Zou Dezhong: 1938, a native of Yantai, Shandong Province, whose pen name is Qi Hui, whose other departments are Zhizi, and whose surname is Zhi Zhai. He used to be the director of the joint department of China Book Association, the director of China Book Association, the deputy secretary-general of the Chinese Federation of Literary and Art Circles Painting and Calligraphy Art Center, and the executive vice chairman and secretary-general of the China-Sweden State Organs Branch of China Book Association. At present, he is the executive vice chairman and secretary general of the Central State Organs Branch, the chairman of China Calligraphers Association (Hongkong) and the artistic consultant of Taishan Painting and Calligraphy Institute in China. Deputy Secretary-General of China Collection Association, Professor of Calligraphy Training Center of China Calligraphy Association and Visiting Professor of Painting and Calligraphy Research Institute of Shandong University.
Out of the box, unique—
For Zou Dezhong's calligraphy, some people say that it is "the yellow land, the temple, the beautiful country and the magnificent jade". He admires the art of calligraphy, deeply takes it for granted, deeply loves it, and governing the country by virtue and cultivating virtue by art is one of the cornerstones of his success. The inner spiritual beauty of his calligraphy and the outer formal beauty of his calligraphy are perfectly combined and complement each other, and isomorphism has become a spiritual totem watered by heart, emotion and blood. In the words of Ouyang Zhongshi, a professor and doctoral supervisor at Capital Normal University, he is "unique".
Zou Dezhong was born in Yantai, Shandong Province on February 1938, and moved to Beijing with his family at the age of 9. At that time, my father's rice shop was hung with plaques and calligraphy and painting were hung in the guest room. He was so impressed that he liked the art of calligraphy and painting since he was a child. He recalled: "At that time, there were many plaques written in official script and seal script in the shops on the street. The dignified, graceful and tortuous brushstrokes deeply touched me, and my heart seemed to have a feeling and beat with the brushstrokes. Later, I started to buy some copybooks and teach myself calligraphy. "
"A copybook is a teacher, and the plaques on the street are all my teachers." Zou Dezhong was completely self-taught. He studied Yan Ti, Wei Bei and Erwang, but he studied hard official script. He started with the tablet of Confucius, and based on Han Li, tried to integrate the brushwork of seal script with Weibei structure. Every time you write a word, you have to go through repeated thinking, constant disassembly and combination selection.
For example, the word "bamboo" in his official script borrowed the structure of seal script, and the word "wood" borrowed the writing method of art form, which had a new meaning in structure. After years of exploration, Zou Dezhong's calligraphy has finally formed a mellow and elegant personal style.
The formation of this book style benefits from his extensive interests and strong thirst for knowledge. He draws nutrition from literature, history, philosophy and aesthetics, including sports and music, which can be used for reference for him to understand the use of pen, ink, structure, charm and taste of calligraphy. He said: "Art, science, religion and other knowledge are interlinked. The wider a person's knowledge, the deeper his cultural heritage, and the higher the taste and realm of his works. "
Zou Dezhong likes reading and is good at thinking. He has been in the swimming pool for decades. He has always agreed with Mr. Lu Xun that Chinese characters have the beauty of meaning, sound and form. These three kinds of beauty, under the wonderful effect of "using a pen", will form a huge artistic tension that will impact people's hearts, and his own calligraphy will finally reach a superb position under the joint effect of "beauty in meaning", "beauty in sound", "beauty in form" and "beauty in using a pen".
At the "Zou Dezhong Calligraphy Art Seminar" sponsored by China Calligraphy Association in 2002, experts and scholars believed that Zou Dezhong's calligraphy creation was rooted in the deep soil of China's traditional culture, which could fully mobilize and utilize the rich resources of China's calligraphy, widely adopt and learn from it, and comprehensively construct it. Seal cutting, official script, calligraphy and cursive script were all unique. His official script is full of charm, thick and beautiful, vigorous and hearty, forming a unique "Zou family". He is the inheritor of the traditional Han Li in a comprehensive sense and has the innovative spirit of the times.
