1, Shu also, Shu temperament also.
In Mr. Tu's calligraphy education, it is emphasized that "the calligrapher is comfortable, his temperament is also comfortable, and the calligrapher is like a human being". In teaching, "book industry" and the concept of "book industry" are the ultimate ideas of books. It is emphasized that a person's calligraphy is a concrete manifestation of a person's temperament, and calligraphy has the effect of "seeing yourself as if you were seeing your lungs and liver". Words can be seen in people's lungs and livers, and people's temperament can be seen. As Shao Yi said, words can be seen as "honest people" and "people with spiritual nature". Teacher Wang often takes the calligrapher's character and calligraphy in history as an example to analyze it in detail and understand the cultural background of the mind. He believes that in calligraphy, if the personality is different, the temperament is different, the brushwork is good, and the evil is self-evident. As the saying goes, all kinds of things must be tangible, and their hearts can be known from their appearances. Liu Gongquan has a "right heart and a pen". That is, someone corrects books. Handsome and regular. The pen is the filler of the book, so use it regularly and correctly. People are right from the heart and books are right from the pen, that is, the Book of Songs says "thinking is innocent" and the Book of Rites says "irreverence". The essence of calligraphy can be summarized in one word. Mr. Wang believes that calligraphy is a spiritual dance of China people, a green land and an important source of life meaning.
The fundamental purpose of China's calligraphy art is that "the calligrapher is comfortable, his temperament is also comfortable, and the calligrapher is like a human being". In this sense, only calligraphy full of calligraphers' emotional content can truly gain the life and value of art, for example, the monk Yu Wang of the Southern Qi Dynasty said in Ode to Literary Words: "You must forget your heart in your pen, your book in your hand, and your heart and hand convey your feelings. If you don't forget the ideas in the book, you're welcome and you can test it. " Another example is Sun's "Book Score" in the Tang Dynasty: "Emotion expresses words, which means coquettish; Yang Shu is miserable, which is based on the heart of heaven and earth. " The sense of pen-based ink is based on human temperament. Being rational is the primary task of a book.
Calligraphy embodies human temperament. First of all, the calligrapher's emotions are integrated into the book, thus forming personal artistic characteristics. The so-called "Ji Ming draft", that is, Yan Zhenqing's "nephew draft", is unbearable. Therefore, the book is frustrated and uncontrollable; "Gao Bowen" has a peaceful mind, so it is tolerant and smooth, which is what it means. Secondly, only works saturated with calligraphers' emotions can arouse and touch people's hearts and inspire others' emotions. As Wang Shizhen said in Ten Postscripts of Wen Ting Yun Ge: "The book of offering sacrifices to nephews is naive and wonderful, but as for this! ..... Loyalty really hurts, and Uncle Yu will not die. " These two aspects constitute the complete connotation of "temperament". No matter from the point of view of creation or appreciation, it is the fundamental principle of calligraphy art that "the reason is the first". For book learners, the only way to achieve "extreme" is to "feel with your heart" and "follow your feelings and you will definitely succeed, and you will definitely give up your work if you go against your heart". For the understanding of calligraphy, Teacher Wang's exposition is also excellent. He said: "The book is in harmony with God, and the pen is in harmony with the mind. Calligraphers must be savvy, and enlightened people are also spiritual. " When writing, it is required that the strokes of the pen should have a source, and the characters in the book represent the author's own style and characteristics. Calligraphy pays the most attention to the expression of the calligrapher's own personality spirit. In the history of China, some great calligraphy works, because of different circumstances, have different personalities, so they have to be immersed in the book in order to be unique in ancient and modern times.
Mr. Wang has a far-reaching influence. He thinks that the emotion expressed by calligraphy is abstract, and the art of calligraphy expresses emotion through the "shape" and brushwork of Chinese characters. The so-called "happiness is harmonious and words are comfortable; Anger is harsh and dangerous, sadness is gloomy and condensed, and joy is flat and beautiful. This is on the basis of "form and quality", and at the same time goes beyond the general stippling form, condensing emotional meaning from the overall style of "form and quality" and giving people a sense of beauty in the form of qi and style. However, "the rough trace of straightness lies in softness and rigidity", and from the most basic requirement of "form and quality", the minimum standard of expressing feelings in form and quality is put forward. Here, "soft" means vivid, flexible and lively, "hard and dry" means stiff and inflexible, and "like an operator" is one of the manifestations. The reason why it can't be written is that it can only "write down words", not only because its technique is clumsy and monotonous, but also because it can't express a rich and active emotional world. The reason why Zhang Xu's cursive script can "change ghosts and gods, and cannot be traced" is precisely because it "moves in China and must publish cursive script", so its form and quality are ever-changing. The so-called "Zhang Chang's history books are both sad and happy" also refers to Zhang Xu's cursive script in the Tang Dynasty, with endless changes in form and quality. Huai Su's cursive script, however, is highly concise and magnificent, showing a relaxed Buddhist feeling beyond the realm of sadness and joy, deliberately sending people away for "sending sadness and joy". In addition, the realm of Wang Xizhi's "binding the law from sadness" means that calligraphy can transcend the meaning of words and "express feelings" in its own form, so that people can appreciate calligraphy "though it is not covered, it is still not covered" and achieve "no trace but no exposure, and endless feelings. "So" the calligrapher is also comfortable, and his temperament is also comfortable ",that is, in the fusion of" temperament is based on form and quality, and form and quality are based on temperament ".
