It should be admitted that calligraphy in Gansu has developed rapidly in recent years, and a large number of new people have emerged, which not only adds luster to themselves and their hometown, but also adds a lot of color to Gansu and the calligraphy industry. As a calligrapher who was born in Longdong Town and paid attention to "not hanging couplets, but not spending a year", Zhang Feng, who started late, whose words were not surprising and unknown, was able to "speak" with his own works, and even won the highest-level calligraphy "Lanting Award" in China in just a few years, which could not but arouse our attention and interest in his research.

Zhang Feng is not a celebrity in the book world. I didn't know much about him before, but I only knew his name (he was a successful calligrapher in Gansu), and I met him by chance not long ago.

Zhang Feng's way of studying is no different from others. After chatting, I learned that he has been trying to carry forward the spirit of courage and struggle since 1996 stepped into the door of calligraphy. He trudged on the epitaphs of the Northern Wei Dynasty, such as Zhang Menglong's tablet, Zhang Xuan's epitaph, and yuanshi county county's epitaph, and also studied Yan, Zhao, Su, Huang, Mi, Cai and Wang Duo. At the beginning of the new century, he attended the training courses held by China Book Association in Xi, Dingxi and Beijing. After listening to the teacher's guidance face to face, he was enlightened and gradually learned a lot about calligraphy. He said that Mr. Hong Houtian once taught me that learning calligraphy is a learning concept, and we should pay attention to the cultivation and improvement of two abilities: mastering the brush and expressing it with the brush. The core of calligraphy is the quality of lines, followed by the function of lines and the handling of the spatial relationship between lines, that is, straight lines with masculine characteristics and curves with feminine characteristics blend, transform and change with each other. In fact, any calligrapher has just completed a process of starting, doing and collecting. In his view, besides spending time on calligraphy, the key to learning calligraphy lies in the word "enlightenment". You must learn to create "true consciousness" like a monk chanting Buddha, and every stroke, painting and word must be "in the heart". Only in this way can you write an ideal work.

Calligraphy is the same as music, dance, opera, painting and other arts. "Art is in the spirit house, not in the hands." After reading Zhang Feng's calligraphy, I think there are three characteristics: elegance, freshness and literary grace. Elegant and clean, elegant and clean. The pen is rich and natural, clean and neat, not sloppy, simple and elegant, and the layout is random. I try to deal with the relationship between the whole and the part in space and try to express my interest in calligraphy. Fresh, clear and novel. There is no doubt that Zhang Feng's calligraphy comes from tradition, and tradition is rooted in inheritance rather than mud. Calligraphy is similar to ancient but not ancient, focusing on the current aesthetic category and striving to reflect the aesthetic consciousness of the times. Liu Xizai's "Introduction to Art" said that "it is better to look at a person's calligraphy than his cursive script". His calligraphy is mainly cursive and regular script, and the level is also the best, followed by other calligraphy styles. Zhao Mengfu said: "Calligraphy changes at any time, but it is not easy to use a pen through the ages." Zhang Feng knows his meaning well, and uses both sides of the pen to achieve a clever and harmonious effect, trying to improve the quality of lines while increasing the richness of the pen. His pen twists and turns occasionally, but he can "rescue" and "rescue" in time and quickly change his pen posture. His lines are elastic and tough, and look steep, clear and novel, which also proves the metaphysical spirit in eastern philosophy. His regular script is undoubtedly based on the North Monument, full of beauty and willow rhyme, and contains natural interest, just like a pool of lotus flowers after rain. When reading it, there is often a fresh air. The literate, that is, the bookish, especially the cursive script, reveals a kind of "literati's literary mind" between the lines, just like flowing water, stirring and jumping, with a sense of rhythm. ...

On a quiet spring night, I browsed, compared and studied Zhang Feng's calligraphy works under the lamp. I imagine that he has been working hard for more than ten years, singing an armchair strategist in his heart. I occasionally recite poems and sing an "Interpretation of Zhang Feng's Calligraphy". I have the right to squeeze two lines here, talk to him and encourage him:

Leaning against the window, the trees are silent and the walls are full of surprises.

Mohai knows that there is a way to practice, and it really feels like a spring breeze.

Calligraphy is an art that people love deeply, can't let go, is hard to give up, is unfathomable and boundless. Since ancient times, no one can be perfect. If so, we can't say that Zhang Feng is a very outstanding calligrapher. However, I sincerely expect him to become a very good calligrapher. In my opinion, his works still have some shortcomings and deficiencies after all. For example, some lines in cursive script are not strong in brushwork, especially the writing style of individual paintings. The movement of the nib seems unclear, erratic and the lines are weak; Individual long hanging writing method, because the strokes are too fast, leads to dry lines, as thin as bamboo pieces, not tacky. In my opinion, calligraphy pays attention to thickness, but it doesn't mean thickness. Thick refers to the high ancient method and wide absorption, which includes the recognized brushwork of sages and masters and the aesthetic purport of calligraphy In this regard, I wonder what the majority of book lovers have to say? Calligraphy has developed for thousands of years. From a historical point of view, most calligraphers are in the golden age of creation when they are around 50 years old, while Zhang Feng is not old enough to know his destiny. We believe that he will try to make up for his own shortcomings and find a way of calligraphy, so as to achieve greater success.

