1. The True Character of a Calligrapher
Li Shijun started learning calligraphy from the regular script of the Tang Dynasty when he was young. From the beginning, I took traditional classics as the foundation of my practice. When he grew up, he asked for help from Liaohai elders and calligraphers Shen Yanyi and Yang Renkai. Mr. Shen's insights and creative practice of Beibei deeply influenced and inspired young Li Shijun. In particular, Mr. Shen Yanyi's rich brushwork methods and outstanding style orientation have left a solid mark on Li Shijun's soul. Since then, all the classics in the Beibei stele, such as "Twenty Products of Longmen", "Zhang Menglong", "Zheng Wengong", "Zhang Xuan's Epitaph", etc., have been imitated. Even those works that are little known in the history of calligraphy but have unique styles have been studied in depth. In the "First International Calligraphy Exhibition" held in the mid-1980s, Li Shijun's "Songgao Ling Temple Stele" of the Northern Wei Dynasty, which he studied in person, won the national calligraphy award that year for his dignified, elegant and innovative creative copywriting. . The regular script of this stele is mixed with official script brushwork, which is similar to the "Er Cuan" in Yun Zhinan in the distance. Among the stele tablets of the Northern Dynasties, it is considered an "extraordinary" in terms of style. But its style is high and ancient, strange but not strange. As a young calligrapher who has not yet "established himself", he can pay attention here, which is enough to show his aesthetic quality and style.
It should be said that the devoted study of Beibei opened an important milestone for Li Shijun's calligraphy journey. At the same time, it also established the aesthetic tone of his artistic creation. The calmness and indifference of simplicity, the passion and openness of straightforwardness, the ingenuity in the humbleness, and the joy of nature in the thickness. This so-called "felt fur" atmosphere, which has always been criticized, turns out to be such a brilliant state in Li Shijun's writings. Especially in the 1980s, in the contemporary calligraphy world where calligraphy was still in its enlightenment, his approach and devotion became even more valuable. It can be said without exaggeration that in the Liaohai area and even in the calligraphy circles across the country, Li Shijun can be regarded as one of the best among those who can achieve the Samadhi of stele style.
As we all know, since the resurgence of the Qing Dynasty and the Zhong Dynasty, the study of stele has once become a "prominent study" and rivaled the well-inherited tradition of "tie study". Deng Shiru, He Shaoji, Zhang Yuzhao, Zhao Zhiqian and even later Mr. Yu Youren all benefited from his influence and became great masters. Investigating the reason, Tie Xue Zhong followed its inheritance and focused on the law, and the master of stele study created it with the purpose of carrying it forward. Although the phrase "Foreign masters create good fortune and find the source of the heart" is similar to Kuang Danqing, it is equally appropriate for Hanmo. It should be said that the transfer of techniques to the portrayal of the soul is the nourishing effect of stele studies on Chinese calligraphy. It is also a clear expression of the great ideal of "progressing from technology to Tao" in Chinese culture.
Therefore, Li Shijun’s calligraphy beliefs and aesthetic ideals developed along this bright new path.
On this basis, Li Shijun began to trace the Qin, Han, Wei, and Jin dynasties to the Song and Yuan dynasties. His running calligraphy is deeply rooted in the "Two Kings" and Huai Su's hall, especially Huai Su's "Xiaocao Thousand Character Essay", which he studied for the longest time. His works are composed of fiber stalks for strength and winding for simplicity. A large number of his works created with grass have been selected into the "Third National Calligraphy and Seal Engraving Exhibition" and other large-scale exhibitions. It led the rise and popularity of "Liaoning Xiaocao calligraphy style" and became a legend and good story in the history of contemporary calligraphy.
In recent years, Li Shijun’s interest has returned to the tradition of stele studies in the late Qing Dynasty and the early Republic of China. In his opinion, this is called "revisiting the classics". Especially for Mr. Youren's study, it was an important choice for him. Abandoning the knife to master the pen, taking dryness to make it smooth, the feeling of grass and seal writing, and the vertical and horizontal strokes, these are the profound inspirations he got from it.
Looking at Li Shijun's artistic history, it can be roughly divided into three stages: the gestation period, the exploration period and the maturity period. The pattern was determined by Han Li, Tang Kai and Beibei respectively, and the "two kings", Huai Su, Song Dynasty, etc. added atmosphere and expressed Yu Youren's personality. The changes and transitions in these three stages are actually the growth experience of his personality and mind.