Teacher Tu believes that whether a person has aura can be reflected in one's words; Su Dongpo is reclining in front, which is a sincere realm, while Liu is a dead ink, which is a short-lived shape. Mr. Wang even thinks that words can tell a person's fate and fortune. Character is the expression of personality, with "form and quality" as the carrier and style and style as the form. The emotional expression of calligraphy is an abstract emotion transformed from personal temperament, or a long-term and stable emotional crystallization, such as Huai Su's "bittersweet" and Zhang Xu's "bittersweet". Therefore, calligraphy, like other arts in China, has some long-standing "procedures" to express feelings, such as "being a servant should be precise" and "grass is precious and flowing". There are grass seal and line seal. There are Cao Li and Li Hang. More importantly, on the basis of the general program, we should "take the wind as the spirit, drum as the strength, and harmony as elegance." Calligraphers can use the "precise" seal script and official script in the form of "flowing clouds and flowing water" in cursive script to obtain new and different styles and interests, so as to "reach their feelings, make them sad and make them happy" At this time, the writing technique has a higher level of spiritual implication. Teacher Wang believes that ancient books should be obsessed with form, master writing techniques and finally reach the spiritual level. When you meet the ink on the ancient tablet, you will understand it when you put pen to paper. Copy by point has fallen into the second meaning.
Moreover, when reading ancient books, only by temporarily putting the happiness, anger, sadness and joy expressed in the book "comfort" and "danger" in your mind can you arouse your corresponding emotions, so as to achieve a similar emotional realm, avoid "seeking common ground" and achieve "making pottery with a mistress". The so-called "feeling" means not only understanding the feelings of the ancients, but also sending them to me. Mr. Wang's calligraphy is to get the interest of "novelty and uniqueness", to integrate various schools of thought and to form his own face.
As a philosopher, Mr. Tu believes that calligraphy embodies human temperament with particularity, but it also has its universality. In the field of culture, a class, a sentence, a sentence, you can see a person's temperament, a person's lungs and liver. Perhaps this is also the inspiration from calligraphy.
2, first with the ancients, then with the ancients.
Calligraphy is a portrayal of a person's temperament, a reflection of a person's spirit, and a witness of a person's hard work and hard practice all his life. Teacher Tu loved calligraphy when he was a child and took Japanese calligraphy classes for ten years. Then, Fu Heng copied the Han and Tang steles. Learn from Sun and your aunt. Mr. Wang knows the importance of basic skills to calligraphy creation, and always emphasizes the relationship between China's calligraphy inheritance and innovation.
