-Zhang Shaolin, civil servant calligrapher in my eyes.
Xiao derong
When I got out of the elevator, I was attracted by the calligraphy exhibition sign in the corridor because I had something to do in Shaolin. No wonder it is so attractive, well written and vivid. The content is also well chosen and beautifully bound. The whole unit looks very cultural, which is rare in government agencies. It is refreshing and reflects the profound cultural connotation of unit managers! Because I have the same hobby for calligraphy and have worked in Hunan Hard Pen Calligraphers Association for many years, I have communicated with Shaolin Army from time to time and learned a lot from him.
In his spare time, Zhang Shaolin studied calligraphy and created works, basically out of the understanding that under the influence of calligraphy culture, he cultivated a noble spirit and a traditional and modern civil and military way. He has always believed that calligraphy learning and calligraphy creation should be a lifelong way of thinking and behavior externalization, not necessarily as a profession. As a government civil servant and the person in charge of the unit, he really experienced the ups and downs of civil servant culture and calligraphy culture during his years of calligraphy study and creation. In his calligraphy, his character and interest as a civil servant are projected and overflowed, conveying his pursuit of broadness, openness, calmness, adaptability, indifference and relaxation. The way of "civil and military" is integrated into the depth of philosophy and the height of thought. Calligraphy art is a compulsory course for him outside of eight hours.
For eight hours, the Shaolin army had a lot of work to deal with and no time to take care of calligraphy. Moreover, he is also the head of a unit, so he must concentrate on the overall situation and plan his work. But no matter how busy he is, his pursuit of calligraphy art will never be affected. On the contrary, it is of great help to his work. Because all kinds of culture and art are of the same origin, excellent artists need to have profound Chinese and foreign cultural heritage and profound personal artistic accomplishment. Their roots are linked together, and they have drawn the same cultural essence from the long-standing cultural origins; They are thriving, displaying the characteristics and personalities of various arts. Because learning calligraphy requires learning literature, philosophy, aesthetics, history and other knowledge from calligraphy. Some of this knowledge has a direct effect, and some have an indirect effect on the government management he is engaged in. At the same time, learning calligraphy needs to be indifferent to fame and fortune, cultivate extraordinary perseverance, and cultivate the mentality of "sitting on the bench for ten years", which is interlinked with doing things for the people and the officials. Especially the general management method of calligraphy, many philosophies in calligraphy are exactly the same as the management method. Therefore, people have always advocated the cultivation of elegant taste. Calligraphy is an elegant and interesting artistic activity, which is beneficial to work, life and self-cultivation, and should be a compulsory course for government managers.
Through his many calligraphy exchanges and calligraphy creation activities with Shaolin, we can see that he is very happy in the process of calligraphy creation. He said: This pleasure comes from silence. Of course, the reason why a person can say that he is creating lies in that he has laid a good foundation and entered the door of calligraphy art. There is a poem that says, "drag out an ignoble existence for a long time." For him, sending love after work is so much. As Confucius said, learning while learning is a kind of enjoyment. Shaolin army has always been humble in calligraphy exchange and calligraphy creation activities. He believes that a threesome must have a teacher. Anyone who knows this sentence will not stand still and refuse to communicate. Confucius said, "Make friends with literature and help others with kindness." With calligraphy as the medium, we can make friends with each other and discuss art with each other. Friends are both teachers and teachers. When communicating with fellow travelers and exploring new insights, I really realized the true meaning of the sentence "It's a pleasure to have friends from afar".
Shaolin Army is not only good at calligraphy, but also good at spreading calligraphy culture and skills. The author teaches in Central South University of Forestry and Technology, and is the head of the public elective course of calligraphy in the whole school and the instructor of Shu Ren Calligraphy Association. He has been invited to the school for many times to guide students' calligraphy learning. He always takes time to give lectures on calligraphy, talk to students about calligraphy and life, calligraphy writing skills, and often demonstrate to students. Inscriptions encourage students to hold various calligraphy activities, and students listen carefully every time and gain a lot. In the calligraphy lectures of Hunan Normal University, Changsha University of Science and Technology, Hunan University, Hunan Agricultural University, Hunan Business School, Hunan Institute of Foreign Economics and other universities, he always earnestly taught students to cherish time in calligraphy learning, and not to be discouraged by setbacks on the artistic road. A gentleman is worried about morality rather than poverty.
