Introspection can cross the fence.
A person's life should be based on their own actual situation to determine their own self-awareness, so as to make the most appropriate positioning for their own life. The success of many outstanding people is first of all proud of their correct and wise self-understanding and positioning. Mr. Hou, a famous calligrapher, librarian of Sichuan Literature and History Research Institute and master tutor of Sichuan University, is such an introspective person.
To analyze Mr. Hou's artistic achievements in calligraphy, we have to rely on Mr. Chen's views on beauty, artistic beauty and artistic beauty of calligraphy: "Calligraphy arouses people's aesthetic feeling, not because it reflects the beauty of real things, but because calligraphers express the subject's life affection, emotional accomplishment and talent through words, and create an image with life interest and personality. In other words, calligraphers rely on the characteristics of tools and equipment to operate words into a life phenomenon with gods and States, flesh and blood. " Therefore, when I study and know the calligrapher Hou as the main body of calligraphy art, I try to approach him slowly and learn to interpret him with the pace of "style is people".
1946 fifth lunar month 16, Mr. Jia Kai was born in Yibin, the "first city of the Yangtze River in the Millennium". Yibin, a famous historical and cultural city, was not only a wild place in ancient times, but also a place of war for years. It is a transportation hub connecting Yunnan, Guizhou and Sichuan provinces, and belongs to an ancient and emerging medium-sized city in the mountainous area around Sichuan Basin. At that time, Su Dongpo, Huang Tingjian, Zhang Wentao and others left their historical footprints here. During the Ming and Qing Dynasties, there were many famous poets, painters and calligraphers here, especially Bao, who initiated the study of steles in Sichuan in the Qing Dynasty, which made great achievements and was unique. The key elements of the formation of artistic style are inseparable from the pedigree of the artist's birth, the era in which he lives and the geographical environment in which he lives. The formation of Mr. Jia Kai's calligraphy style is also the inevitable result of the combination of his rebellious spirit in artistic thought and his closed and conservative living area. When Mr Jia Kai was at school, he made up his mind to become famous in writing and calligraphy. Later, he was lucky enough to get careful guidance from local book celebrities such as Yin Jilin and Gao Butian. The road is blue, in order to open the forest. In 1980s, like many students, Mr. Jia Kai made a clanking oath: "I would rather be a failed explorer than a complacent mediocrity. "Although he regarded the unremitting exploration of calligraphy art as a lifelong career, in the face of the calligraphy world at that time, thousands of years of calligraphy art ushered in the spring of recovery because of reform and opening up. The public has no obvious standard in aesthetic orientation. As long as the written words can reach the point of "like melon seeds and knives", they all look beautiful, not to mention the regional style, genre style and calligrapher's personality style. Yan, Liu, Ou, Zhao and "Two Kings" were the stylistic standards and objects of worship in people's minds at that time. In the middle and late 1980s, the Central Plains book style, represented by Henan book circle, caused great repercussions in the national book circle with its bold and unconstrained works. By the end of 1980s and the beginning of 1990s, the small and exquisite style of literati's calligraphy appeared black and pink. Then there are handwritten letters, Qin brick Chinese characters, Ming cursive scripts and so on. , take turns to appear, each leading the way. It seems that grievances and talents that have been sealed for many years must be vented from the calligrapher's chest. At that time, although a hundred flowers blossomed in the calligraphy world, calligraphers all shared the same creative philosophy: "Ning Zhuo is not clever, rather ugly than flattering, rather piecemeal and not fluent, rather straightforward and not arranged. "It's enough to go back to Linchi. It's outrageous." The pursuit of interest, singularity and individuality in artistic language has gradually become a trend. Even if it is not successful and popular, it is not willing to bow to the "pomegranate skirt" of the ancients. It is better to be accused by others than to follow the path of sweet talk. Especially, in the autumn of 198 1, one of Mr. Jia Kai's calligraphy papers was selected for the "China Calligraphy Research Exchange Conference" held in Lanting, and