——A brief introduction to the famous calligrapher Zhang Shunhua and his works
Ba Gangpu Libu
Monday
Beijing in October , still stunningly beautiful. The original sense of beauty has not diminished at all, and the splendor and charm are still reflected in the rise and fall of the country's beauty and ugliness. Oh, Beijing, for you, this city that is already familiar with it, the infinite style that has been nurtured is like the gentle breeze in the spring, imprinting the deep fingerprints of the times on the swirling colors. Therefore, people forge unfamiliar friendships in their busy lives, gather the wisdom of knowing wealth in their leisure time, and hum "I still feel happier" in their thoughts and confessions to design their own future prospects.
On this day, on the recommendation of a calligrapher in Beijing, I met the famous calligrapher Mr. Zhang Shunhua at a club in Liangxiang. Shunhua is also accompanied by his eldest brother Peili. Both of them are chubby and healthy, and both have kind faces, much like a pair of brothers.
Mr. Shunhua himself is very harmonious and his paradigm is absolutely appropriate. At first glance, he has nothing to do with conspiracy: he is polite and scholarly, his aura circulates with visible order, he appears elegant and graceful, his heart is well-placed, he observes and thinks, he is both Confucian and Zen, he is very popular, and he belongs to me. The kind that's close.
Mr. Shunhua's background and mine are also considered to be from the western region of Japan and China. Most people agree that the people in the western region are simple, needless to say. Compared with the Mongolian people's honesty, the content is not easy to identify and verify, but there is definitely a relatively large proportion of honesty.
His kindness is implicit. I think this is related to Mr. Shunhua’s many years of practicing Buddhism. Belief is free and I am not qualified to deconstruct or hinder it. On the contrary, I feel that as long as people and human nature can be saved on the right path, whether it is words and deeds that adhere to it, whether their souls surrender, or simply reciting sutras that are not obscene, it can benefit people and the world. In this case, it doesn’t matter what kind of church or sect it is. For example, the Buddhist concepts of "compassion" and "doing good" are in line with building a harmonious society, so it's okay not to resist them.
Two
Zhang Shunhua is like all calligraphers. After many years of training, the moon is half moon and the stars are scarce, and it is white at night. Objects, touching the sky and the earth, touching the sun and the moon, imitating water, fire, vegetation, and tracing the traces of animals, hooves, and birds. The excellent traces are Badashanren, and the silky ears. Along the way, today's unique calligraphy style has been formed. Generally speaking, there are four calligraphy styles: the first is spicy and naive, the second is fluttering feathers, the third is cloth new, and the fourth is daogu.
Childish. "Spicy" belongs to the category of calligraphy aesthetics. Lazhi means that he looks young, but he is clearly mature and mature. This is because Mr. Zhang Shunhua's calligraphy fonts are actually built under the visual framework of the "childlike" type. But it can eliminate "young" with "old and hot", and finally "like young" and "not young", completing a large-span transformation of philosophical cultural concept identity, and also becoming the "it" that is anti-mature. It is not the core positioning of “it”. Mencius has the proposition of using one’s heart, one’s intellect, and one’s knowledge of heaven. We also rely on Zhang Zai's "Xin Gong Xing" and Zhu Xi's "Ge Wu Qi Li", as well as Lu Xiangshan and even Wang Yangli's "Heart is Li". Xin Gong Xing is nothing more than saying that "heart" is the subject of "nature" , "Xing is the principle of the heart. Emotion is the purpose of the heart." "What you feel is the principle of the heart; being able to feel it is the spirit of Qi." Therefore, Zhang Shunhua's calligraphy, whether it is from "developing the heart" "From the perspective of "temperament", or from the perspective of "reason" and "use", he has an excellent grasp of the "heart". Therefore, his naivety has become his calligraphy One of the special features is the calligraphy banner "Moon Cage Ancient Willow", the "yue" has a cute human appearance, the "cage" has a realistic pictogram, the "ancient" age is long, and the "willow" is too kind and even naive. Bada Shanren's light rhyme and Mr. Shunhua's own deep character are both better implemented and the ideal wishes are achieved.
Floating feathers. "Floating Feather" belongs to the category of calligraphy aesthetics. In the history of Chinese calligraphy, there are usually two postures for calligraphy: one is sitting and the other is standing. Looking at Mr. Zhang Shunhua’s calligraphy, I feel like he is in a lying posture. This is because, in several of his calligraphy works, I seem to see the expression of the "ostrich head raised" when using the brush, the delicate posture of "chicken nodding", and the "pulling pedal method". "The miraculous effect of this technique is like seeing the good hope of the "Flat Covering Method", and even more like seeing the steady stability of the "Pillow Wrist Method". Most people in the industry know that Chinese calligraphy is a written symbol based on pictograms. The lyricism and line beauty of calligraphy will always be the main theme of calligraphy appreciation.