Shaolin Jun's calligraphy has a strong sense of official script. Starting with Shi Chenbei, a top-grade tablet in the Han Dynasty, he learned that this tablet is dignified and elegant, mellow and simple; Later, I studied Ode to Shimen, a masterpiece of cliff calligraphy in the Eastern Han Dynasty, and grasped its rich and free line style and structural interest, and applied it to my own calligraphy creation. In Shimen Fu, his writing style is sparse, relaxed and mellow, and he uses the method of seal cutting to channel, so he can be bold, vigorous, elegant, relaxed and mellow. From the structural point of view, his calligraphy creation draws lessons from the structure of "The Monument to the Good King", which has a special interest. Therefore, Shaolin Jun's calligraphy works give people a lofty and transcendental aesthetic feeling.
Looking at the official script of Shaolin calendar 20 12, "Poetry and calligraphy can cure vulgarity without medicine, and virtue can educate people without roots". From the structural point of view, it is a unique "good king monument" structure. The pen absorbed the dignity, elegance, mellowness and simplicity of Ode to Shimen, and the whole work was completed in one go. The author thinks that the expressive force of official script is just like that of Qing dynasty, which is written in a regular way, pursuing roundness and lightness, and the strokes cannot be changed. Basically, according to the central writing of regular script, each stroke should be turned and polished. There is another way to learn from Han bamboo slips, such as Qian Juntao and Mr. Shaman Weng. Qian Juntao's writings in his later years are sometimes not good, and he has a sloppy habit. Li Shu, who came to Chu, took the method of Han bamboo slips calmly, so much changed, and Li Chu's pen was thick. There is a thin place in Qian Juntao. Shaolin's calligraphy creation has both, so it is particularly attractive. Let's look at the situation that "the Tao is in no particular order, and the winner is the most respected". The novel layout of "good weather" and "adversity is good, and heaven is Buddha" is characterized by sparse, scattered and round writing and stretching, and channeling by seal cutting. This is due to the seal cutting before Shaolin Army. I have seen his seal, which is very good, but now I have to put it on hold because of busy business. What a pity!
~ Zhang Shaolin thinks that some people write official scripts, learn Han bamboo slips and learn Han steles, but they write vulgar characters. The general reason is that I am eager for innovation and want to jump out of the inscriptions I have learned. Learning needs to be accumulated, and accumulation does not happen overnight. Many things are difficult to digest without a certain amount of study and a certain period of time. It is impossible to write in the morning and change it at night. The second is to grasp the essence of calligraphy. I don't know what to show at the end. It is difficult to grasp the charm of the ancients in calligraphy. I always pay great attention to proper limit, where to put myself. There is no way out without innovation in calligraphy, but how to innovate depends on the size, whether the ancients scored three points for themselves or seven points for themselves. You can't use a fixed ratio, but there will be a ratio. This ratio can best integrate you with the ancients, that is, success. It can not only be free, but also reflect the connotation of the ancients. This kind of thing is very durable. He feels that as long as he is willing to hone and not eager for success, he will certainly achieve results.
Zhang Shaolin's running script is also very basic, and his running script has gained the true meaning of "two kings" and Mi Fei. He believes that the calligraphy of the "two kings" is to master the positive (middle and side) strokes, flexibly use the strokes of lifting, pressing, stopping and turning, and conceal and show moderate strokes. In fact, there is a difference between the rule of king and the rule of Xiao Wang. Wang is the internal law and Xiao Wang is the external law. The main characteristics of Dawang's calligraphy are peaceful and natural, gentle and subtle brushwork, graceful and graceful, while Wang Xiao's calligraphy is characterized by dancing in the snow and dancing in the clear spring and Yue Long. Precise and ingenious, unexpected. The internal arch method is the method of bone winning, with more squares and less gardens, like drawing sand with a cone and Yin Yinni. The brushwork is implicit and restrained, with more pressure and less lifting. Intrauterine suction is closed and the four bodies are stretched. Xiao Wang is an extension method and a way to win by strength. There are many faces in the garden, and there is an outward linear tension. Ups and downs, sparse in the middle and dense outside, such as leakage marks. At the same time, Shaolin Army also mastered the skills of Mi Fei's calligraphy, such as "calm and happy", "array horses", "attack from all sides" and "brush characters". He also said that he really likes Mifei's calligraphy, and he thinks Mifei's calligraphy is jumping, bold, swift, chic and full of passion. Describe Mifei's calligraphy with a good horse. Wang Duo's calligraphy also had a lot of influence on Shaolin Army. Shaolin Army learned that Wang Duo not only attached importance to inheriting the achievements of predecessors, but also deliberately sought novelty and difference. He thinks that the most striking feature of Wang Duo's calligraphy is bold and unconstrained, and he has made great achievements in writing and cursive writing. His brushwork is calm and changeable, bold and unconstrained, and without losing his statutes. It not only carries forward the characteristics of cursive script in Ming Dynasty, but also corrects the shortcomings of rough lines.