was listed as five papers to be read out. His brand-new views have attracted the attention and praise of experts and scholars attending the meeting. If the Lanting Gathering in 198 1 year was the exposure of Mr. Jia Kai's calligraphy art thought, then Mr. Jia Kai's participation in the "National Invitational Exhibition of Young and Middle-aged Calligraphers' Works" and "Academic Exchange Conference" held in Nanchang in 1982 should be said to be a turning point in his calligraphy creation concept. At that time, he found a calligrapher who turned his back on Deng and wrote a Commentary on Taosun Ao's Poems for him. "Back" boldly changed the composition of the original, but also added many personal interest factors. In this regard, Mr. Wang suddenly realized that he understood Deng's aesthetic principle: "When white is black, curiosity comes out." After returning home, he was uncharacteristically devoted to the exploration of the formal beauty of calligraphy. From then on, he consciously relaxed his study of cursive script, became obsessed with the creation of official script, and began a series of effective attempts. Official script is an important character in the development history of Chinese characters, and it is also a watershed of ancient and modern characters. The Han dynasty was a grand view, which rose and fell later. During the Yuan and Ming Dynasties, Lishu was neatly and evenly written by literati and calligraphers, with strong decorative flavor, monotonous brushwork and little structural change, which was obviously influenced by regular script. In view of the above situation, Mr. Jia Kai inherited Fu Shan's aesthetic thoughts of "fragmentation" and "appreciation of ugliness", and he was good at exaggerating and deforming, disassembling and replacing text components in concrete creation. In my daily class, I went beyond the common inscriptions in the Eastern Han Dynasty, focusing on the inscriptions on Lai Zihou, Bao Xiedao Cliff, Guangwu General, Haodawang, Cuanbaozi, Song Gaoling Temple and Runan King Brick Pagoda. In addition, it also specializes in copying Chinese seals, bricks and tiles, and Han bamboo slips. His principle is: as long as it conforms to his own heart, he will study it, and if it does not, he will reform it. The purpose is to find a unique form to express his artistic aesthetics and write a unique style. The strong know themselves in introspection, transform themselves in introspection and surpass themselves in introspection. Jia Kai's official script works, which have just come out, are novel and unique, grotesque and naive, and are not accepted and understood by ordinary people. He actively accepted the criticism of Mr. Ma Xiao, an insider, that "the works of the calligraphers of stele school are more or less marked by rational production", strengthened the exploration of the interest of pen and ink in recent years, and studied the changes of writing speed and ink color, and insisted that "calligraphy should have traditional kung fu and modern consciousness" and "all kinds of fonts, calligraphy styles, techniques, styles, modeling, calligraphy theory, aesthetics and so on. Handed down from generation to generation should all belong to the category of calligraphy tradition. " At the same time, he persisted in breaking through the tradition and bringing forth the new, and applied the seal script methods of Lu and Wu Changshuo to his own official script creation; Transfer the layout method of Jinnong and Wang Fu factories to the existing use; It also draws lessons from Chen Hongshou's special-shaped structure, and works with reference to the strong contrast of Yi Bing's official script and the principle of Zheng Gukou's cursive official script. Since 1984, the tattered official script of has appeared in black and pink. In people's aesthetic vision, there is a realm of "extremely clumsy books", and his representative works "Chen Yi's Orchid Singing" and "Wen Xia Ke" have all been appreciated by peers; Screen Poetry in Chinese Cursive Script won the gold medal in 1988 "the Year of the Loong International Calligraphy and Seal Cutting TV Competition".
At this point, Mr. Jia Kai has crossed his own ideological barriers and surpassed the barriers of calligraphy art creation. The book circle fully affirmed his creative achievements, his creative experience and techniques became mature, and his aesthetic taste was formally established. Mr. Zhou Junjie commented: "Hou Lishu rubs into the tablet of the Six Dynasties, and its composition is broad, emphasizing the balance between injustice, using the pen slowly and urgently, using the pen loosely and tightly, and revealing a childish taste."
Heaven rewards diligence and a hundred flowers blossom.
