu was selected for national exhibitions and won prizes at national exhibitions. There are always Yugu's names and works on the waves:
-1995, the highest prize of the 6th National Calligraphy and Seal Cutting Exhibition; First prize of the 6th National Young and Middle-aged Calligraphy and Seal Cutting Exhibition;
-1997, the third prize of the 7th National Exhibition of Young and Middle-aged Calligraphy and Seal Cutting Works;
-1998, won the gold medal of the 8th Stars Award, the highest prize of the national social culture and art government of the Ministry of Culture;
Every time I look at his works, I feel that it is a free and easy, natural, euphemistic and fluent style, but the tradition of taking calligraphy is not limited to tradition, and the beauty of classical calligraphy is well combined with the aesthetic feeling of modern people.
What people in the calligraphy circle want to know most is probably the secret of why he won awards again and again.
"Books are like people" has made people say that it is too vulgar and excessive, even if it is too vulgar and excessive, it is still the same. Vulgarians can write vulgar words, and free and easy people mean nothing unless they are free and easy. Being creative, like being a man, is not easy.
With calligraphy, calligraphers and works, China has become a culture, with aesthetics in the dotted line. Calligraphy creation has become an aesthetic activity in which people express their different feelings.
Therefore, if you want to understand the calligraphy of ancient jade, you must get in touch with him and then understand the process of people.
Now that Yugu is my friend and traveling with him, I gradually understand his way of being a man, and whether he is an artist or because people who like him like his calligraphy.
He can not only write and draw, but also read and write. He is generous and praised by friends inside and outside the circle. When the ancients commented on calligraphy and painting, they often liked to say such a sentence: "I love pen and ink in the first step to express my heart." All Yugu's artistic activities are inseparable from his mind.
Yugu may have been born a calligrapher, but he paid too much for becoming a calligrapher. If you don't believe me, you can listen to Yugu's talk about his early years. After listening, it must be an indelible bitterness.
Environmental oppression can destroy an artist, but it is also the easiest to cultivate an artist. Explaining the creation process of the piano music Water in Yuefu Ancient Poems, he said: "It took three years to learn to play the piano in Lianlian. As for spiritual loneliness, the single-mindedness of love has not been achieved. Cheng Lian said,' My knowledge can't change people's feelings. My teacher is Fang Zichun from the East China Sea'. From here to Penglai Mountain, Nai Li Liang left Boya and said,' I want to see my teacher.' Row away and never return for ten days. Boya was very sad. He looked around, but he heard the sea running away, the mountains hiding and the islands wailing. Look up at the sky and sigh:' Miss Wang will touch my feelings!' It's Fu Qin who writes a song cloud:' I'm in Dongting, I'm watching you, and the boat is gone. I moved to Penglai Mountain and was injured by Qin. Boya is the best hand in the world. "Empathy is on the basis of the whole personality transformation, changing emotions, transforming spirits and completing artistic achievements, which cannot be accomplished by skills. Therefore, listening to Yugu's early experience always reminds me of this old story-perhaps, Yugu's spiritual loneliness and tempering are just providence.
Exploration in loneliness is often the most sincere.
Nowadays, Yugu's calligraphy style is fresh and elegant, and it upholds a pure and vigorous spirit in beautiful writing, which is not unrelated to the tempering during this period.
From the beginning of entering this world, he struggled to find a way out in a narrow living space: burying himself in reading, writing, staring and thinking in a noisy living environment. I have been to his home in Dashiqiao, which is full of things left over from his painting practice. He almost lives in a room made of rice paper.
Calligraphy and painting are his sustenance, and all his worries are told to the dotted line. And we also see the relationship between calligraphy and human spirituality from his calligraphy, and the relationship between calligraphy and human nature.
It can be said that without calligraphy, there would be no rain valley.
In his early years, Yugu finally met a famous teacher after repeatedly asking for advice: 1985 dashiqiao city Cultural Center invited Mr. Nie to give lectures and led him into the calligraphy museum. Mr. Nie also found that Shi Yugu was a talented person, carefully taught him, and pointed out that he would start from the Wei and Jin Dynasties, which is exactly what he wrote. Teacher Nie's teaching is like giving Shi Yugu a glimpse of calligraphy. His earliest works, starting from lower case letters, are flat in shape and long in horizontal painting, which seems to have the style of Zhong You's Praise Season and Wang Xizhi's Filial Daughter Cao E. The efforts made in this little script laid a solid foundation for his later progress. We'll talk about it later. He was instructed by Mr. Wang and went to the Central Academy of Fine Arts twice to study calligraphy and painting, which gave him a new understanding of his creation. Yugu centered on Shang Yun, a Jin native, and then mediated with Shangyi calligraphy of Song people and Ming and Qing people. When he melted them in a stove, it was now a fish bone.
Gu Yu fully believes in this tradition. His calligraphy creation and exploration for more than 20 years is a process of in-depth study and research on traditional skills.
Miffy, who is best at skills, has become the object of his worship. Gong Xian wrote in a landscape book (collected by the Metropolitan Museum of New York): "Calligraphy is more than meters, painting is more than meters, but it is shameful to add …" It is not surprising that Yugu chose Mi Fei as the further foundation of learning books and the tone of his personal calligraphy style out of his aesthetic attitude towards life and artistic pursuit of individuality.