It is worth mentioning that the only hard-pen calligraphy work in 20 12 Zhang Shaolin Calligraphy Calendar is My Humble Room. His profound cultural background naturally makes him different. The calligraphy ink color of this work has not changed much, but it is more stable and atmospheric. We can get a glimpse from this "Humble Room Inscription".
This work is based on Mi Fei's Shu Su Tie, which is written into words, lines and articles in one go. It writes freely, has a clear energy and looks really like a duck to water. Or ethereal or dignified, the words are dense, the pen echoes and looks forward to each other. Every word and line is related to the pain, which constitutes the main feature of its composition.
Besides excellent ink and composition, what I appreciate more is its brushwork. This kind of brushwork benefits from Wang Duo's running script "Li He Tie Shi", which is simple and clumsy in style, serious and steady, combining straight and curved, and calm in charm. Fiona Fang's combined brushwork is wide and straight, straightforward, strong and rich in lines; Very interesting; Some are as thin as silk, and some are as heavy as brooms, with extremely heavy body and ethereal rhyme; The strokes rise and fall, with the same curved line, which tends to prey on swallows and won the "charm" of Wang Duo's calligraphy; Elegant, elegant and quaint, quite Mifei style; Fair, elegant and rigorous, another notable feature is full of excitement and artistic changes. The whole work follows the "two kings", which is steady and subtle, dignified and rigorous, the font size can be freely controlled, harmonious and unified, and each family is integrated into a furnace and forms its own side.
For decades, Zhang Shaolin devoted himself to the research and creation of calligraphy in his spare time. From the beginning, on the basis of studying Europe, Liu, Yan and Zhao, in recent years, the research focus of calligraphy has been fixed on Qin and Han bamboo slips and silks. The stone spirit, strength, texture, implication, momentum and rhythm of the Han tablet are ups and downs, and the simple and vigorous pen and ink tension and line composition make him have a special liking.
In 2007, Zhang Shaolin won the honorary title of "Top Ten Hard Pen Calligraphers in Hunan Province". He is also the director of Hunan Calligraphers Association, the vice chairman and secretary general of Hunan Hard Pen Calligraphers Association, the executive director of China Hard Pen Calligraphers Association, and a visiting professor at the Art College of Central South University of Forestry and Technology. But he kept a low profile. He thinks that calligraphy really needs to concentrate people's life energy. With the passage of time, people's understanding of things and themselves has a process of continuous denial. If you feel good all the time, you will stand still. I always feel bad about myself. If you feel bad after a year or two, tear it up. If it's for someone else, I regret not writing it. Usually read some books, watch some exhibitions, look at the things of the ancients, and slowly compare them, and you will see your own shortcomings. I feel that I get something every year, and sometimes I take a detour. Only you say that the realm of calligraphy is also the realm of being a man. Can you go further? Strictly speaking, calligraphy is a profound knowledge. Zigong used ancestral temples to describe Confucius' ideological system. He said that you can't see the beautiful scenery of the ancestral temple without looking for the door. Calligraphy art can also be compared in this way. Its supreme door, I haven't entered yet. In my years of artistic practice, I only found that a person's words change with his own heart. A look when you are happy and a look when you are lost. Broad-minded people are one thing, narrow-minded people are another. If we can achieve the realm of "not being happy with things, not being sad for ourselves", if we can achieve "worrying about the world first, and enjoying the world later", it will be another look. If a calligrapher wants to make great achievements in art, he should not only be diligent, but also pay attention to self-cultivation. Confucius said, "Practice is close to benevolence". What is benevolence? Opinions vary. I only take the word "practice" here. Practicing calligraphy can make you persevere. When you practice internal skills, the works you write will naturally have a "god". This is beyond words.