A symphony of poetry and books
Commenting on Zhao Yanjun's calligraphy creation on the theme of "The Road of Tang Poetry in Eastern Zhejiang".
Zheng Liquan. There is a road, more than 500 kilometers long, which is a poetic landscape corridor paved by more than 450 Tang Dynasty poets with more than 1,500 poems, and it is also the spiritual road of Chinese poets. This road is the famous "Tang Poetry Road in Eastern Zhejiang".
The construction of the Poetry Road Cultural Belt is a major innovation in Zhejiang to enhance the construction of "two high levels", a highlight of the times to promote the construction of humanities in Zhejiang, and a poetic soul and landmark project for the construction of a large garden in "Beautiful Zhejiang". "Poetry Road Wild Goose Traces - Zhao Yanjun "Eastern Zhejiang Tang Poetry Road" calligraphy collection" stands in the perspective of the times, with a strong pen and ink to write the magnificent chapter of "Eastern Zhejiang Tang Poetry Road", this is the first intersection of poetry and calligraphy, but also the perfect blend of poetry and pen, but also a wonderful symphony of calligraphy and the times.
1. The intersection of the road of poetry and the road of books
The Tang Poetry Road in eastern Zhejiang "runs through the three famous mountains of Huiji, Siming and Tiantai, like a magical golden thread, stringing up the landscape scenery and humanistic anecdotes on both sides, attracting many literati and ink writers, walking with songs, chanting with music, and sending nostalgia to Hanmo, becoming a miracle in the history of Chinese culture and art. The precipitation of history, the nourishment of literature, and the penetration of pen and ink have injected a spiritual core into the landscape of eastern Zhejiang, and the integration of ideas has enhanced the spiritual atmosphere of the "Road of Tang Poetry in Eastern Zhejiang".
In a word, the road of poetry is the "road of the heart". This "Poetry Road" embodies the unique artistic character of poets and artists walking on the "Tang Poetry Road in Eastern Zhejiang" in ancient and modern times. Whether it is Li Bai, Du Fu, Wang Wei, Meng Haoran, Meng Jiao, Bai Juyi, or Lu Zhaolin and Luo Bin Wang in the "Four Masters of the Early Tang Dynasty", He Zhizhang and Cui Zongzhi in the "Eight Immortals in Drinking", Yuan Zhen, Li Shen and Li Deyu of the "Hanlin Sanjun" in the Middle Tang Dynasty, Luo Yin, Luo Ye and Luo Qiu of the "Three Luos of the Late Tang Dynasty", etc., all admire the legacy of the Wei and Jin dynasties, and they are all outstanding representatives of mavericks. This makes the Tang poems in eastern Zhejiang have a unique style and distinct personality, or beautiful and natural, or bright and enchanting, or deep and far-reaching, or indifferent and shallow, ......It is this spirit that has created the unique charm and historical status of Tang poetry in eastern Zhejiang.
Poetry has a "poetry road", and books also have a "book road". "Those who build mountains and rivers are the root of the poet's temperament." This is true of poetry, and so is calligraphy. The road of Tang poetry in eastern Zhejiang is not only a road of geographical significance and poetry culture, but also a road of calligraphy art. On this poetic road, Wang Xizhi, Wang Xianzhi, Zhiyong, Chu Suiliang, Yu Shinan, He Zhizhang, Lu You, Yang Weizhen, Ni Yuanlu, Chen Hongshou, Wang Yangming, Xu Wei, Zhao Zhiqian and other generations of calligraphy masters have been brilliant. This is not a coincidence of historical development, but the inevitability of artistic evolution.
Zhao YanjunCursive couplet pen want to chant in the cup of doubt after drinking.
The most stable and closest thing to the origin of art should be the genes of regional culture. Shaoxing, an important node of the Tang Poetry Road in eastern Zhejiang, is the foundation of Zhao Yanjun's life and the source of art. As the birthplace of Wuyue culture, the humanities are flourishing, the style of calligraphy is inherited in an orderly manner, and famous artists are emerging one after another. Zhao Yanjun came from the Tang Poetry Road in eastern Zhejiang, accepted the cultural nourishment of the mountains and rivers in eastern Zhejiang, and walked out of a "Zhao's Book Road". His calligraphy road was enlightened by Liu Gongquan and Yan Lugong's calligraphy, and his calligraphy style began with the classics of the two kings. The character "Wang" laid the foundation of Zhao Yanjun's true calligraphy and became the "base point" of his calligraphy road. He was immersed in the combing of the folk calligraphy style of the Wei and Jin dynasties, and deduced the causes of the calligraphy style of the two kings in the fragments of paper and calligraphy such as writing scriptures and silk silks. Laying out the Han style and immersing himself in Wei stone, he expanded the road of taking the law to the vast field of Han Dynasty inscriptions, cliff stone carvings, and epitaphs of the Northern Wei Dynasty, so that his calligraphy art has a steady stream of nourishment and lasting endurance. Tracing the meaning of the Song Dynasty and combining the Ming and Qing dynasties, he extended the method of taking grass to the integration and penetration of the Song Yun and Ming and Qing calligraphy styles, so that the calligraphy style opened up again. It can be said that this is the origin and residence of "Zhao's Book Road".