The aesthetic prototype provided by Mr. Shunhua's calligraphy, and the possible aesthetic value that should have been formed, is far greater than my speculation. If it is said that the beauty of meaning is due to emotions, the beauty of sound is pleasing to the ear, and the beauty of form is pleasing to the eyes, then in fact, the ultimate goal is to return to the heart. Therefore, Mr. Zhang Shunhua's calligraphy seems to be without fear or disdain, but it is precisely based on the law. Every feather between the words sets sail, just like an elegant soul flying by, stretching out of its cocoon, and the sea and sky are vast. In this way, one has accumulated a new round of energy for the advancement of calligraphy, the other has found a free breakthrough for a more democratic human nature, and restored the original philosophical form for the appeal of human free radicals. For example, his calligraphy "Rain rests on the edge of the mountain", the "rain" is soaring and swirling through the sky, and the "mountain" is like a mountain in the shape of a twilight rainbow, with temperament dyed ink horizontally, and white curtains and gauze hanging vertically, floating leisurely. And it is a huge fairy jade, so in my opinion, Mr. Zhang Shunhua's calligraphy has gone from freedom to necessity, from the inevitable kingdom of calligraphy, to the free kingdom of calligraphy again. A realm is gradually rising.
Publish new ones. "Building new things" belongs to the category of calligraphy aesthetics. The level of innovation in Mr. Shunhua's calligraphy is more distinctive than that of many other calligraphers. This is because: 1. The degree of dismantling is large. Dismantling refers to the deconstruction of words, and widening means that the degree of tearing is serious. For example: "香" in "Blue Ash Breaths Fragrance" means "like a fragrant, absolutely fragrant", but adding "Gan" means a more fragrant one. Not only ancient, not only high, but self-contained; 2. Reconstruction makes it even more wonderful. Destroying and constructing at the same time, constructing while destroying and sublimating during construction, the original square characters become the separation of obedience, scheduling and sheep in his writing. For example: "Zhuan" in "Wuxue's New Seal Script Covers the Wall" is extremely representative, and the "scheduling" and "separation" of words can be filled with good explanations and annotations; 3. Bold reinvention. Boldness does not mean being uninhibited, nor does it mean being arrogant, but rather the reconstruction of structure and the reinvention of words that enrich the quality of evolution. In the lines of Mr. Shunhua's calligraphy, randomness is particularly prominent, freedom is evident, and creativity is soaring and transpiring. For example: the "pine" in "Beautiful Songs and Huang Tuan", the left "wood" is definitely dancing, and the lower mouth of "pine" is like a big basin. At first glance, it looks very silly, beautiful, refreshing and enjoyable. But Mr. Shunhua's calligraphy is casual but not casual, comfortable but not egotistical, creative but not unfamiliar. It has excellently endowed calligraphy with new vitality. On the basis of public recognition, it has replaced ancient times with ancient times. Built in fashion and leading the way, it provides the most corolla-like benefits to the new generation of calligraphy.
Taogu. "Taogu" belongs to the category of calligraphy aesthetics. He often read extensively and became a Confucian scholar. He became Zen by being quiet and focused. Endurance to reading is the most important quality of Mr. Shunhua's calligraphy. As for the so-called "bone of the Tao", the Tao is based on the immortal wind, the Tao is based on benevolence, and the Tao is based on the exploration and cultivation in the changes of life; and the "bone" is also based on the integrity of the world, the earth and the universe, and the foundation of the universe. Hold on, be humble and do not practice, use your full strength to run the overall law of life. Looking at Mr. Shunhua's calligraphy, I have a lot of impressions: the lever, press, and hook are often used simultaneously, the grid, the pusher, and the pile are often placed together, the twisting tube, the tube bunching, and the lifting bucket are emphasized one by one, and the four arms of holding, pillowing, lifting, and hanging are turned over. fly. This kind of Taoist style can be seen everywhere: "Thick moral character, good deeds, Kun Chun and long life" is the most representative example.
Three
Learn from reason and follow the law, and follow the law according to reason. Mr. Shunhua's calligraphy fulfilled his primary ideal. As the saying goes: the stronger the meaning, the more fulfilling the strokes; the more freely the three postures, the more powerful the ink strokes (from "Libu On Painting"). It's exactly like this: "The top is inserted into the front and hidden, and the scenery is clearly visible when entering. When you start to move, collect the lift, press and hold, turn around and squat in the emperor. Rush to change the middle and side, reverse and follow the nose, and twist and turn to draw incense quickly. God. When the energy is weak and the ink is stagnant, the moral principles and moral principles will be promoted." (Excerpted from "Libu Lun Shu").