Zhang Qingzhiping said; To write a word in history, you must be talented and knowledgeable. You think that it is especially necessary to have a high vision of "not being shocked by fame and not being limited by fashion", so you "know the best of the three" (Calligraphy is true. Say bread crumbs "). In the century-old book circle, the atmosphere has changed. Famous writers are good at it, while Wang Ba is miscellaneous, so it is difficult to comment for a while. And "not surprised by fame, not limited by fashion", Zhuo Yu is independent, and people who form their own style also have their own people. Professor Jiang Weisong, a famous contemporary scholar and calligrapher, is one of them.
Jiang Weisong, 19 15 was born in Changzhou, Jiangsu province. 1938 Graduated from Chinese Department of Nanjing Central University. He has served as a teaching assistant of Central University, a lecturer of Guangxi University, an associate professor and professor of the Chinese Department of Shandong University, deputy director of the Chinese Department, and deputy director of the Institute of Literature, History and Philosophy. He used to be an academic member of China Xunhua Research Association, deputy editor-in-chief of Chinese Dictionary, vice president of Shandong Language Society and chairman of Shandong Calligraphers Association. Now he is honorary chairman of Shandong Calligraphers Association, librarian of Shandong Literature and History Research Institute, consultant of Xiling Printing Society, and professor of Shandong University Ancient Books Research Institute.
If Mr. Jiang Weisong's artistic course is divided into two stages, his previous achievements should be mainly seal cutting and running script. In the later period, bronze calligraphy was the mainstay.
Mr. Wang's systematic study of art began when he chose Mr. Qiao Dazhuang's calligraphy and seal cutting courses during his study in Central University in 1936. Because Mr. Wang had a foundation in calligraphy and seal cutting in his early years, once Mr. Qiao gave directions, his skills advanced by leaps and bounds and he soon became Mr. Qiao's most proud disciple. Mr. Xu Beihong, then Minister of Fine Arts, also appreciated Mr. Wang's seal cutting achievements and asked Mr. Wang to carve them. 1939 Mr. Zhang introduced seal cutting, and Zhang praised it with the poem "The author is good at carving Bashu". Later, the printing art was advanced, and cultural celebrities came to seek treatment unexpectedly, and their reputation spread far and wide.
Teacher Wang has always been refined, elegant and clever, and does not demand more. That is, the pursuit of elegant style, ingenious conception, exquisite knife work, lines and the whole printing surface for decades.
Mr. Wang obviously accepted Mr. Qiao Dazhuang's artistic thought in managing India, but made new explorations on the basis of maintaining the artistic characteristics of Qiao School. For example, a major feature of Mr. Qiao's seal cutting is that he likes to print ancient seal scripts. However, because the newly unearthed ancient characters are more and more abundant, and Mr. Jiang has been engaged in philology research for a long time, and he is particularly fond of and good at bronze calligraphy, so he consciously introduced bronze calligraphy into printing.
We'd better combine his artistic views to explain innovation. Mr. Wang once said to the author: "Many people sing the tune of creation too high, thinking that creating something beyond recognition is new. As a result, they have to find a way out from ugliness and strangeness and go astray. "
He also said, "China's poetry has the habit of using classical works. Using allusions can make people have many historical associations. We should also add some new things to the old faces in prints, so that people can think of ancient art forms, thus giving new content to the old art and enriching its connotation. " This can also be explained from Mr. Wang's running script. When writing running script, Mr. Wang pays the most attention to the rhythm and rhythm of "walking", so his writing is not violent, lingering or exaggerated. Works like independent words, no branches and no vines, but they echo each other with pen and ink, expecting affection and no obstacles. He likes to embellish with ink, and his pen is subtle, so his books are beautiful and colorful, warm and pleasant, and the lines are filled with the breath of literati books, modest and gentle above ink.
