—— Interview with Ceng Laide, the tutor of Shen Peng calligraphy elite class.
I met Mr. Zeng in the calligraphy elite class. He went to Tai 'an to attend the opening of Taishan Art Museum and the theme creation exhibition of Taishan poetry. The night before, Mr. Zeng hurried to Taian. The next day, I attended the ceremony in the morning and presided over the forum in the afternoon. On the third day, I visited the Chinese characters in Shigu and other Taishan inscriptions, and returned to Beijing in the afternoon. Tired and hard all the way. During this period, Mr. Zeng took the time to accept an exclusive interview with reporters.
"We are not from Mount Tai, but we are integrated into Mount Tai, from thought to consciousness, from consciousness to action." "Mount Tai is not the highest or the largest, but in terms of cultural history, it deserves to be the first in the country and the first in the world!"
"Why?" "Because culture exists in mountains and rivers, mountains and rivers are the carriers of cultural history. Mountains and rivers have existed for hundreds of millions of years, and culture has left thousands of years of records on them. Mount Tai has rich and colorful memories and a long history, including history, culture, politics, education and religion. , including the emperor, talented people and beautiful women, left a deep memory on Mount Tai. " "Mount Tai is the accumulation of historical and cultural memories. The best thing about Mount Tai is the inscription, which is the text. "
"The calligraphy of Mount Tai is unique, and the greatness of Mount Tai lies in these stone carvings. Many people want to engrave their names on the mountains and leave memories. "
From Zeng's talk, we can see his profound understanding and special care for Mount Tai. Mr. Zeng, director of China Calligraphers Association, tutor of calligraphy elite class. At present, he is the director of the teaching department of China National Academy of Painting, the director of the research office of calligraphy and seal cutting creation, and an adjunct professor of Peking University Calligraphy Art Research Institute. He has published Ceng Laide's Calligraphy Collection, Ceng Laide's Painting Collection and German Art Record.
Ceng Laide is not only a talented calligrapher, but also a painter with a sense of cultural responsibility. He can consider the cultural standpoint of China's painting and calligraphy, which distinguishes him from contemporary painters and painters. There are also talented painters of his age, such as a group of painters who engage in experimental ink painting. Some of them are quite clever. I think they have a bright future, but only a few can come out. Why? There is a fundamental problem here, that is, the cultural orientation of a China painter and the cultural identity of your paintings and China's landscape ink paintings. This question must be thought clearly and clearly, otherwise, you will enter the western pattern in a daze. Not that the west is not good. Contemporary western art and China's painting art, especially China's traditional art, are two parallel peaks, which are not the same thing at all. In the process of communication, you look at me, I look at you, you blend in with me, I blend in with you, but it is definitely not you who replace me, I replace you. This relationship should be clarified, otherwise you will be gone. This, Ceng Laide is very clear, which is related to his love of learning and good at thinking. Zeng's landscape paintings are quite different from those of his predecessors. He didn't start with Mustard Garden, nor did he worship a teacher. Over the years, he started with rocks, trees, rules of distance, water and ink. He first had a calligraphy foundation, then honed an idea of his own and kept thinking about problems. He was a painter with pioneering ideas. This is his cleverness, but his accumulation is enough. There are both cultural and technical aspects in this accumulation. The accumulation of techniques comes from his calligraphy, and Ceng Laide spent 30 years on it. There is a rebellious spirit in his character. He took a dangerous road in calligraphy, that is, not taking the pen as the center, breaking the ancient law and making good use of the flank. This is actually a very dangerous road, because he will be confused because he can't write well, but he came out. In fact, he completed another beautiful line form with wings, formed his own face, attracted a group of contemporary young people to follow him, formed the so-called "popular book style" and of course changed his structure. The tempering of this skill is of great help to him to know and understand art, especially to understand China's pen and ink art. As soon as you enter the landscape, you will win with ink elephants. What about Mowai? Ceng Laide also created many of his own technologies. For example, he uses the profile of his calligraphy, and sometimes uses some texture treatments, such as traditional blank space, composition of western paintings and so on. There are many factors in his picture, which have formed a good effect. Many paintings are wonderful, of course, it doesn't mean that all the paintings are perfect. What is important is that the weather revealed by Zeng Laide's pictures is brand-new and creative, and it is a new schema of China's ink painting language, which puts forward a possibility for the development of Chinese painting. I think this is his great contribution.
Reading Mr. Zeng's works reminds people of four words: "Hit America hard." "Heavy" can mean both heavy and heavy. I think his painting is to remould the image of Damei, to remould the image of Damei with heavy proportions and concepts, and to give Damei a heavy blow. This is one of them. Secondly, I think the value of his paintings is to create China's concept of poetry and calligraphy, because in the past, poetry and calligraphy were mostly mixed together, that is, there were poems, poems, calligraphy, inscriptions, paintings and seals in one work, which I thought was poetry, calligraphy and painting. In fact, poetry, calligraphy and painting are the comprehensive embodiment of China's culture, and he integrated them. Even if he doesn't follow the rules and regulations, his paintings have their own poetic culture, as well as calligraphy pens and calligraphy cultivation. His paintings created a combination of calligraphy, development and hand painting, which some people call "Laide". The third is to talk about China ink stick's paintings. It has been said that China is the hometown of Mohism. In fact, Mohism is also a symbol of China culture. Mohist school can best embody Taoist thought and is the carrier of Taoist thought. Modern industrial civilization has seriously lost and obscured the unspoken beauty of China Tao. Ceng Laide, on the other hand, started with calligraphy and Taoist culture in China, hoping to return to this great beauty at a high level. Although he just transferred from calligraphy, there are many crude things in it, but this kind of life is the preservation of interest, life and vitality. He is not oily, but he pursues a great beauty. Through the new integration of poetry, calligraphy and printing, he created such a work with the language and schema of Ceng Laide symbols.
"While we admire the style of our predecessors, what will contemporary people do? What to do for the continuation of Mount Tai? The most acceptable thing for Mount Tai is calligraphy. Taishan must first choose calligraphy and build Taishan with calligraphy elements ... We decided to devote ourselves to Taishan culture and will also speak for Taishan! "
The once impassioned words have been echoing in the ears of reporters. He regards Mount Tai as his hometown, always pays attention to it and acquiesces with his heart. Wang keyu