From 200/KLOC-0 to 2003, our school held four exhibitions of "Art and Science". During each exhibition, Teacher Tu came to watch China's ancient paintings and calligraphy works, and took the initiative to explain the historical and artistic value of each work to the students who watched the exhibition. He was full of enthusiasm and saw it in Sri Lanka. In April 2002, when visiting the second "Art and Science" exhibition, Mr. Wang happily wrote an inscription: "Look at the mountains before painting, then look at the paintings in the mountains, first merge with the ancients, and then leave. This means imitating before creating, which is a valuable experience of China for thousands of years. Future generations should think deeply, and innovation is a natural thing. "
Mr. Tu believes that calligraphy is first of all inheritance, not innovation, that is, the so-called "first combination with the ancients". Without foundation, there is no innovation. Only by "combining with the ancients first and leaving them later" can we step into the road of innovation. Writing a book casually means innovation, which is the most dangerous. Mr. Wang often says that people who engage in liberal arts can't write or calligraphy, so they are penniless. This can be said to hit the nail on the head. Moreover, in the process of writing, Mr. Wang thinks: "Books use pens to save people, so those who are good at books use pens, and those who are not good at books use pens." Most of Mr. Wang's writing is cantilever-style, even small-print writing is inscribed on his wrist, so its development is incomparable to that of pillow wrist. In the use of pens, I am used to writing big characters with small pens, which can play the role of pens. Therefore, Mr. Wang's books often have couplets with banners and even plaques, which are often vigorous and magnificent. Mr. Wang believes that it is very important to use a pen in calligraphy. Books are made of pens. When pens are transported to paper, they are transported to wrists, wrists to elbows and elbows to shoulders. In teaching, it is emphasized that writing should be held in the hand with the pen twisted, and the fingers should be empty, not in the palm. Everything is up and down, there is no gap. He believes that there must be changes in the use of pens, otherwise it is difficult to call it calligraphy, and even there must be changes within one stroke. Teacher Wang insists on "putting ideas first", learning writing methods, caring for one heart, turning the wrist with the heart and the pen with the hand. Only in this way can we meet the requirements of writing. Mr. Wang also believes that books are paintings of the mind, so books are also learned. If you don't want to be a man, just be diligent and have nothing to do.
When talking about the origin of China's calligraphy, Mr Tu thinks that the origin of China's calligraphy lies in Oracle bones, in Zhong Ding and in Xiao Zhuan. Xiao Zhuan pays attention to symmetry, and uniformity is uniformity, which is called symmetry. In writing, Mr. Wang has always emphasized the central pen, striving to achieve "pen center" and "hiding the head and protecting the tail". He believes that the best way to achieve "pen center" is to practice seal script, because the characteristic of seal script is central writing. The so-called center is the plane where the pen writes vertically. Zhou et al. were appointed, Shigu. Qin Zhuan is like a mountain, with monuments to evil spirits everywhere. Mr. Wang believes that to learn to write Chinese characters, you must learn seal script, otherwise you can't be called a good calligrapher, Shu Pu, saying, "Seal script is graceful and smooth." Seal script is gentle and vigorous, and it is getting more and more handy. In the process of seal script, Mr. Wang realized the mystery of "there is no fixed method for writing", so his writing skill is smooth, relaxed and calm, his pen is horizontal and oblique, he returns to the center, he uses the tip, abdomen or root of the pen, and he is flexible and free, and sometimes he lifts it lightly, and sometimes he presses it again, so that the words come out vigorously and do not float tirelessly. Mr. Wang believes that calligraphy emphasizes dharma, and calligraphy begins with "dharma", which is an indispensable foundation of calligraphy, but at the same time, it cannot be confined to dharma, rigidly adhered to it, or even regarded as the "ultimate realm" of dharma. Techniques are not only a relatively stable system, but also highly flexible, and ultimately express people's spiritual realm and aesthetic taste.
Books are drawn for the mind. Mr. Wang's calligraphy has clever and wonderful lines, elegant artistic conception, steady spine, stretching body and combining rigidity with softness, and unrestrained and lively rhythm. The words in the book are "innovative statutes, bold and wonderful". In terms of structure, Mr. Wang is also quite ingenious. His book Fiona Fang combines rigidity with softness. The strokes are flexible and dense, looking up and down, solemn and elegant. They are complex, changeable in rhythm, cohesive and elastic, giving people a feeling of vigorous brushwork. Not only has its own face, but also can be found in the works of the previous generation of calligraphy masters. Teacher Wang believes that the key to calligraphy lies in mastering pen, paper, ink and water. Therefore, using ink and wash as a book is just right and makes people never tire of reading it. This is the result of Mr. Wang's "first merging with the ancients, then leaving them".
3. Learn from nature and seek it from different sources.
Mr. Youguang Tu was rigorous all his life, adhered to the correct learning path and pursued the highest realm of calligraphy. In the creation of calligraphy, it embodies the sincerity and integrity of people and the beauty of neutralization of calligraphy. Mr. Wang believes that calligraphy truly embodies people's literary accomplishment and humanistic spirit. The writer's level of literature, history and philosophy directly affects the writing quality, and humanistic spirit is the key to the writer's soul. Mr. Wang's exquisite and neat calligraphy is inseparable from his profound literary accomplishment.