When reading Mr. Wang's running script, I sometimes feel that I am not appreciating a work of art, but accepting a moral baptism, which leads to the association and lament of "bathing in interpretation, dancing in the wind and returning home in singing", thus achieving spiritual purification. Of course, Mr. Wang's achievements in running script are closely related to his learning process. Mr. Wang wrote regular script in his early years, and has participated in many activities since Chu Suiliang and Yu Shinan. Thus, it is not only a solid foundation, but also a natural transition. Therefore, I visited two kings, learned from Shen Yin, and finally became a family.
Zhao Huguang said: "At the beginning, bones began to grow; Teachers and friends are straight, and learning begins. " ("Cold Mountain Broom Talk, Academic Ability") It seems that Mr. Wang will make great achievements after seeing a famous family early and being admonished by a famous teacher. But Zhao Huanguang went on to say, "If Dan is entrusted with flesh and blood, it is an ancient barrier; Ignorance is a dead devil. " What a wonderful speech. Dongpo's "On Writing Method" holds that "knowledge is shallow, understanding is narrow, knowledge is insufficient, and it is not perfect". In the era when Mr. Wang was studying calligraphy, the tablet style was at the end of a strong bend, and calm calligraphers had long realized the disadvantages brought by blind respect for tablets.
Mr. Wang once said to the author: "The North Monument is a good thing, but a good thing may not be good for you." "Calligraphy, as an art, uses flexible tools and materials, so calligraphy should adapt to and develop this flexible expression; As a writing method, running script is the most fluent. Therefore, the calligraphy of Beibei people is difficult to coordinate. This is just like poetry pays attention to artistic conception and artistic conception. It is very awkward for you to write Wang Wei's poems in the style of Beibei. " He added: "Writing a running script pays attention to cadence. How to pay attention? For example, if a person recites a poem, you will know that he doesn't understand it by listening to the tone and rhythm of his recitation. In other words, writing a running script should not only have words suitable for writing a running script, but also have a way and rhythm suitable for writing a running script, and this rhythm should be consistent with the specific text content. "
After listening to these two paragraphs, look at Mr. Wang's running script and discuss Mr. Wang's artistic pursuit. You will have a different understanding. So, I said, the first step to success is to start with a straight male teacher and a straight boyfriend. However, art is the carrier of self-personality and aesthetic taste. Those who eat mulberry and spin silk, those who pick flowers and make honey. Remember the past, be a teacher of the future, know good and evil, distinguish between elegance and vulgarity, and be self-centered. Or eat it alive. I don't know how to get it, but it's a failure. It's not enough to ask for the past. Zhang Zhiping said: "Our generation is fortunate to be born after the ancients. It is a pleasure to use the ancients as a hammer furnace to attack mistakes and have good quality, to temper them, to praise them and to strengthen national glory!" (Introduction to Calligraphy) I think Mr. Wang is the practitioner of this passage.
Mr. Jiang has high attainments in seal cutting and running script, but his bronze calligraphy art should be regarded as very successful. Throughout the history of bronze inscriptions after the "Bronze Age", we can see that there are three obvious divisions in the style of bronze inscriptions: first, the pursuit of stable works, characterized by smooth lines and neat structure, is the most common; The other two, one is the pursuit of "the spirit of the stone", which is mostly expressed by dry pen, shaking pen, square folding and frustration; One is to pursue "cursive script", such as writing cursive script, which is neat and clumsy.
These two kinds of works have their own characteristics, and some even reached the highest level at that time. However, because the whole society has not been engaged in the practice of bronze inscriptions for a long time, its overall level is relatively backward compared with the calligraphy styles of Li, Kai, Xing and Cao. For example, in the first category, when writing, the author often uses the small seal brushwork intentionally or unintentionally, with even lines and excessive structural composition, which makes it difficult to express the calligrapher's personality with pen and ink. The latter two categories are obviously inspired and influenced by the style of inscriptions since Deng. Flexible materials such as brush, ink and rice paper are used to express the "spirit of stone" in the process of carving and casting-even adding "gas loss". If the expression is improper, it will be self-defeating.
