Sun Qifeng was addicted to calligraphy, so he was taught by the court. His grandfather and father are both famous for their calligraphy, so they are deeply influenced. After attending primary school, Sun Qifeng learned Yan and Zhao Jiafa, which was praised by his teacher Mr. Hao. Mr. Hao is good at writing and cursive script, which has a great influence on Mr. Sun, making him interested in calligraphy. In middle school, Sun Qifeng still devoted himself to calligraphy and became famous in one fell swoop. He once wrote couplets for fellow villagers.
In his forties, Sun Qifeng went to Beijing as a shop assistant to make a living. As the national cultural center of Beijing, many shop plaques are written by famous artists. Sun Qifeng carefully browsed and observed them. At that time, Mr. Sun often appeared in some calligraphy and painting exhibitions held in Beijing. Beijing, where famous painters and painters gather, has become a big classroom for Mr. Sun to study art, where he not only absorbs a lot of nutrition, but also broadens his horizons. In his spare time, Mr. Sun dropped out of Linchi at the beginning of the official script of the Han Dynasty and began to write Shi Chenbei.
From 65438 to 0944, Sun Qifeng was admitted to the Chinese Painting Department of Beiping National Art College, which was not only a major turning point in his life, but also a new milestone in his artistic career. At school, I studied under Mr. Xu Beihong, Mr. Huang, Mr. Wang Youshi and Mr. Wang. They are all painters and calligraphers. Sun Qifeng benefited from punctuality, Luo Fukun and Jin Yumin, who are famous for their calligraphy and painting. During this period, in addition to learning from others, Sun Qifeng also began to learn cursive script, which was written by two kings (father and son of county annals) and Sun.
Sun Qifeng has been engaged in art education since 1950s, and once served as an administrator. Except Han Li, Cao Xing, seal script and Wei Bei, he didn't give up Linchi because of teaching. Sun Qifeng's calligraphy has formed a unique calligraphy style. After 1970s, he became an accomplished calligrapher in China. His title was concealed by his painting name, and he finally stood out and attracted worldwide attention.
Sun Qifeng's artistic accomplishment is comprehensive. His paintings are famous for flowers, feathers and mountains and rivers. His calligraphy is good at bronze inscription, seal script, official script, cursive script and running script. Among them, cursive script and official script have the highest attainments. He can learn the ancient without mud, so he can appreciate the ancient law and be novel.
Although Sun Qifeng's cursive script was born out of two kings and Sun Guoting, it did not imitate the predecessors step by step and was bound by the ancients. Sun Qifeng once said, "There may be writers, two kings, grandchildren, even Europeans, Liu, Yan, Zhao, Su, Huang, Mi and Cai, but they just don't have themselves, so they can't' forget me' here, but' have me'". Sun Qifeng grasped the dialectical relationship between calligraphy inheritance and innovation. His cursive script is based on the tradition of predecessors, and strives to create his own style according to the needs of the times and the laws of art itself. Therefore, Sun Qifeng's cursive script not only has the elegance of two kings, but also has Sun's rigor and fluency, which not only does not lose the testimonies of predecessors, but also is full of new breath. In particular, his cursive script is bold and unconstrained, ups and downs, and never takes madness as its function.
Sun Qifeng's official script is the most distinctive, skillful in brushwork and rich in charm. It is unique among many calligraphers who write official scripts today and is deeply loved by people. The official script in Qing Dynasty made great achievements, which was another peak after Han Li. In the Qing dynasty, there were many talented people writing official scripts, and there were also many outstanding masters. When commenting on the official script, Mr. Qi Gong once said: "The people who wrote official scripts in Qing Dynasty, such as Deng, Yi Bingshou and He, cannot but be said to be great masters. It is not difficult for them to write official script afterwards, but it is difficult. " The preciousness of Sun Qifeng's official script lies in its refinement. Since the 1940s, he has been working hard on the official script of the Han Dynasty, writing famous Han Dynasty inscriptions such as Zhang Qian, Chen Shi, Cao Quan and Huashan, reaching the level of "Seiko".