From the Erwang calligraphy style of Shanyin Lanting, to the ancient and strange horror of Chen Laolian in Zhuji, to the dripping ink of Xu Wei in Shaoxing, and then to the new theory and anomaly of Ni Yuanlu in Shangyu, it presents Zhao Yanjun's unique aesthetic orientation of calligraphy, and also embodies his personality views on tradition and classics, as well as his deep thinking about the core spirit of calligraphy. He said: The choice of Ni Yuanlu, Chen Laolian, Xu Wei, etc., although it is a "Shanyin" complex, is also due to temperament, the need for form, and the trend of calligraphy. Here, I choose the unique spirit and artistic style of these San'in calligraphers. The combination of inscriptions and posters of "Zhao's Calligraphy Road", the integration of left and right sources, selection and adaptation, and finally became a "Zhao's calligraphy style" with strong recognition.
The road is long, and I will go up and down to seek." The book road is long, Zhao Yanjun seeks in change, and moves forward in exploration.
There are some new changes in the calligraphy creation of the "Tang Poetry Road in Eastern Zhejiang". The regular script synthesizes the style of Wei epitaphs such as "Zhang Heinu" and "Shimen Ming", which integrates vigorous, light and spiritual, and openLishu absorbs the broad and ancient style of cliff stone carvings such as "Opening the Praise Slope Road" and brick inscriptions, highlighting its creative ability of large charactersIt seems to have returned to the origin of Zhao Yanjun's calligraphy road, but it is a spiral rise, forming the first "closed loop" of the calligraphy road. As Sun Guoting's "Book Pedigree" said: "Beginners are distributed, but seek fairness;Knowing that it is fair, it is necessary to pursue the danger;It can be dangerous and restore justice. At the beginning of the study, it was not reached, and the middle was passed, and then it was passed, and when it was passed, everyone was old. ”
Although poetry and calligraphy are different in form, the laws of art are highly consistent. Whether it is a poet or a calligrapher, the most precious thing should be the pursuit of independent character and the choice of artistic path. Seneca famously said, "If a man does not know which dock he is sailing towards, then no wind will be a tailwind." "Zhao Yanjun is always able to think about his personal creative direction in the vane of the times, and combine it with it, realize and surpass himself in the systematic and large-scale calligraphy creation mode, and constantly create extraordinary calligraphy results. "Poetry Road Goose Track" is not only the product of the intersection of poetry and calligraphy, but also a gorgeous artistic flower that blooms due to the continuous collision of poetry and calligraphy.
Zhao YanjunThe regular script Wang Ji "Farewell Li Shi in the Mountains" in the middle hall.
Second, the blend of poetry and penmanship
The beauty of literati calligraphy lies in the symbiosis and harmony between "poetry" and "calligraphy". As a typical feature of classical Chinese culture, the combination of poetry and books has become a conventional writing Xi after thousands of years of historical precipitation. Poetry and books are the same, while tasting poetry and appreciating words, perceiving poetry, poetry, poetry, poetry and pen nature, pen feelings, pen meaning, and pen rhyme, and understanding their independent and integrated aesthetic purpose.
Art not only depends on knowledge, but also on action, and "action" puts "knowledge" in practice. Zhao Yanjun does not write poems, and his "Poetry Road" calligraphy creation is based on the long-term reading and perception of "Tang Poetry in Eastern Zhejiang", and almost all of Zhu Yuebing's efforts to write "Tang Poetry Road Tang Poetry Collection", as well as several times to re-take the "Poetry Road" to seek poetry, find poetry, and understand poetry. As the author said himself: "People follow the poem, and the pen moves with the poem." The creation of temporary posts has become the norm in my spare time, or Kai, or line, or grass, and I write along the poems. This may be a kind of calligraphy creation mode of "unity of knowledge and action" and "combination of poetry and calligraphy". He integrates the artist's creative emotion, as well as the cognition, understanding and judgment of Tang poetry in eastern Zhejiang into his calligraphy creation, so that his calligraphy works are full of poetic spirit and vitality of the times. It can be said that the poetry of the Tang Dynasty is at ease, and Zhao Yanjun's pen is self-stationed, which is a comprehensive consideration of the level of conception, traditional skills and humanistic care of his creation.