A person must dare to dig out unnecessary parts of himself, correct bad habits in daily life, and turn diligence into his own habits, so as to usher in the joy of success. After self-taught, calligraphy is far different from the ancients and modern people. A very important factor lies in his courage and hard work. Art needs to be created, and creation can create new things. The premise of creation is to be "bold", so that we can have the courage to doubt the golden rule of our predecessors, break the old rules, establish new rules, make comments and establish new ideas, so that we will not stick to the rules, become slaves of our predecessors in art, and sometimes go to the end of the water to seek the source, or sit and watch the ever-changing clouds rise. Any calligraphy work is a combination of technology and Taoism, and it is the expression of calligrapher's temperament and spiritual portrayal, which is beyond anyone's doubt. Looking at Hou's calligraphy works, his "boldness" is mainly manifested in three aspects: First, he emphasizes the expression of "heart painting" in his creation. Qing Zhou Xinglian said in "My humble opinion on Linchi": "The pen and ink are all based on human temperament and reason." The expression of "heart painting" is nothing more than "reaching its temperament" and "expressing its sadness and joy" The former, as a calligrapher's expression of temperament, character and sentiment, is relatively stable. As the expression of calligrapher's feelings and emotions in a specific situation, the latter varies from person to person. The two are closely linked, intertwined and infiltrated each other. As an expression of temperament, Mr. Hou rarely writes Xiao Zhuan from the choice of calligraphy style. Because the structure of Xiao Zhuan is balanced and symmetrical, and the lines are strict, it is largely restrained in expressing temperament. Jia Kai's seal script creation is later than other seal scripts. The works selected for the 3rd National Book Fair for Young and Middle-aged People are his first seal script works, and later selected for the 5th National Book Fair, which is even more blockbuster, and his artistic style has attracted much attention from the society. In today's book world, it can be said that two kings (Wang Yonghe) live in the north and one "Hou" (Hou) lives in the south. Therefore, in the study of seal script calligraphy, he chose the bold style of seal script to create. This book covers everything, from printing, from Oracle Bone Inscriptions, Zhong Ding inscriptions, Quan Liang imperial edict and Shi Guwen, to Deng, Wu Changshuo, Qi Baishi and pieces of paper. Of course, it is not "worrying about writing new poems." The choice of Da Zhuan's creation is consistent with his generous, frank and strong personality. Only in this way can he finally realize his realm of "the unity of books and people". In his creation, Mr. Jia Kai often dips in thick ink, puts pen to paper and affirms it, allowing the ink to seep out and go with the flow until it runs out. The works created show the intersection of ink and color, the combination of reality and reality, and the great changes. It also makes its seal script come down in one continuous line with its line, grass and official style in the overall style. In expressing "sadness and joy", Hou believes that only through the changes of lines, knots and ink colors can calligraphers express their feelings of joy, anger, sadness and joy. So he often plays with the feelings of sentences, feels the excitement in his chest, improvises and writes books to express his feelings. On the premise that the overall style is basically the same, he can write works with different interests, showing strong pen and ink application and line modeling ability. Second, in the use of pens, Hou believes that as long as the best effect can be achieved, there should be no boundaries between pens. Mechanically and dogmatically understanding some methods is not only easy to make himself rigid, but also unfavorable to the development of calligraphy art, so he often uses various brushstrokes at the same time in the process of making seals. What he used most was Deng's stroke of "twisting fingers around the front". However, unlike Deng's pen, which is slow and round, Hou often uses a heavy pen, a fast pen and a decisive brush stroke, thus forming a line shape with a round brush stroke. The thick and dry solid edge caused by distortion and the ink effect brought by the pen speed fully reflect the thickness and strength of the line. However, he did not stick to this method, but used all methods at the same time, making the best use of the situation, both flanking the front, dragging along the front, advancing against the front, following the center, and even writing on the side. This not only greatly broke through the limitation of pen used by the center in the past, but also brought the brushwork of official script into seal script, making the created seal script works more interesting. Thirdly, structurally, he put great emphasis on density and dispersion. "Sparse places can make you walk fast, and dense places will not let you ventilate." At this point, it may be influenced by Deng, Wu Changshuo and Qi Baishi, and the Hou is different from them. The density changes of Deng and Qi Baishi lie in the sparse density of the upper part, the upward shift of the center of gravity and the slender figure. There is always a feeling of being big, thin and unstable, and Wu Changshuo achieved it through the side, restraining the left and promoting the right, but the lines did not change much, thus losing the spirit. The contrast between density and density in Hou's creation is achieved by means of strong contrast, such as the thickness of lines, the shade of ink color, the combination and adhesion of printing. At the same time, he boldly increased the opening and closing degree between the radical parts of the text, and the center of gravity was centered, thus creating a series of calligraphy works that are dangerous but not dangerous, ancient but not new.