In short, Li Shijun's calligraphy is based on the tradition of stele studies, is magnificent, and resists the secular with the same aesthetic prayer. No tricks, no pretense, no show off. However, as the predecessors said, "There is a grievance in the heart, and each word is like its own shape, which is wonderful." His calligraphy is just like his way of being, smooth and open-minded, which truly embodies the "upright" and "bright" life sentiment and pattern in the tradition of calligraphy art. Undoubtedly, his thinking and pursuit, together with his creations, have a different kind of brilliance and elegance in the flourishing contemporary calligraphy world.
2. Literary sentiments
As a well-known and far-reaching contemporary calligrapher, Li Shijun has always maintained a strong literati sentiment in every period of his life.
He has always placed a couplet written by Mr. Youren on his seat to reflect on himself: "Excellent writing and ink bring joy in life. Changes in temperament and profound knowledge."
He yearned for the elegant people in the ancients' "The sun disappears through a clear window" Deeply, the kind of life sentiment intertwined with reading and writing is one of his dreams. Therefore, he would always go to the studio to relax for a while in his busy spare time, and let his mind take a rest while reading and enjoying the pond.
To mention his reading career, we have to go back to the 1980s. At that time, he was not only the deputy secretary of the Communist Youth League Municipal Committee, but also already famous as a calligrapher. But he still felt a lack of culture. By chance, he decided to study at the Zhejiang Academy of Fine Arts (now the China Academy of Fine Arts) and began a far-reaching cultural journey. There he met Sha Menghai, Lu Yanshao, Liu Jiang, Lu Kunfeng, Zhu Han, Ren Daobin, Zhang Zuan, Zhu Guantian, and Chen Zhenlian. In addition to the benefits, he not only increased his knowledge and enriched his knowledge, but Jiangnan
's long humanistic history and elegant natural environment further cultivated his temperament and enabled him to understand the traditional calligraphy art and The development of aesthetic vision has a clearer goal and direction. He still clearly remembers Mr. Zhu Guantian's words: "Calligraphy is a carrier art, one for politics and one for learning." Such a sentence has benefited him throughout his life. In his experience, calligraphy cannot just stay at the technical level, it should carry a kind of "morality" in life and express a profound life sentiment and spiritual power. The great calligraphers who have gone down in history all have strong feelings and responsibilities for their family and country, and what their writing reflects is the "awesome spirit" deep in their hearts. And those calligraphers who are known only for their books are still just "bookmakers" in the end, and their "skills" are no more than "carving insects". It was under the guidance of this belief that Li Shijun finally firmly established his own world view in art, and it profoundly affected his political outlook. From then on, he went from the Communist Youth League to the CPPCC United Front, to foreign affairs and overseas Chinese affairs, and even later grew into an outstanding leading cadre, which is closely related to his extraordinary experience. For decades, when he was not engaged in politics, he never neglected his work and was diligent in thinking. He perfectly integrated his interests and artistic creation with his professional work, and applied his artistic intuition and ability to grasp things at a macro level in specific work practices. In the past, the great role of a leading cadre in united front, participation in and deliberation of state affairs was fully utilized. It also embodies the fine tradition and cultural value of "literature conveys the Tao".
3. Turn around, no need to be "gorgeous"
In 2012, Li Shijun was transferred to the China Federation of Literary and Art Circles to be responsible for the establishment of the "Chinese Calligraphy Publishing Media Group". This is another opportunity and a challenge for him. Chances are, as an excellent calligrapher, he knew calligraphy well and had widespread influence. At the same time, he has many years of rich experience in the press and publishing front. He should be familiar with the important task of "establishing the China Calligraphy Publishing Media Group". The challenge is that there is no ready reference for the exploration of cultural system reform, and we still have to "cross the river by feeling for the stones." Moreover, the reorganization of new ventures such as Chinese Calligraphy Publishing House, Chinese Calligraphy Newspaper, and Chinese Calligraphy Magazine requires the coordination and cooperation of various social resources. Moreover, he is responsible not only for the profit model of a company, but also for the cultural dissemination of Chinese calligraphy. and referral responsibilities. So, as he said himself: "This is indeed a turnaround, but I don't need to be 'gorgeous', as long as I can use my own modest power to do what I like to do, fulfill a dream, and embody the value of life." That’s good.” These words are very simple and heartfelt.
In the past 30 years, "the establishment of China Calligraphy Publishing and Media Group and the establishment of China Calligraphy Newspaper" can be regarded as the fulfillment of a dream of Chinese calligraphers. Similarly, this turn around also fulfilled a dream that Li Shijun had been cherishing for the art of calligraphy for 40 years...