-Xin Mao asked me to write a few words in the early morning of the sixth day of February, when Half Han Zhai Deng Qiu Zi reprinted Mr. Zhang Feng's Calligraphy Collection, and I agreed without hesitation. When I settle down to write, I am afraid to move forward, and I don't know what to say.

I met my husband because in 2003, he held the "Four monsoon rains" calligraphy exhibition with fans such as Liu Jinyu, Li and Gou Huifeng, and was invited to write a preface for them. The book fair was a great success, and the preface I wrote was recognized and praised by everyone because of "realistic portrait". Therefore, I have frequent contact with Mr. Zhang Feng. When you are bored, go to him for tea, watch him create freely, and steal a picture as a drink. He also wrote some words I wrote casually. Because of Mr. Zhang Feng's calligraphy performance, my handwriting has grown new branches like a willow stump and has the vitality of life. 20 1 1 year, when Mr. Zhang Feng held a personal calligraphy exhibition, he asked me to preface the exhibition. I immediately raised the topic of calligraphy heart, like milling rice with an old stone mill, and spread out the following contents: words are heart paintings. Freehand brushwork and beautiful writing. Mr. Qi Gong once wrote in the preface of Poems on the Lin Sanzhi River; "The old man's poems, with a history in his chest and mountains and rivers, have been read by thousands of books. People walking on the road in Wan Li are all written by him, and they are free and easy. There is no heart to engrave chapters and sentences, and there is handy joy. " So do books. Yipin, the masterpiece of ancient and modern calligraphers, is a wonderful flower, all handy. Today, under the influence of the traditional culture in the hometown of thousands of people, Zhang Fengjun devoted himself to calligraphy, built the foundation with inscriptions, kept pace with the times, accepted everything, and gradually developed calligraphy. Aspiring to carry forward the good fashion of "hometown of calligraphy", I went to Xi 'an, Beijing and other ancient and modern cultural cities to learn from teachers and was deeply taught by famous teachers. I am glad to get your advice, but I don't know enough. I try my best to pursue it. By analogy, the eyes are wide open and calligraphy is refined. After a long period of study, the elegant charm has emerged, and the combination of pale, muddy and smooth makes pen and ink interesting, with the method of black women and the demeanor of Wei and Jin dynasties, which is soft and beautiful at first. With spring in my heart, my pen is swaying. There are humanistic feelings, free and easy and fresh, and calligraphy is fragrant. Zhang Feng's calligraphy is a real cursive script, which has its own characteristics and is auspicious. Freehand brushwork in the heart, turning the old into the new. This is a lyrical and elegant style. There is a saying, "Li Zong Qin Han, Kaifa Jin Tang." On the other hand, calligraphy is the art of writing and expressing ideas. Therefore, in order to reach a higher level, as for the transformation, to achieve the great cause of calligraphy, to make the works spread for a long time, and to truly become silent poems, wireless dances, unpainted paintings and silent music, we must master the realm of Lin Sanzhi, a contemporary grass saint: "I don't know if I am in the deepest part of my soul." In the eyes of the cone people, being strong and doing it is an order. 20 12 in China, the hometown of calligraphy, Mr. Zhang Feng was elected as the chairman of the Calligraphers' Association, and together with his colleagues, he contributed his intelligence to the inheritance and prosperity of calligraphy art. Today, these rumors may be far from Mr. Zhang Feng's original intention of making me a writer. However, if we look closely at the history of China's calligraphy, the best calligraphy works have written some ordinary subtle words, and some even wrote prescriptions. In a word, it's true. Write about your own side. -20 13.6.22 at 2: 00 a.m., Shen Wancang was preparing for his calligraphy exhibition and editing his works before the sound of gongs and drums in Xinmao New Year and Spring Festival and the fireworks in the Lantern Festival were gone. As a teacher and friend who has been in contact for many years, while expressing my concern and enthusiastic support, it is also incumbent on me to be hired as a writer!