Mr. Hou is not only a great writer in China, but also one of the calligraphic theorists who influenced the development of China. He learned a lot and accumulated a lot. Calligraphy theory's research originated from 1979. He is a graduate student of calligraphy in Zhejiang Academy of Fine Arts, so he wrote an article "Feeling, Content and Artistic Conception-Three Topics on the Beauty of Calligraphy Art". The establishment of his position as a calligraphy theorist should be attributed to his Collection of Hou Calligraphy published in 1993. Throughout Mr. Jia Kai's research on calligraphy theory, he dared to challenge authority and stale academic views; He is good at combining the history of China's calligraphy with the case studies of calligraphers in past dynasties, keeping pace with each other; Sensitive to the capture of new materials and ideas; Have the courage to seek the opinions of others, seek truth from facts, and convince others by reasoning. His academic papers are never mysterious and inscrutable, but simple and easy to understand. Heaven rewards diligence and a hundred flowers blossom, but only openness and freedom. Mr. Jia Kai is one of the few contemporary calligraphers I know who have gained the freedom of creation and research. Whether in theoretical research or creative practice, he is also an enlightened and responsible artist with all-round development, outstanding achievements and both ability and political integrity.
Don't judge a man as a hero by his success or failure.
Everyone experiences a different life. Success or failure is an inseparable part of life. Without these fragments of success and failure, a complete life cannot be built. Facing the complicated and competitive calligraphy world, Mr. Hou is not accustomed to it, but advocates introspection. He insisted that the study of contemporary calligraphy art should always run through the meaning of "seal script". After the mid-Ming Dynasty, calligraphers, especially Zhu Yunming, Wang Chong, Huang Daozhou, Chen Hongshou and Ni, as well as Wang Juesi, Cheng Sui, Fu Shan and Shi Tao in the late Ming and early Qing Dynasties, appeared a large number of modern calligraphers who emphasized the style of seal script, which was contrary to the calligraphy style at that time. They fought back against the sweet and vulgar trend of "persisting in learning" and praised "seal script style" Mr. Hou knows the importance of "seal script" in the art of calligraphy. From theoretical research to practical creation, from the formation of Hou Shi's calligraphy style to the orientation of aesthetic concept, Mr. Hou abandons the shackles of formal perspective and adheres to the artistic conception of ancient, true, line, grass and official. Therefore, Jia Kai's calligraphy has a lofty concept, which will not deteriorate with time. The ancients wrote books to amuse themselves, but today people write books more to entertain others and amuse themselves by opening books. In different periods of life, Mr. Jia Kai has different beliefs to choose self-discipline. In the first ten years of calligraphy study, Mr. Wang tried his best to demand himself according to Sun's sentence "The viewer is still refined, and the painter is like you", and then he followed Wu Changshuo's sentence "You can pursue advanced studies and seek mastery" to create. At present, Mr. Jia Kai highly praises Zheng Banqiao's famous aphorism, that is, "Learn seven and discard three, each with its own spirit" and Li Yong's "If you like me, learn me and you will die". He didn't yearn for the palace of calligraphy art because he was a porter at the dock, nor did he give up the right to find the palace of calligraphy art from love because of financial difficulties, nor did he shake his belief in calligraphy art because he was "not qualified" to take the postgraduate entrance examination. Write words first, since ancient times, people have written wonderful books. He is convinced that success or failure on the road of life is only temporary. It will be a person's biggest mistake to treat the temporary as consistent and the instantaneous as eternal. Success and failure are not eternal, they are only inevitable in human life, and life is supported by the alternation of success and failure. Poverty is the soil to cultivate happiness, failure is the cornerstone of success, and an open mind is a paradise for happiness in life. Mr. Jia Kai experienced his own state of mind, and persisted in working hard, working hard, practicing again, and practicing again. He succeeded, his works entered the exhibition, his papers were published publicly, and he obtained the membership of the Calligraphers Association. Collective enterprises were transformed into state units, workers' status was transformed into cadres' treatment, and his hobbies were also improved. After Jia Kai survived everything, he still lived simply and contentedly. Calm, tolerant and ambitious will be his eternal creed.