A person should have a comprehensive cultural quality, just as calligraphy is a comprehensive portrayal of a person's cultural quality, which fully embodies his spirit and cultivation. Mr. Tu believes that calligraphers should have extensive knowledge and profound knowledge. A calligrapher must have "extra-book kung fu" and "extra-word kung fu", that is, absorb nutrition and accumulate knowledge from all aspects other than calligraphy. And inject this kind of nutrition into your personality, so as to cultivate extraordinary temperament and make calligraphy works have their own chewiness and artistic conception. If you don't learn, you can't "raise", and if you don't "raise", you will "learn" in vain. In ancient calligraphy theory, calligraphers "took the Wan Li road", that is, they cultivated and purified their minds from nature, deepened their understanding of calligraphy by observing the ever-changing beauty of nature, and then stimulated the creation of calligraphy beauty through "epiphany", thus making a qualitative leap in calligraphy art. "Think of it in the middle, touch things and feel it." The so-called "learning from nature, seeking differences from the class" and "getting the help of mountains and rivers". In the literature, there are many examples of calligraphers relying on "understanding" to promote their calligraphy skills, such as Wang Xizhi, Zhang Xu, Yan Zhenqing, Huai Su, Huang Tingjian and Dong Qichang. In their artistic practice, there is a link of "seeking differences" and epiphany. The so-called swordsmanship, the struggle for Tao, the change of Xia Yun, etc., and even the famous theories about brushwork and brushwork in history, such as Yin Yinni, cone painting sand, and leaking marks, are all the results of "focusing on things, touching things, and feeling things".
Mr. Tu's academic theory only focuses on reading. He believes that no matter whether you study for a book or not, you should "read thousands of books", just as Su Dongpo said: "It is not enough to retreat like a mountain. Reading thousands of books is the beginning of enlightenment." If "seeking words from words" is tantamount to wasting your time; The character of calligraphy, besides calligraphy, can be formed on a higher spiritual level by reading thousands of books. If we only work hard on calligraphy, but lack artistic accomplishment in poetry, painting, seal cutting and music, it will be difficult to reach a lofty realm.
Huang, a poet in Song Dynasty, repeatedly emphasized that calligraphers should have "thousands of books in their chests" and "morality in their chests". It is emphasized that calligraphy should be "the spirit of learning literature is gloomy and sandy, which comes from pen and ink" Here, "learning" has become "nurturing" and has become the mind and spiritual realm of calligraphers. After Su and Huang, Zhang Zhao in the Qing Dynasty also had an accurate summary: "Only by traveling with the creators and combining academic talents can we be vivid." These remarks are what Mr. Wang has always encouraged learners and should be considered for a long time.
In academic research, Mr. Tu emphasized the relationship between specialization and generality. He believes that specialization is for the sake of commonness, and only on the basis of commonness can there be specialization, and only by mastering all kinds of knowledge can there be specialization. Without generality, specialization is impossible. General is the foundation, special is special, and the relationship between special and general is the relationship between special and general in philosophy. Moreover, the two cannot be reversed, let alone confused. Mr. Wang thinks the same is true of calligraphy. As far as calligraphy is concerned, you need to learn various styles to know the reform. A calligrapher cannot be as good as others. He pointed out that a calligrapher who does not know seal script and cursive script cannot be called a calligrapher. If you specialize in a subject, and you think you specialize, you don't know knowledge, and of course you don't know China's calligraphy.
Mr. Tu believes that although cursive script is cursive script, there are legal provisions on strokes and strokes. Don't do it yourself if you can't cursive. When writing specifically, we should try our best to make words with few strokes look inconspicuous and words with many strokes look uncomplicated. The structure should be based on the shape of words, and it will naturally pass. And strive for the right ratio of ink color and rice paper, so that paper and ink complement each other. Mr. Wang advocates that the content of writing should be unified with the form of calligraphy, whether it is writing the famous sayings of predecessors or writing his own works.
"Learning from nature, learning from others", ancient calligraphers, are all like this. Mr. Tu's abstract thinking on poetry and philosophy made him too busy to create. He insisted that China, a scholar, could not write, so he could not talk about China's knowledge. Mr. Wang often says, "Although I am mediocre, I am honest and down-to-earth." This statement is by no means empty. Most of Mr. Wang's works, regardless of the plaque couplets or screen banners, are self-written, with beautiful words, which reflects Mr. Wang's profound knowledge and cultivation.
The poems and couplets created by Mr. Tu are ingenious in wording and profound in meaning, which makes readers feel sorry. It also reflects Mr. Wang's literary accomplishment. For example, in February 1990, Mr. Feng Youlan passed away, and Mr. Feng sadly wrote two couplets to express his condolences. Mr. Wang's couplet is a masterpiece in mourning for Feng Youlan.
one
Establish heaven and earth, serve the people, seek benevolence and benevolence, and live in peace for 95 years.
Don't discourage fame, don't be depressed. If you know I'm guilty, you can rely on four million words.
