I wanted to write about Zheng Jun a long time ago, but I couldn't write it. I always feel that he is one of my best friends, and he can do it anytime, which is an excuse for being lazy. Until a few days ago, Zheng Jun came to Kazakhstan for medical treatment because of a chronic disease. I stayed with some friends in Harbin during the period. This is probably the most frequent meeting with him in the last seven or eight years since I came to Kazakhstan. I talked to him a lot, and he said it was the most relaxed and free experience he could remember. From his tired eyes, I can see that he has too many concerns and wishes. During the ten days in hospital, he received special treatment, and the effect was not bad. Soon after the first stage of treatment, he insisted on coming to my house to see my old mother, but I refused. Every time he comes, he goes straight into my study. This time, he only stayed in the living room for about five minutes and then left in a hurry. I can't say what it is. Looking at his thin back in the car reminds me of many past memories.
Zheng Jun is a stubborn and emotional person, and his emotions are as distinct as the four seasons. He grew up in the countryside as a child and served in military service as an adult. Hard life experiences shaped his perseverance. He is lofty in character and sincere and straightforward in doing things. Excellent reputation in the circle of friends. It is precisely because of this that we hit it off as book lovers at first, and later became brothers who talked about interdependence in life. In those years in Suihua, we were bored together almost every day and talked about calligraphy and painting. When we are in a good mood, you write a few strokes and I wipe them, rewarding each other. We often stay up late and don't want to leave. In a blink of an eye, ten years have passed, and Zheng Jun's school has gradually grown into the leading calligraphy teaching base in the local area. I also moved from Suihua to Harbin, and we went about our own business. Naturally, there are not many meetings. However, the feelings are still the same, and I can't bear to talk about the past.
Zheng Jun's calligraphy is a kind of person, simple and simple, without the so-called complicated Jianghu disadvantages. In his early years, he was good at regular script writing, and he was addicted to Chu Suiliang's fine strength and generosity, and Zhao Mengfu's tenderness and fullness. He is not lacking in modeling ability, copying is natural and easy, so he can say that he has not achieved much. "Change" is the soul of art and the law of development of anything. The Book of Changes has clouds; "If you are poor, you will change, if you change it, you will have a long rule." Once the learning process is repeated, it means that new nutrition is needed to improve. Zheng Jun's choice is the inscriptions in the Northern Wei Dynasty and the writings in the Jin and Tang Dynasties. In this regard, we communicated. He wants to trace the source of regular script and find out the most real thing of regular script, which may not be superficial, but it is there after all. The mature regular script in Tang and Song Dynasties is easy to be familiar with after long practice, and practice makes perfect. Clever is vulgar. Zheng Jun knew this well, and he wanted to dig out the primitive, simple and simple spirit from the inscriptions in the Northern Wei Dynasty. The same is true of life, as someone said; "Life is acting. The real performance is the highest level, but most of them can't be done. " . Perhaps Zheng Jun wanted to find a realm of the unity of humanity and calligraphy. He learned to write classics in the Jin and Tang dynasties in order to solve the fetters caused by too many techniques, so as to obtain high-level writing and unintentional writing. Su Shi said; It is difficult to fly in regular script. It must be somewhere in between. In recent years, Zheng Jun has been fascinated by some Qin bamboo slips and silk books by studying ancient books, which may be a manifestation of Zheng Jun's exploration of the meaning of the characters themselves. He wants his calligraphy to be more varied and antique, as Fu Shan said. "I don't know the change of seal script, that is, it is a vulgar style to write a clever plan." Zheng Jun is only verifying these assertions step by step. It is also to explore the true meaning of life between pen and ink.
Generally speaking, Zheng Jun's writing is more emotional than pen and ink, and his creation is higher than modeling. In his words, paying attention to the leisure life of literati is certainly his remarkable feature, but his pen and ink language seems not complicated, but his seemingly simple conclusion just shows its inherent richness, which is very exquisite and wonderful. Jinzeshan
In recent years, I have been looking for a release from the six States of writing, in the true sense. Open from the depths of the soul, the sage has the desire to read, and then spread his arms, which is right. I even began to hate the word "creation" and thought it contained commercial elements. I want to get rid of all factors that have nothing to do with natural writing, and even ignore some artistic elements, so as to gain a kind of freedom. Because I have written things too many times, I can't impress myself, and I can't integrate my most essential things with pen and ink. I once put down my brush and rationally analyzed the classic works of the ancients, and found that every classic work was unintentionally produced, which inadvertently weakened the carrier itself and injected a strong cultural content, which was extremely random and unrepeatable inside and outside. When I first started writing, I was in a simple and simple writing state, expressing my thoughts directly. Regardless of the work, the sense of accomplishment revealed by the pen tip from time to time was invisible, but I could feel it. Just like this string of phoenix-eye bodhi on my wrist, the color goes from shallow to deep, low-key and speechless, and it grows old inadvertently.
Contemporary scholars are often suspected of fattening books, and often spare no effort to make a fuss about the fruits of their predecessors, rarely asking about the cultivation process and the causes of the fruits. We often see contemporary calligraphy works with exquisite techniques, exquisite papers, novel forms and strict statutes. But they are tasteless for a long time, and there is almost no fault in routine and completion quality. They are meticulous and thoughtful in management, but it is difficult to have accidents when they think of anything, and they lack tolerance for defects, just like drinking tea. I can't stand the pain. How can I compare with that little sweetness? This will fall into the creation of local small interests, which seems to be haggling over every ounce. It is a vague expression lacking cultural support. The expression content is too shallow and single, the focus is not atmospheric, and there is no humanistic taste. The reason is due to lack of self-cultivation. It is to create for the sake of creation, and to create for others to see. Simply put; A kind of potherb that is often eaten, there is no difference between planting it on the mountain and planting it in a plastic greenhouse, and the fine products can't be the same.
Before Yuan Dynasty, China's calligraphy had no artistic creation in a strict sense. China's calligraphy history and China's art history are all created by literati, not artists, which is different from the West. Therefore, the creative purposes of ancient calligraphy and contemporary calligraphy are different. Contemporary calligraphy is mostly for the purpose of exhibition, which is expressive, while ancient calligraphy is mostly in the form of literati, entertaining itself and being arbitrary. Speaking of this, it reminds me of Go, which is one of the four arts of calligraphy. It is a life state of literati, and Mr. Wu Qingyuan once suggested that Weiqi is "harmony". Chess is like a bosom friend game. Although there are winners and losers, it doesn't matter. Go, as people usually know, is a competitive sport with the sole goal of killing each other. It's no different from western boxing, but there is no physical contact. Is this still Go in the Four Arts? Now, as long as there are high and low points, they will be basked in the choice of first or second. If inferred from this, writing is also ornamental, and there are also high and low points. Will calligraphy be listed as a sport in a few years?
Calligraphy is a mirror, which is misinterpreted as the beauty and ugliness of the body in the popular sense. If it is really so simple and mechanical, there can be no calligraphy art. In the state of natural writing, people's cultivation, aesthetic orientation, determination to pursue, pleasure or depression, joy or sadness, etc. You can see it inadvertently. These are the fundamental reasons that constitute noble character. Of course, learning needs a process and learning needs accumulation. Standing at different heights, the scenery is different. Everyone's accumulation can't be exactly the same, and their understanding of things will be different. Although elegance and vulgarity have different understandings in different times, they will never be appreciated.
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