In the early 1990s, Zhang Feng, who worked hard in business for many years, once respected his father's orders and solemnly worshipped me to learn calligraphy as a teacher. At the same time, he entered the Zhenyuan calligraphy circle and maintained a deep affection with me for more than 20 years. In the first ten years, he was busy with his life and work, but he never gave up his calligraphy complex for a moment. I spend all my spare time practicing calligraphy, and often have close contact and pen meetings with young talents in Zhenyuan calligraphy circles such as Zheng Moquan and Chen Bo. Long-term deep impression and encouragement strengthened his belief in studying hard and laid the emotional foundation for him to become a professional calligrapher.

In 2003, three like-minded book lovers, Zhang Feng and Liu Jinyu, held the "Four Monsoons" calligraphy exhibition in zhenyuan county, which was well received by people from all walks of life and injected passion and vitality into his calligraphy creation. After that, Zhang Feng, who entered the age of no doubt and had a stable life track, went to Lanzhou, Xi, Yinchuan and Guangzhou successively, visited famous teachers and watched national exhibitions in Beijing many times, and was determined to make great achievements in calligraphy. Through the observation of the national exhibition, Zhang Feng found the sense of form and the main direction of calligraphy creation; Through the training of famous professors and the training center of China Calligraphy Association, the skills of calligraphy copying and creation have been improved. With almost obsessive persistence and perseverance, he stubbornly copied and created, and made achievements that attracted the attention of Chinese people and all walks of life. His skillful and changeable Wei Tikai calligraphy was exhibited in the 9th National Calligraphy and Seal Cutting Exhibition, China Lanting Calligraphy Exhibition and the 1st and 2nd Western Calligraphy and Seal Cutting Exhibition. Today, less than half a century ago, Zhang Feng is devoted to the research and creation of calligraphy art, and lives a life of professional calligrapher persistently and fully. Busy folk entertainment and market-oriented operation of his works ensure his rich economic income; Professional works creation and children's calligraphy training have built an ideal platform for him to reflect the value of life. Zhang Feng achieved great success and became a calligraphy celebrity in a city. He was not complacent or proud, but he still studied hard. He knows that China's profound calligraphy art is a comprehensive reflection of the calligrapher's life track and experience. He deeply realized that skilled writing skills are not the only criterion to measure calligraphers. Every calligrapher who goes down in history is a learned scholar, even a poet, scholar and historian. They write about rich personal accomplishment and emotional expression, rather than the display of pure skills. Therefore, he began to return to Beijing to continue studying in the calligraphy tutor's studio in Hong Houtian. He drew lessons from seal script, official script and other calligraphy styles, and drew nutrition from China's calligraphy history of more than 3,000 years. Obtaining knowledge from Tang poetry and Song poetry, ancient Chinese and Chinese and foreign art history enriched his knowledge and cultivation. From now on, Zhang Feng can't be ignored. I wish Zhang Feng great success and further progress, by going up one flight of stairs!

-Xin Maochun Gou Yiqian was at the bowling alley on the 18th day of the first month. Mr. Zhang Feng and I became attached to calligraphy in the 1990s. In April 2007, he entered the Xi 'an short-term training class of the Calligraphy Training Center of China Calligraphy Association, and was also a student in Hong Houtian. In the same year, he was taught by teachers such as,, and Zhai in the short training class of Dingxi Training Base in Gansu, China Book Association Education Committee. That year, Zhang Feng's works participated in the first China Western Calligraphy Exhibition, and three months later participated in the ninth National Art Exhibition. In 2008, Zhang Feng was awarded the honorary prize of the annual teaching achievement award of the Calligraphy Training Center of China Calligraphy Association. I have always been his companion on the road of calligraphy, and I know him like the back of my hand. Mr. Zhang Feng was born in zhenyuan county, Longdong Loess Plateau, 1963. He is neither a scholarly family nor a noble family, but an ordinary worker in a small county paper mill. His calligraphy experience is as simple as his books. In the late 1980s, because people were asked to write Spring Festival couplets during the Chinese New Year, he resolutely decided to learn to practice calligraphy, aiming to write Spring Festival couplets for himself and his neighbors during the Chinese New Year. Completely at a loss about the concept of calligraphy art, he scribbled casually, and then under the guidance of the previous generation of local calligraphers, he wrote Ou Yangxun, Liu Gongquan and other calligraphy posts in the Tang Dynasty. After a little interest, I began to write Zhang Menglong's tablet in the Northern Wei Dynasty on 1996, and later wrote Zhang Xuan's epitaph, yuanshi county County's epitaph and Mi Fei's running script. And gradually developed an interest, love and love for calligraphy. Day after day, year after year, the pool is endless. What really made Zhang Feng embark on the road of calligraphy art was the professional and systematic training in the Calligraphy Training Center of China Calligraphy Association at the beginning of this century. During this period, he went to Beijing many times to listen to the teachings of teachers such as Hong Houtian and Zhai, and his condition got better and better. Mr. Liu Wenhua asked him to change his mind, change his ideas and correct his previous blind, scattered and disorderly learning state. He understood the truth that "digging holes everywhere is better than digging wells on the spot" and began to specialize in "Zhang Menglong Monument" until he entered the provincial exhibition many times; Teacher Hong Houtian made him wake up: "Learning calligraphy should pay attention to the cultivation and improvement of two abilities. One is the ability to control the writing brush; The second is the ability to express with a brush. The core of calligraphy is the quality of lines, followed by the function of lines and the handling of spatial relations between lines. In fact, two kinds of lines, namely a curve with masculine characteristics and a straight line with feminine characteristics, blend, transform and change with each other. " . Teacher Zhai pointed out many times that we should "not repeat mistakes diligently, but analyze and use our brains to understand and correct them". Under the guidance of the teacher, his calligraphy lines changed from smooth to tangled, vigorous, dignified and changeable. In spatial processing, the relationship between the part and the whole can be handled harmoniously. His calligraphy works are rich in brushwork and random in structure, with varied natural features and distinctive personality characteristics in the process of creation. Zhang Feng's calligraphy has gone through three stages: first, at first, he took writing Spring Festival couplets as his ambition, that is, he wandered for more than ten years from 1987 to the end of last century; Second, study calligraphy for life. Under the guidance of a famous teacher, the more you learn, the better. Calligraphy has become a major part of his life. 3. Zhang Feng took Lanting Exhibition as a new learning starting point, aiming at the ambition of calligraphy, and decided to enroll in the tutor's studio of the Calligraphy Training Center of China Book Association on 20 10, striving for calligraphy as the ultimate ambition of life, which is commendable. But the road to calligraphy is getting more and more difficult, and we are looking forward to it ... Finally, I still want to sum it up with a sentence from my teacher: "Calligraphy is a highly concentrated and alcoholized vitality, with rotation, rhythm, order and rationality." ; "Calligraphy, feel with life ...", "The wind blows, including calligraphy".