Poetry in the brushwork, poetry in the brushwork - this is my macro understanding of Zhao Yanjun's calligraphy creation on the theme of "Tang Poetry Road in Eastern Zhejiang". If "poetry" is the poet's unique artistic language, then "penmanship" is the most personalized expression of the calligrapher.
Zhao Yanjun's handwriting
The dotted lines of calligraphy, regardless of shape, texture, strength or even rhyme style, are all related to the nature of the brushwork. To be precise, penmanship refers to the talent, understanding, cultivation, temperament, thinking and artistic sense of the calligrapher in his works. From the perspective of penmanship, Zhao Yanjun's calligraphy works with the theme of "The Road of Tang Poetry in Eastern Zhejiang" have three characteristics:
One is unrestrained. Zhao Yanjun's "pen nature" is true, has a strong ability to use the pen and the front, with the edge of the movement, from the gathering and paving, and then by the shop and gathering, the pen is straight and strong, forming the atmosphere of the unrestrained pen characteristics. Starting from the understanding of each theme poem he wrote, he felt the poetry in it, and used abstract calligraphy lines to express the unrestrained poetry. For example, Xiaoshan's "Li Bai Hengjiang Ci", which is continuous up and down, interspersed left and right, is integrated, which makes people feel the sense of time and space and rhythm, which is consistent with the poetry of "the waves are like mountains and snow". The vertical and horizontal opening, the ups and downs of the penmanship, is Zhao Yanjun's unique calligraphy symbol.
The second is majestic. "Xionghun " is the first product in the late Tang Dynasty Sikong Tu's "Twenty-four Poems": "The outer fibula is greatly used, and the real body is filled." Anti-void into the muddy, accumulate health for the male. "Majestic" embodies the beauty of a kind of life force. Zhejiang calligraphers have a "majestic" spirit in their bones. Zhao Yanjun's calligraphy is majestic, restrained but not indulgent, and his handwriting is fluent. Its vigorous wind and resolute momentum make people passionate, healthy and vigorous, and positive. For example, in the Shaoxing chapter, "Meng Haoran and Cui Twenty-one Visited Jinghu to Send Bao He Ergong Sentence" in regular script and large characters, the shape is clumsy, the gesture is strong, there is posture and strength, reflecting the passionate change and vitality.
The third is change. There are many works in the theme creation of "The Road of Tang Poetry in Eastern Zhejiang" showing the characteristics of non-subordinate and non-regular, non-line and non-regular, and subordinate and regular Chinese, which completely opens up the font boundaries of subordinate, regular, line and grass, and forms an integrated style form. This is not the traditional concept of "broken book", not the simple arrangement and mixing of two or three fonts in the work, but the use of penmanship as a bridge, from the inside of the line to change, to form a writing system of its own. No matter what font is written or what form is used, the penmanship is highly uniform. Such as the eastern part of Zhejiang, "Bai Juyi Xi on the answer to the micro" and other works, similar to regular script, but with a strong line of grass and official calligraphy, the center of the momentum, the side of the momentum, fast and sharp, sharp edges, the lines are thick and simple, changeable, and the only constant is the pen.
Liu Xizai of the Qing Dynasty said: "Books, such as their learning, such as their talents, such as their aspirations, in short: just like their people." The significance of "as" to art history and artists lies in its concept of "change". The calligraphy creation of the theme of "The Road of Tang Poetry in Eastern Zhejiang" presents a kind of adaptable situation as a whole, with the self-contained brushwork as a bridge, connecting the fonts, integrating the classics with the folk, and adapting the stele and the post, so as to achieve the pursuit of personal calligraphy style.
The French philosopher Jacques Maritan said, "Poetry is the mystical life of all art." Using calligraphy as a carrier to express the "Road of Tang Poetry in Eastern Zhejiang" requires not only wisdom, but also courage. Poetry depends on understanding, and pen is "based on the eye". Qing Li Yu's "Idle Love and Occasional Mail" said: "The text is short and long, depending on the person's penmanship. "In the eyes of the ancients, there is no difference between pen and poetry, but in contemporary times, it is a new topic. The calligraphy practice of "The Road of Tang Poetry in Eastern Zhejiang" undoubtedly provides an exploratory case in terms of poetic expression and the integration of brushwork.