Since the 1980s, Sun Qifeng's official script has developed into a unique style, but he is not satisfied with it, and he has integrated the stick figure of the Han Dynasty. Bamboo slips are Chinese ink. Although it has always been found, it has never been concerned by calligraphers. Since this century, they have been unearthed frequently and in unprecedented numbers. The calligraphy styles on bamboo slips are diverse, and many calligraphers have a strong interest in it because of its clear and recognizable ink brushwork and natural childlike interest, and learn from it. Sun Qifeng loves Xiqiao wooden slips in Juyan, Wuwei and Gangu, and has made a detailed imitation and analysis of bamboo stick figures with distinctive features, and has a profound understanding of the calligraphy of Han bamboo slips. Most of the authors of Han bamboo slips come from lower-class literati, military commanders and folk calligraphers. The value of Han bamboo slips lies in that they make people clearly realize the true flesh and blood of official script in Han Dynasty and are no longer confused by inscriptions. However, we should also realize that some works in Jane's books are too rough, and those who are not good at learning Jane's books exaggerate some paintings, form habits, or emphasize curiosity and become crazy. Sun Qifeng believes that "bamboo slips are not written by calligraphers, and the good and the bad are mixed. We must pick the fat and choose the thin, and take the essence from the rough. " Sun Qifeng not only learned from it, but also chose it, not just imitating its appearance, but taking its essence, thus melting Han bamboo slips and inscriptions into one furnace. Therefore, Sun Qifeng's official script is simple, free and easy, and very attractive.
While engaging in seal cutting, Sun Qifeng began to study seal script. After completing the historical mission of its writing function, seal script still attracts generations of calligraphers to study and create with its great artistic declaration. From the Qin Dynasty to the Qing Dynasty, most of the seal script writers in the past dynasties did not show the seal script style of Li Si and Li, and many people failed to surpass this wall. Some seal script writers in Ming and Qing Dynasties unilaterally pursued the neatness and unity of seal script, and gradually became rigid, which led to the decline of seal script. When discussing seal script, Sun Qifeng once said: "From Oracle Bone Inscriptions, bronze inscriptions to seal script, to Li, to Deng, Zhao and He in Qing Dynasty and the modern marquis of Jin Xi, they all changed from unruly to obedient, and from obedient to unruly. It seems that' the extremes of things must be reversed' makes sense. " Sun Qifeng
Writing seal script abandons the conventional way and pursues the freehand brushwork characteristics of seal script. He took copies of Fa Jinwen, Oracle Bone Inscriptions and Qin Zhao's copyright works, ancient Wen Tao, Han tablet, Wadang and other ancient seal characters. , and got a lot of inspiration from Deng, and other Qing Dynasty seal writers. Therefore, Sun Qifeng's seal script is simple and vigorous, and his brushwork is vivid and lively, which sweeps away the disadvantages of some calligraphers' dull style and lack of charm.
Sun Qifeng's seal engravers learned from Mr. Shou Shigong and Mr. Jin Yumin, and also learned from the ancient seal engravings of the Warring States, Qin and Han Dynasties and the Huizhou School. Although he is engaged in seal cutting as much as calligraphy and painting, and occasionally interrupted, as he himself said, "There are not many knives, but many brains", he will never forget seal cutting. What is commendable about Sun Qifeng's seal cutting is that he is not confined to the spirit of not falling into the old pattern and trying to form his own family. His seal cutting is rooted in ancient times, but it stops at simplicity and chaos. He said: "I often explore some irregular and changeable laws of Zhou and Qin styles, from which I can understand the composition principle of flower-and-bird paintings. In my eyes, there are obvious differences between painting and printing at the micro level, and they are consistent at the macro level. " Sun Qifeng also likes to print ancient books in Han bamboo slips, Cong Baozi Bei and Weibei fonts, which is full of fun. The seal script he carved is vivid in shape, and the study of painting permeates it, which is also extraordinary. Sun Qifeng's attitude in seal cutting creation is very serious. Every time he made a seal, he repeatedly conceived and deliberated, and recalled Yin Gao dozens or even hundreds of times. When he is not satisfied, he will never make a hasty knife. He designed many Yin Gao, some of which were not printed. Sun Qifeng said, "I like to print one side and write many times to find the best composition. I am also looking for myself." After Sun Qifeng was seventy years old, the seals on his paintings and calligraphy were carved by himself, which made his paintings and calligraphy more organically combined and brought out the best in each other.
Sun Qifeng's inspiration to the younger generation in artistic practice is that it is his duty to inherit the excellent tradition. In the continuation of tradition, we seek our own development. Sun Qifeng's achievements in calligraphy also remind people that only by being indifferent to fame and fortune, willing to be lonely, and diligently sowing and cultivating in the garden of art can we bear rich fruits.