-Zhang Weixin unveiled the mystery of seal script.

In the dead of night, I made a pot of hot tea and sat at my desk. Facing some small achievements, I became more and more confused. The happiness and pain of reading stirred in my heart, which made me unable to calm down.

After entering Hong Houtian's tutor's studio, the teacher's first class was seal script. He talked about the emergence, completion, prosperity and perfection of seal script and the life, society and historical reasons for its appearance, which made the ancient ancestors' awe and cognition of nature profound and implicit, which was an eye-opener. The appearance and development of hieroglyphics, simple tools and random environment make Oracle Bone Inscriptions have unconscious, simple and primitive natural aesthetic characteristics.

In the slave society, with the development of productive forces, bronzes appeared, and the cast characters on metal utensils became real recorded characters, such as the inscriptions on big pots and scattered plates, which were rational, rigorous and solemn, and the extravagant decoration of the sacred nobles sacrificed by the emperor made the bronze inscriptions converge a lot of barbarism and randomness in Oracle bones. The prosperous slave society once made Jinwen a masterpiece.

After Qin unified China, the feudal dynasty was established, the social and political system was perfect, and the centralization was formed, which made writing call for a new historical style. After injecting social factors, standard, standardized, practical and rigorous seal script appeared, and at the same time, the earliest writing tool brush appeared, which made seal script have the characteristics of square font, tight top and loose bottom, uniform stroke thickness and round head and tail, and was later called "jade tendon" or Qin Xiaozhuan.

I think the lines formed by strokes of any seal script are changeable, thick, thick, light, soft, clumsy or strong, which has a profound and irreplaceable influence on all seal scripts. As a book learner, it is necessary to have a deep understanding. Knife marks on Oracle bones, the casting significance of inscriptions on inscriptions on inscriptions on bronze inscriptions and the bone method of Xiao Zhuan can all be injected into Li Kai's calligraphy, such as cursive script. Without seal script, the line is weak and incomplete, not lingering, weak and boneless, lacking stone, the fire is dry, not heavy and unstable, unclear and not cold. Looking at many later generations, everyone's calligraphy style reached the meaning of seal script, which was directly passed down to later generations in the pre-Qin period, such as Deng, Qi Baishi and so on. I read the line characteristics of smoothness, fluency, elasticity, softness, gentleness, vigor and masculinity from the line modeling of seal script. From all the classic calligraphy styles since the Han and Wei Dynasties, China's calligraphy is actually two lines of yin and yang, that is, the lines of Xiao seal and Da seal blend, transform and change with each other. Contradictions arise, but they are solved, and finally the perfect unity of opposites is achieved.

When we understand the origin, development and perfection of seal script, we will know the original origin. As the originator of various calligraphy styles, its importance to calligraphy is immeasurable, and learners should not be careless.

-Zhang Fengxin Maochun under the lamp of Jingxinzhai.