Zhao Yanjun's handwriting
3. The symphony of calligraphy and the times
Eastern Zhejiang Tang poetry, "Poetry is not only 'poetry', 'poetry' reflects the culture of Zhejiang;."'Road' is not only 'road', 'road' reflects the development path", the core of poetry road culture is an originality and contemporary. Zhao Yanjun's calligraphy creation on the theme of "The Road of Tang Poetry in Eastern Zhejiang" embodies the valuable and keen spirit of "observing the present", using calligraphy as a carrier to not only dialogue with the ancients, but also walk with the times.
Times are changing, and so is aesthetics. Qing Shitao said: "Pen and ink should change with the times, and the atmosphere of poetry and literature will change. "Calligraphy, as an art form, not only conveys personal talent and temperament, but also needs to carry the spirit of the times and resonate with the times. Some scholars believe that "the stylistic beauty of calligraphy is reflected in the strokes, structure, and artistic conception, and to a certain extent, it tortuously reflects the beauty of an era, a class, an individual, and a society." The calligraphy practice of "The Road of Tang Poetry in Eastern Zhejiang" has undoubtedly opened up a new path, created a sample, and left some thoughts for the current calligraphers.
From the perspective of Zhao Yanjun's calligraphy road, the epochality is the core concept that he has always paid attention to and explored, which is manifested in three aspects: first, inheritance. Zhao Yanjun's calligraphy originates from the two kings of Zhejiang calligraphy, inherits the technical paradigm of Zhejiang calligraphy, and shows the cultural spirit of Zhejiang calligraphy. The second is uniqueness. His calligraphy has evolved from a steady, fine-grained and skillful style to a "hearty and energetic" style, and the three major characteristics of ink, long lines and large space in his works, as well as the artistic concept and practice of "change", make his calligraphy full of the personality characteristics of the times. The third is immediacy. His calligraphy is very modern. The content of calligraphy keeps up with the pace of the times, the form of calligraphy emphasizes visual sense and expressiveness, and the content and form are highly integrated, which is compatible with the current calligraphy ecology and rich social practice.
Since the Northern Song Dynasty put forward the "two books of literature and Taoism", "literature carries the Tao" has been the historical mission and social responsibility of literati in all dynasties. Zhao Yanjun's innovative tenacity, stubborn and maverick thinking and personality, as well as his long-term practice in organizing calligraphy associations, have made him think deeply about the contemporary value, artistic responsibility and social function of calligraphy. The calligraphy practice of "Tang Poetry Road in Eastern Zhejiang" not only responds to the major themes of the times and shows the poetic atmosphere of Tang poetry in eastern Zhejiang, but also reshapes the spiritual map of Zhejiang Poetry Road culture with calligraphy art. Through the infiltration of calligraphy personality, it captures the new atmosphere of the times, connects the complex and vivid social practice with the world of pen and ink, and further explores the value of traditional calligraphy.
One article contains four belts, ten places and a hundred pearls", Zhejiang Poetry Road Cultural Belt "with poems and texts" and "with roads and belts", drawing the "four poetry roads" of Tang Poetry Road in eastern Zhejiang, the Grand Canal Poetry Road, the Qiantang River Poetry Road, and the Oujiang Landscape Poetry Road, and starting the golden business card of "Poetry and Painting Zhejiang". The Zhejiang Poetry Road Cultural Belt is a road of landscape sojourn, poetry creation, ideological dissemination and cultural integration, reflecting the beauty of Zhejiang culture, ecology, charm and vitality. Known as the art of calligraphy with Tang and Song poems as the writing carrier, Zhejiang Poetry Road undoubtedly provides a treasure trove of resources and an opportunity for calligraphy to intervene in the era.
The theme of "The Road of Tang Poetry in Eastern Zhejiang" may be just the beginning. I look forward to Mr. Zhao Yanjun's follow-up calligraphy creation of the "Poetry Road" series, and also hope that Zhejiang calligraphers will devote themselves to the creation of calligraphy on major themes of the times, write a beautiful chapter of Zhejiang calligraphy in the new era, and contribute artistic wisdom and calligraphy power to polish the golden business card of "Poetry and Painting Zhejiang".
Zhao Yanjun's handwriting