Indifferent to study
People are always born empty-handed and die empty-handed, and they can't take away any wealth and reputation they had when they were born. When we understand this truth, people will look down on many things. As long as we can treat the gains and losses with an indifferent heart, no matter how things change, everyone will not be hurt by the heart. With the deepening of reform and opening up and the maturity of the market economy, calligraphy art, a quiet place like a paradise, has also been submerged by the hot business sea, and the atmosphere of quick success, forgetting righteousness, ostentatiously passing through the market, speculating for profits and intrigue is rampant for a time. At the same time, in terms of academic research, this is a pluralistic and fickle era, and the west wind is fierce. In this regard, Mr. Hou dismissed it, plunged into the world of books and soaked himself into "kimchi." Times, Times Law and Book Review Criterion, Study on Steles in Qing Dynasty, It's not easy to use a pen through the ages and so on? Academic papers, such as A New Interpretation of "Only Soft Writing", The Double-line Development Law of Popular Calligraphy and Official Script, The History of the Rise and Fall of Inscriptions, and Reflections on the Development and Creation of Seal Script, came out one after another, which shocked the book world for a while. Therefore, Mr. Chen Zhenlian said that his writing and creation "is unique in the Sichuan Army. "As far as Mr. Jia Kai is concerned, although he is poor, he can break the old literati's idea of being poor and happy, work hard and dare to innovate. His achievements attracted the attention of the society and got a good return. Finally, he changed from a coolie to a professional calligrapher. He has been down and out, so he can't keep his position. He devoted himself to learning and challenged the ancients and authority. Finally, from a calligrapher with only a high school diploma to a university forum, he became a tutor to train master students in calligraphy for the country.
Mr. Hou Jiakai is not immersed in personal success and satisfaction. As early as 1983, when he served as the executive vice president of Yibin Painting and Calligraphy Institute, he devoted himself to cultivating calligraphers and discovering calligraphy talents. During his tenure as the executive director of Sichuan Calligraphers Association, he traveled across mountains and mountains to give lectures in all parts of Sichuan, and spared no effort to make his due contribution to the developed areas of calligraphy in central Sichuan. At the same time, Mr. Jia Kai has been devoted to the cultivation of calligraphy talents in Yibin, his hometown. Through his efforts, a large number of national members and members of the provincial calligraphers association have emerged, which can be described as fruitful and talented. What's more worth mentioning is that Mr. Jia Kai's research achievements on calligraphy theory have achieved a good transformation in the practice of calligraphy creation and played a significant and far-reaching educational role.
Yantian is hard and tax-free, and there are waves sailing in the vast sea. Appreciating Mr. Jia Kai's calligraphy works gives people a feeling that people and books are one, which is profound and ingenious. Its fine works are like mountains and rivers, and the boundless air hits people's faces, inspiring people and increasing their ambition. If we can understand Jia Kai's contradictory unity and rebellious revolutionary personality charm in calligraphy theory studies, then it is not difficult for us to understand and appreciate Jia Kai's calligraphy works. Indifferent and complacent about things. Mr. Jia Kai's passion for strange things and his study of ancient times are no less than his concentration on strange things and his persistence in change. If Mr. Jia Kai was "desperate" before and after his undoubted year, then he began to strive for "expensive and fair books" before and after his obedience year. Today, Mr. Hou is over 70 years old, but he still takes pains to cultivate high-level talents in calligraphy art and gallops in the forum of institutions of higher learning. (This article was transferred from Literature and History magazine, No.2, 2007, by Chen Mowu, entitled "Never leave, never give up, be frank and sincere").