Secondly,
Born with tears, I wish the Spring and Autumn Period 8,000 years, and it is difficult to be a hundred years old.
It is even more tragic to be rejected for 70 years and seek a new life, worrying about the country and the people.
In April 2004, Zhang Dainian (1909-2004) passed away. During the reign of Zhang Shi, Mr. Feng Youlan once summarized his way of standing as "resolute and plain" and "straightforward". Mr. Tu collected the sentences in The Analects of Confucius and wrote a couplet:
If you take the straight road, you will expect it, and you will.
A wise man is not confused, a gentleman is like a man, and Suntech is like a man.
Mr. Tu is elegant, frugal and not gorgeous. Cherish ink as gold, cherish paper as gold. Don't waste dripping paper, make the best use of it and make ink every day. Mr. Wang is broad-minded, approachable, always responsive to book seekers, and often takes cursive as a gift. The calligraphy works inscribed are elegant in style, gentle and honest in writing, and rarely abrupt. The content of the inscription is either famous sayings of historical celebrities, poems of Tang and Song Dynasties, or self-written poems, which are intended to inspire people to make progress and encourage them to learn later. 1999, Mr. Tu wrote a poem for Mr. Daru, which said:
There are many poems and books upstairs in Changchun, and three generations are paid to pass on great Confucianism.
Qing Yu is the home of Jishan, and Nanshan Island loves my family.
Mr. Tu believes that higher education in China has been a lifelong education with all-round development of intelligence, benevolence and courage since the age of 15, and has since died out. Before the 20th century, it was a humanistic stage, and in the last hundred years, it was a scientific stage, and it is moving towards a humanistic stage. In recent ten years, Mr. Wang has actively devoted himself to the cause of humanistic quality education in colleges and universities, published many articles with delicate meaning and clean language, and regarded calligraphy as an important means to promote humanistic quality education in colleges and universities. [2] During this period, Mr. Wang's forum blossomed and he wrote many books. Whether it is an inscription or a title, Mr. Wang's calligraphy adds luster to a good book. Mr. Xun is a model to promote humanistic quality education. In a poem he gave to Academician Yang Shuzi, he said:
The four seasons are like spring, and there are weeping willows in Qionglou Yuyu, and the scenery is new.
The beauty of sunny days and the smile of peaches and plums are human nature.
200 1 This year, Zhou Liquan celebrated his eightieth birthday. Mr. Zhou dedicated his stick to the anniversary and gave him a four-line poem.
The calf and the white horse play with new knowledge, and the old man tells everyone about Xiang Si.
People who become healthy at the age of 80 are gentle, upright and good at poetry.
Jin Lao in the poem refers to Jin (1895- 1984). "A healthy person" and "gentle and honest" are not only Mr. Tu's evaluation of his senior Zhou Liquan when he was studying in Tsinghua, but also his goal of being a man, studying and writing. I tried to listen to Mr. Ling's lecture, observe his meticulous writing on the blackboard, and listen to his earnest and impassioned words, which were on pins and needles; Mr. Mo Angang is eight years old. His words are true and good. But as long as we observe Mr. Wang's calligraphy works, we can associate the image of a white-haired and gentle China Confucian.
Mr. Youguang Tu is studious and thoughtful, and he has been familiar with Confucian classics all his life. In the field of philosophy, it is rich in ancient and modern times and combines Chinese style. In calligraphy, his calligraphy thoughts and opinions are also extremely incisive, which is inseparable from Mr. Wang's calligraphy practice in the past 70 years. If we only discuss Mr. Youguang Tu's educational thoughts and ignore his calligraphy thoughts, then these discussions are not comprehensive. Mr. Wang's exposition on calligraphy is an indispensable part of his educational thought. Today, when we re-read Mr. Wang's teaching and his works, we will understand the highest state of China culture and the spirit of China education from his personality, knowledge and books. As a calligrapher who doesn't make a living from calligraphy, but is familiar with ancient and modern times, Mr. Youguang Tu's calligraphy and calligraphy thoughts are really a valuable spiritual wealth. Mr. Wang is knowledgeable and has a long history. He is diligent, persuasive and successful. Although Four Treasures of the Study, a traditional Chinese culture, has quickly moved away from modern social life, the function of China's calligraphy in cultivating people's thoughts and sentiments and cultivating and improving college students' humanistic quality has not been reduced at all, but is more important. This is why we should learn from Mr. Youguang Tu's calligraphy and his calligraphy thoughts. Perhaps this is also our best gift for his eightieth birthday.