The 200 works compiled in the book are the specific details selected by Mr. Wang Lin from more than 500 rubbings. Just like a woman in labor, this kind of sensitive and inky words about bricks have been achieved.
Collecting in a broad sense is the easiest thing in the world. Anyone who has learned to hold a toy steadily can get a big basket at will as long as he is reluctant to put it down. Until today, we can often see some busy people, perhaps officials or rich people, always collecting what the older generation left behind. I heard that it is still going on, but I can't persuade them. This reminds me of the famous Yanshan Mountain in Xiangfan, where the stones are at least hundreds of thousands of years old, but are these stones worth collecting? I really hope they can understand that even a little, these stones are only gathered together. Only when they are gathered here in the inkstone mountain, the accumulated inkstone rhyme exudes a continuous historical temperature, and it is difficult to find an object that can be compared with them.
The collection is very close to the soil and very close to the sandals. Like the care and gentleness of a tree and soil. Looking at a tree, the height it stands, hanging branches and leaves in the air without wanting anything, is a collection mentality and fruit. I believe it is based on this that Mr. Wang Lin asked Mr. Jin Boxing to write a brick extension.
At the invitation of Wang Lin, Jin Boxing just packed his bags, put on sandals, went to Wan Li Road, studied thousands of books and learned a hundred films. I always thought that a pair of never-ending shoes would be full of years of wind and rain. Obviously, the care of sandals for the skirting line is blisters, leaving scars. But he's long gone. In the wilderness at dusk and dawn, he holds mud bricks in his hand, like a breeze blowing trees, without decoration or decoration. It doesn't matter whether there are birds singing and phoenix dancing on the tree or thin bamboo shadows. What I read in my eyes is history books, but what I leave in my mind is the grace of the earth.
Brick extension inscription, the ancients asked the picture to be simple and solemn, and the calligraphy was fresh. Taking it out from the heart is to respect the art of the ancients. In this regard, contemporary calligraphers are at a loss Every time Jin Quan picks up a brick, it is like an orchid on the desk, restrained and fragrant, and shaped into the eyebrows. The mirror of the soul climbs between weathered mud bricks, salvages moral textual research in the mind, and captures the shape and age of bricks. A little bit, pen in hand, deep into the inkstone pool, like surging waves, tassels, ink overflowing, the soul of clay bricks flowing out, waving hands, swaying the passionate beauty of the soil.
In his explanations and inscriptions, we can read the ancient Shu Road and the Nine Songs of the Yellow River. Through thick ink, you can appreciate the foresight of history. You can enjoy the clothes and costumes on the bricks while shooting wild hunting and dancing, while listening attentively to Mr. Wang deciphering the ancient etiquette that has disappeared. Between the lines, you can also read Mr. Wang's eyes, how scared, how puzzled, how puzzled and how vacant. Between the lines, it is the eyes that move the reader, not the brick extension itself. Then, we looked at the brick extension with its eyes and found that it was really strange.
In fact, at this time, my eyes have also changed. Jin Boxing's inscription is specially designed to transform people's eyes. This is true for everyone. It is said that it affects people's thoughts, but it actually begins with transforming people's sensory system. Teach people how to look, listen and think first, and then have a deep * * * sound. It's like listening to cicadas whine among oblique branches through layers of fallen leaves. When this kind of * * * sounds quiet, life has become an empty shell, but the sensory system still exists. Curled out of thin air, the clouds are light and the wind is light, which is a scenery picked up by the shore in the years.
I don't know if Mr. Jin is as deep as I thought, whether he is walking in the soil of art, whether he is muddy or thirsty, he is always slow and steady. He is the only calligrapher I know who enjoys the reputation of "old urchin", which doesn't mean that he must be joking, but he must be a calligrapher who is recognized by the contemporary Hubei public and has the right to speak in the book world.
When he stretched out his hand to write, the most striking thing was the burnt index finger and middle finger, which showed that he was an "old smoker". It is this "brown smell" that makes it difficult to perceive the superiority of these hands. However, people think that these hands should have a sense of superiority. Looking at his works, you can't follow the rules and appreciate them all, and they are full of vitality and inspiring personality.
Teacher Jin's innocent smile always makes people feel that he must have seen scenery that no one can imagine, so he will be so happy. This is very important. Otherwise, how can he produce pen and ink that no one can imagine? Perhaps this smile makes Mr. Wang's artistic concept of "inseparable law and natural calligraphy" look so simple. It turns out that his life needs to be free and easy, and his art belongs to constantly chasing strangers.
To this end, if he is not tied to the boat, he will catch up with the strangeness of calligraphy form, composition and layout, natural strangeness without decoration, catch up with surprises and explore the strangeness after surprises. This relaxed and elegant style makes it difficult for beginners to understand the teaching in the book. Because the personal behavior expressed by the moral form of knowledge construction takes time to polish and needs to be recognized before it can be absorbed and perfected. It doesn't mean that reading a few books superficially, carrying a bag of money and lying under the roof of the collection will definitely have a master style.