Mi Fei's brushwork and lines, which he chose and won the prize, have almost become an important feature: the line spacing, the font shape and the fluctuation of the nib can all show the traces of Mi Fei, but Gu Yu's pen is fresher than Mi Fei's, and he benefits from the change of ink color.
But if he is only due to Mi Fei, it is a narrow understanding of Yugu, because the more he feels like learning rice, the easier it is to be sweet and vulgar, and many people have avoided it throughout the ages. So he constantly adjusted Erwang, Xu Wei, Wang Duo, Huanggu, Su Shi and Dong Qichang, all of which were used by him to enrich himself. Now, perhaps this marks the completion of Yugu's calligraphy style: dense line spacing, long and narrow fonts, euphemistic brushwork and graceful and hearty style, all of which make Yugu stand out in the contemporary calligraphy world. His hanging works can often be done in one go, all natural, and there is no obstacle between heart, hand, pen, ink and paper. Whether it is knot, qi, or the line between words, it can be changed at will, or the line or grass corresponds to the shade, which becomes a masterpiece with high artistic quality.
Now most people in China are impetuous, but people are too tired of impetuous things. If anti-tradition goes too far, some people will cherish tradition. Cherishing tradition cannot be achieved by words, but requires a determination, and this determination comes from a good accomplishment.
Perhaps when more people casually "express" regardless of the essence and technology of calligraphy, Yugu's traditional pen and form, that is, mastering the original works, are valuable or different.
This has also caused people to rethink and understand the tradition. If Yugu has its special significance in contemporary calligraphy, it lies in what calligraphers who follow the tradition can get from it and how far they can go on the traditional road. Or a little theoretical, with the eyes of the world to examine or rebuild the national tradition, through the continuation and transformation of the tradition to establish their own value.
Yugu took a purely traditional road, at least the lower limit of his legal scope was only in the late Ming and early Qing dynasties (although it permeated the aesthetic feeling and unique perspective of modern people). Tradition is not just an obvious dotted line, but the big culture behind it-the word' big' should not be underestimated, nor should it be underestimated.
Modern calligraphers, on the other hand, have lost the identity of traditional literati and the background of traditional culture-this double "loss" certainly makes calligraphy in the traditional sense become calligraphy in the artistic sense today, but the loss of literati identity also leads to the stripping of cultural background. If the lines and meanings of calligraphy are to be able to draw culture and personality, where does the cultural accomplishment from literati identity depend?
If cultural accomplishment is Tao and calligraphy is skill, then such Tao is still included in skill. Of course, the highest state of China's art lies in what Zhuangzi said, "Technology also enters the Tao"-this "technology" means technology, technology, technology-showing the Tao with technology and controlling technology with technology. Although the simple "skill" is admirable, it is still a "skill". From this moment on, it is possible to connect with the Tao in one step.
The realm is high, deep and big. Only by taking this as the foundation of calligraphy can it become a scale that penetrates the net, thus rising above the free creation of calligraphy.
Yugu knows this well.
Because Yugu's calligraphy can enter the tradition and show its own characteristics, all because he can read, nourish his mind, clear his mind and see nature. A versatile person relies on this book to be thin and tired, sweet and stay, and then show them in his calligraphy.
For the Yugur people, tradition is the source of all values.
In the face of his own works, it is inappropriate to say that ancient jade has no flavor of the times.
Because of the environment and times in which ancient and modern literati live, there are many critical mentalities: some people return to tradition, boost morale in one product, and pin their feelings on the quaint dotted line; Some people cut off history and go straight to the future to get rid of the shackles of Chinese characters themselves and focus on the visual form of running around-this kind of psychology is nothing more than competing with the times in which they live and is not willing to be limited to the barriers in front of them.
Yugu naturally belongs to the former-a lesson from the past, but it is easy to break out of the cocoon and present its own characteristics. This is the particularity of China's art itself, just like a wanderer who never forgets to repair the old garden and decorate it with new ideas when he comes home. Although in his works, we can't see Xu Wei's wild, Dong Qichang's mistress and Wang Duo's passion, but we can see pallor and mud in beauty and depression in ease, which may be the expression of Yugu's natural temperament and affection.
Yugu's calligraphy is mostly poetry calligraphy, but also interesting in painting. His paintings are elegant, elegant and simple, but he can still appreciate that interest with modern aesthetic eyes and create a new realm-ancient jade calligraphy, from poetry to temperament, from interpretation to inspiration.
After a lot of life's tempering, Yugu is now on the road of art smoothly. He is currently a member of China Calligraphers Association, a member of the International Exchange Committee of China Calligraphers Association, deputy secretary-general of China Railway Calligraphers Association, director of Liaoning Calligraphy Association, deputy director of the judging committee, and chairman of Shenyang Railway Calligraphers Association. But is the road to art really that smooth? A useful proof is that calligraphers do not live in a vacuum. In reality, Yugur people never feel all kinds of confusion and interference from "common affairs"-but interestingly, once confused, he will understand it once; Once you intervene, you will be firm, and the reaction will become the driving force for progress. Seeing Yugu again, his handwriting changed obviously. If art has a function that can make people rise from pain to happiness, from chaos to order, from entanglement to transcendence, then ancient jade can also smile happily.
Yugu lives in the beautiful coastal city of Dalian.
There is the sea, there is a strong wind from the sea, there are mountains and bones. So what kind of rain valley style will the sea, wind, mountains and bones cast?
Liu Mo: postdoctoral fellow of Peking University Literature and Art/special researcher of Peking University Calligraphy Art Institute.