It is natural to write an inscription in cursive script, but if it is too rough, it will be very out of harmony with the solemnity, quietness and elegance of the inscription. I think that although there are many ways to bring forth the old and bring forth the new, the main focus should not be on the external form, especially the lines and pen and ink, but on the structure. Instead, we should work hard on "internal repair", that is, pursue the fine structure and ingenious changes of line quality, pen and ink quality and structure. In these respects, calligraphers from Qing Dynasty to modern times have also made many achievements, among which Mr. Jiang is an outstanding representative.
As we all know, it is impossible and should not simply "restore" and "reproduce" the inscriptions on stone carvings. Instead, writers are required to understand and interpret those sculptures from today's academic and artistic heights, and then "reshape" and "create" with their comprehensive cultural literacy and artistic literacy. Success depends on the above comprehensive qualities of the author. It is really unreasonable to compare the bronze inscriptions copied by Mr. Jiang and the calligraphy works created with the bronze inscriptions with the original rubbings, and with the bronze inscriptions of all previous dynasties after the "Bronze Age".
First of all, Mr. Wang's works enrich the changes of lines and the interest of pen and ink, showing bookish spirit. Calligraphy is the art of brush and ink lines. Artistic factors such as charm, emotion, interest, sense of hierarchy, three-dimensional sense, sense of rhythm, vitality, bookishness, dynamic and static changes of light and shade are mainly reflected by lines and Mo Yun. If lines are the life of calligraphy art, then ink painting is the flesh and blood of calligraphy art life. When Mr. Wang wrote the inscription, he changed some lines that were too delicate, bloated or dull in the rubbings of the inscription and previous works into vigor, season and spirit. For lines that are too strict and equal in width, the thickness changes greatly; Weak fat pen, narrow the gap between fat and thin; Weaken the square fold and increase the circular change. This is also an inevitable trend after changing "seal cutting" and "pen and ink".
In pen and ink, Mr. Wang pays attention to harmony and embellishment. Ordinary people writing with his ink may have a rare ideal effect; On the other hand, with his extraordinary ink control ability, Mr. Wang uses his pen decisively and smoothly, and grasps it well, plus the changes of light and heavy, Ji Xu and lifting. The lines written are calm and cheerful, flowing and colorful, showing women's femininity and masculinity, bones and muscles, body and temperament, flying white and ink halo, pen elasticity and ink tension. Write the stone-filled carvings and rubbings into bookish calligraphy works, thus forming a distinctive and unique artistic style.
Secondly, Mr. Wang's works adjust the structure and composition of words. Mr. Wang's copying skill is rare, his writing is like a god, and his form is simple. However, if the lines or parts of the characters in the original rubbings are obviously lost, deformed, borrowed, etc. Mr. Wang should quote the same words in different inscriptions to make it more in line with the truth of history and art and more perfect. For the works that use inscriptions on bronze inscriptions to make sentences, Mr. Wang pays attention to adding some subtle changes such as height and uneven pitch to the structure according to the overall needs, enriching the glyph with odd and positive changes and increasing the sense of movement. In the aspect of grand composition, the limited world self-matching method confined in a container is changed, but the composition is flexibly arranged to meet the needs of Xuan paper writing and indoor hanging.
Examining Mr. Jiang's artistic path and achievements, the author deeply feels that the artistic principle of "nourishing art with personality and knowledge" which he admires and pursues has been seamlessly embodied in Mr. Jiang. In the face of Mr. Wang's artistic works, each of us will feel an amazing harmony when we understand him, his artistic thoughts and his artistic pursuit. It is his rigorous and quiet bronze inscriptions, peaceful running script, Zhuang Jun's strict seal script, unpretentious official script, exquisite seal cutting, his personality spirit of grinding phosphorus-free nirvana, his lofty mind and feelings, his profound knowledge, his scientific and meticulous attitude towards learning, and even his gentle and modest demeanor. This is my understanding of Mr Jiang Weisong and his calligraphy seal cutting.