"I have seen the word' Germany and China' and its general appearance, but I feel that the word' proudly standing on the shore' is like a person and it is' full of vitality'. In fact, if you play seriously, there is no lack of laughter. Its official characters all have reclining and rollover postures, sometimes with smiles and little interest. At the same time, its cursive script is unrestrained, and sometimes it reveals a little beauty. It can be seen that the heart of benevolence and righteousness has its own delicate feelings. " Mr. Ouyang Zhongshi commented that Germany and China are close to each other, and the lines between them are still so dynamic, which is an enviable place. I hope it will last forever.
Lin Xiu, vice chairman of China Calligraphy Association and chairman of Beijing Calligraphy Association, also said, "I think Zou Dezhong's calligraphy art has two characteristics. The first characteristic is his exploration in many aspects. He is mainly official script, and his cursive script is also considerable, some of which surpass official script. Both are considerable. He enriched himself in many ways and accumulated his own Qinghai-Tibet Plateau. The second characteristic is that he emphasizes lyricism, which is very natural, moderate, casual and unpretentious. This is very valuable. "
This integrity and elegance of calligraphy is actually closely related to the aesthetic spirit accumulated in the history of the whole Chinese nation. He combines the solemnity of Han tablet, the elegance of Han bamboo slips, the elegance of seal script and the vigor of Weibei, so the calligraphy written in this way, such as the shape of dots, the texture of lines and the appearance of knots, is not available in previous calligraphy, forming a quaint, mellow and free-and-easy exclusive style.
His cursive script shows more of his other side. That is, full of talent and natural and unrestrained literati temperament. His cursive masters, Wang Erfa, Zhang Xu and Huai Su, are meticulous in stippling, well-proportioned in flesh and blood, well-organized, comfortable in writing, and attach importance to statutes, but they do not hinder their emotional expression, thus achieving the unity of sex and Taoism, and the unity of mind and reason.
Looking at Zou Dezhong's Calligraphy Art, we find that he is not only good at everything, but also good at official script. He is not limited to the experience that most people learned from the Ming and Qing dynasties. He consciously broke the boundary between the tablet style and the bamboo and silk style, and studied and inherited Han Li as a whole on the basis of both the tablet style and the bamboo and silk style. He examined Han Li from a holistic perspective, thus revealing his post-study achievements. That is, he gave full play to the tool performance of words and highlighted the word "writing".
He is different from the traditional way of writing bamboo slips and copying essays. Now, on the desk where he can master the format and handwriting size at any time, he can use his existing knowledge and skills to fully express the lofty sentiments of the times in words, which makes his official script have a different look and charm from his predecessors and many people.
Zou Dezhong's calligraphy art has profound traditional cultural heritage, comprehensive inheritance of calligraphy skills, art and Taoist thoughts, and modern aesthetic spirit of science, heroism, elegance and individuality. He is good at seal script, official script, calligraphy and cursive script, especially official script and cursive script. The official script is based on Han Li, which combines the structure and brushwork of seal script, bamboo slips and Wei Bei in one furnace. The middle body and the side body are used together, and the Fang Bi and the round pen are used together. The waves are vivid, mellow and free and easy, simple and elegant, anti-ancient and innovative, and unique.
Based on the two kings, cursive script is mixed and brewed, forming a ups and downs, elegant and smart style. Looking at his calligraphy art, his brushwork is complete, his strokes are accurate, his brushwork is rich, his flesh and blood are well-proportioned, his breath is full, his brushwork is horizontal and vertical, his brushwork is horizontal and oblique, and his brushwork is horizontal and vertical, which is not satisfactory. Dot, line, body, surface, flying white, permeability parameter intermodulation, easy to use and colorful ink.
In 2002, Zou Dezhong donated more than 100 and more than 4,000 books to his hometown for free. Yantai China Culture and Art City raised funds to build the Zou Dezhong Calligraphy Art Museum to display its gifts, which provided a spiritual home for promoting China's calligraphy art and enriching people's cultural life.
His calligraphy is magnificent, elegant and profound, such as Hunjin Puyu, Huangzhong Road, Langmiao Hall and Mansion Guangyu. He has successfully held exhibitions in Tianjin, Shijiazhuang, Yantai, Macau, Taiwan Province Province, Beijing China Art Museum and Singapore. His works have been praised by experts and loved by the masses. His works have participated in all previous major book fairs at home and abroad, collected by many museums, memorial halls and individuals at home and abroad, and printed in many large forest of steles.