Piao Maocang is thick, strange and magnificent —— A brief comment on Mr. Bao Junyi's calligraphy art
Mr. Bao Junyi is the chairman of Guizhou Calligraphers Association, and he is also a calligrapher I have always paid attention to and admired. Many years ago, when I was an undergraduate in Guizhou University, I heard of Mr. Bao's name. I was deeply impressed by his lofty and powerful seal script. Moreover, I also learned that Mr. Bao Junyi also graduated from Guizhou University and is an outstanding alumnus of your university. In his early years, he was taught by Mr. Chen Heng 'an, a Confucian scholar in central Guizhou, and Professor Jiang Clarification of Guizhou University. In the early 198s, he won the first prize of the first national calligraphy competition for college students, which won a rare honor for Guizhou calligraphy circles. In the early 198s, the national college students' calligraphy competition was a fad, and many award-winning calligraphers became famous. In the national first prize list, Guizhou monopolized two yuan, one was Mr. Bao Junyi, and the other was Mr. Bao Xianlun who later returned to Zhejiang. After decades of wind and smoke gathering, the names of Mr. Bao and Mr. Bao have been resounding in the national book circle, and they have also become the chairmen of the book associations in Guizhou and Zhejiang provinces respectively, which is really a story in the art world.
In Mr. Bao Junyi's calligraphy art, the first thing worth mentioning is his seal script, which was influenced by Mr. Chen Heng 'an. When he was young, he made great efforts. In all kinds of exhibitions of contemporary calligraphy, we can see that the beautiful grass is flourishing all the way, while the inscriptions on Oracle bones and bones of Guhoupu Maomao are rarely visited. It's inevitable that the times are changing, but it's not a blessing for calligraphy to be clever and charming, and to pour ideas with ancient methods. Qian Yong in the Qing Dynasty took seal script as his ancestor's blood, and all his paintings were justified. The significance of seal script to calligraphy is the six classics of Confucianism. If we don't start from this, we will be afraid of the traditional hall. At this point, we can see Mr. Bao's rare sobriety. Moreover, Mr. Bao Junyi's seal script pays special attention to writing and the refinement of lines. He writes "San Shi Pan" and "Guo Ji Zi", which are handy, and his pen and ink are ancient and thick, but they are smart. At the same time, they are calm and dense, and sometimes they are interesting. In his early years, Mr. Bao Junyi studied the calligraphy of bronze inscriptions in combination with the system of ancient philology, which broke through the limitation of learning seal script at that time, surpassed Qin Zhuan to climb the bronze inscriptions of Shang and Zhou dynasties directly, and pursued the vast and ancient. His seal script began to dabble extensively in folk calligraphy such as Chu bamboo slips and silk calligraphy, trying to find new modeling resources in the meantime, and his calligraphy style was more strange and beautiful than that of ancient times. In my opinion, a prominent phenomenon in the exploration of modern and contemporary calligraphy is to treat calligraphy as a conscious pure plastic art. There are two trends in the exploration of paying attention to modeling consciousness. One is to get a modeling inspiration from modern western art, and the other is to find a modeling resource from the oldest writing in China. Mr. Bao Junyi has taken such a road of tracing ancient Chinese characters, which has a very broad prospect and needs more artists to make greater explorations in this respect. Mr. Bao Junyi's exploration is in progress, but one thing is certain. Mr. Bao Junyi's exploration has not given up the honest and mellow character of traditional literati calligraphy, and there is still a huge difference from the so-called "popular calligraphy style" which also uses folk resources such as French bamboo slips and silk books. This is very commendable.
in addition to seal script, Mr. Bao Junyi's cursive script also has his own personal characteristics, and his traditional skill is also very profound. In my opinion, Mr. Bao Junyi's most outstanding artistic style is to melt the tablet into the post, which not only has the richness of the tablet, but also has the agility of the post, and it has a kind of aesthetic feeling like molten gold and cast iron. The style orientation of cursive script in contemporary book circles is mostly beautiful and artful. Once upon a time, a kind of calligraphy that pursues exquisite calligraphy began to be popular in contemporary book circles, thinking that otherwise it would not be tradition, but it is a big mistake! When we see that the gorgeous style of calligraphy and the patchwork form of two kings' handwritten letters have been applied to the point of flooding, we have to rethink what tradition means to contemporary calligraphers. The so-called tradition without mind and temperament, which is fake and antique, will inevitably lead to the real decline of traditional spirit. Fortunately, in Mr. Bao Junyi's cursive script, we don't see the popular coyness in contemporary book circles, but the true feelings of an artist. His cursive script is based on the tradition of calligraphy, but it is infused with his personal artistic pursuit and the artistic logic of helping the monument to enter the post since modern times. Trying to complete a contemporary calligrapher's real understanding of tradition and the times in individuality and originality. Mr. Bao Junyi's cursive calligraphy originated from Wang Xizhi, Mi Fei and Huangshan Valley, followed by Wang Duo, Huang Daozhou and other ancient cursive calligraphy masters, and devoted himself to the cursive calligraphy with the pen power and breath of Li Pu Mao, and finally found a unique personal appearance through decades of hard work. During his long-term study of rubbings, stippling became more dignified and heavy, and his posture became stronger and stronger, showing an ancient and flying aesthetic interest. And the pen is full of cadence and proper winding, which is quite a kind of Youlong's tumbling beauty, and it is extremely colorful and can be put on. To a certain extent, being strong and being smart are a pair of contradictions in art, but the place where a mature artist can best reflect his talent and skill in art lies in his ability to balance contradictions. This ability is not achieved overnight, but must be tempered over a long period of time. As Sun Guoting said in the Book Score: "The heart is not tired of essence, and the hand does not forget to be familiar. If used in be adept at, the rules are familiar with the mind, natural tolerance and wandering, meaning to write first, chic and wandering, and the heart of the sheep is still boundless; I can't see the whole cow. " For Mr. Bao Junyi's calligraphy art, we can just look at it this way.