It's not easy to really understand a person. This is true even in Liu Yanhu.
Not long ago, in the second issue of China Shudao this year, I saw Liu Yanhu's Taoist Monument in Ouyang Tong in the Tang Dynasty, which was very exciting, especially the inscription on the seal script, which was even more "new". As a result, I made a phone call with Yan Hu, and only then did I notice that the word board 16 was "invented" by him. At that time, I was a little surprised: just think, if there is no solid foundation of ancient philology, if there is no artistic means, how can I "die" to this extent?
The birth of characters is the dividing line between barbarism and civilization in the process of human society. The calligraphy art based on characters has undoubtedly become the carrier of the aesthetic psychology of the Chinese nation. Therefore, it can be said that calligraphy is a unique visual art with the most China cultural genes. However, the education we have received today has made ordinary people only know their own characters-Chinese characters, but they don't know their origins. In this way, it is even more difficult to understand the beauty of its form and study its change. The means of transforming and expressing ideas is one of the footholds of calligraphy creation and highlighting artistic individuality.
However, Liu Yanhu is one of the few calligraphers and seal engravers whose artistic accomplishment is closely related to calligraphy. He is excellent in ancient philology, ancient books, ancient literature, and the history of calligraphy and seal cutting. At the same time, I can pay attention to and understand contemporary art and have the ability to express and create. Especially in today's impetuous and noisy social atmosphere, people who study hard like Liu Yanhu deserve more attention.
Today's calligraphy art is in a historical transition period. As for Liu Yanhu, we have reason to have high hopes for his tomorrow.
June 2003, 1 1, next to Xifeng Pavilion.
His works have a very rational and extensive inheritance of tradition. Just now I talked about his Han Dynasty seal script. In fact, he absorbed bamboo slips, Dunhuang manuscripts, regular script of Tang Dynasty, Oracle Bone Inscriptions and inscriptions on bronze. This is the embodiment that I think he is a representative calligrapher among contemporary calligraphers. This kind of modernity may not exist in Qing Dynasty, Ming Dynasty, Tang Dynasty and Song Dynasty. The history of archaeology or art archaeology will prove that the creation of our contemporary calligraphy generation has gained the modernity of contemporary calligraphy. Then Liu Yanhu is an obvious example. I think multidisciplinary communication has really found the value of our contemporary calligraphy creation. So for Liu Yanhu's own microscopic research, I think his achievements have taken a big step forward. His best, which I admire very much, is his running script, which is very good, followed by seal script. The cursive script I saw today, especially the weeds of Zhu Yunming, who is close at hand, has made great achievements. Of course, it's not just Zhu Yunming, Zhang Xu and Wang Duo who want to create. I found a contradiction in his microscopic world, which may be the basis for his further progress. China's calligraphy changed from handwritten works to epigraphy works, which resulted in a great division, that is, epigraphy works paid attention to bronzes, written on inscriptions or monuments in the Han Dynasty, and attached importance to the decoration of calligraphy. Since the Eastern Han Dynasty, literati have paid attention to expression, but we can clearly see that Liu Yanhu's calligraphy is stippling from every aspect. He is balancing two pursuits, one is rationality and the other is sensibility, his weeds are sensibility, and his seal script is decorative, which is his artistic rationality. It is this contradiction that may contribute to the further development of his art, and when he can handle the best point, or the best degree, then his calligraphy may be truly successful. But today he has achieved great success. After all, he is only in his forties, and some people will be old.
Liu Zhengcheng
Liu Yanhu's creation ten years ago is in my impression. He used Lin Jian's shadow to write seal script, I said it was a shadow, and he used Liu Zhengcheng's shadow to write cursive script. When I say shadows, I don't mean like them, with obvious traces. Looking at it again this time, it is obvious that these traces have disappeared. Strangely, after he lost his trace, he didn't carry this shadow like others. This is an independent development phenomenon. His own system is going here, and his creative form is completely different from others. His ego is expanding a little bit, which is very interesting. Unlike others, this is a very valuable place. From this, I thought of today's tradition, because in the Republic of China and the Qing Dynasty, there were not so many people engaged in calligraphy creation, but now the team is very large, and there is a trend of getting closer to each other, and the same generation subconsciously influences each other. Liu Yanhu is very strange. He is almost different from others. Apart from this cursive script, he still stays within the framework of the ancients. His seal script and running script are different. There are occasional shadows of Xu Beihong and Yu Youren in the running script. This shadow is even less, not even a shadow. There is a trace of deja vu. This level is about one tenth. It's all about him. What about the expansion and development of this individual? But it has a meaning, that is, how do we take a grain of sand from tradition and unfold it through physics? In physics and astronomy, there is a phenomenon that expands from an object. Then, he is far away from all contemporary personal artistic creations, and he is not close to people. This is very valuable for Liu Yanhu. Instead of converging with others, he went further and further. Even if contemporary people can't know him, can't agree with him, and can't arouse the appreciation of contemporary people. This is secondary. As his personal artistic development, I think this is very valuable. This is what makes me think the most. I have to digest this when I go back. This phenomenon of Liu Yanhu, we should think about how he pursues individuality from tradition, which is too important. These four words determine whether an artist is successful or not, and the most important thing is to publicize his personality. Of course, individuality should be combined with tradition. Mr. Chen Chuanxi once said tradition and individuality, which I once paid great attention to. Mr Chen Chuanxi has an article. Although I don't quite agree with most of his articles, this view is very good. It is in tradition that individuality pursues * * *. However, how to choose between personality and sex and how to grasp the degree are very, very important. I think Liu Yanhu has a good grasp of sexuality. Maybe the experts here have different opinions, but he did a very interesting thing in promoting his personality, and he did it very well.
In addition, his works also reveal a fighting spirit. This name is morale, and there are not many people now. To have the morale of a famous general, you must first have a literati temperament. I have heard many scholars say that there are no literati in the contemporary era, and all the literati are dead. However, China culture will be passed down from generation to generation. I think, from Liu Yanhu's inscription and postscript, from his various writing materials, we can fully reveal his information about classical literature literacy in classical culture. And he has a vacancy rate in the process of writing, which is bold and careless. I think this attitude is a sign of morale. Of course, Liu Yanhu's personal life is relatively tense. Someone once said that he was pretending, pretending, and his heart was very arrogant. I think it should be right. This is what Shanghai Xu Zhenglian said. He said that he was a very arrogant person at heart. Then, because in our world, the relationship between people is very complicated, and he just keeps a low profile, I think it is necessary and unnecessary to keep a low profile. Of course, if you don't keep a low profile, you will encounter difficulties. It will be better to keep a low profile. Therefore, with so many people paying tribute today, it can be seen that it is valuable for Liu Yanhu to keep a low profile. I think if I hold an exhibition, there won't be so many people watching it. Almost all the people here are offended by me, so there is a price to pay. This also sums up a cultural phenomenon, that is, how to treat people, how to be a man, and how to make art. I often feel that painting and calligraphy creation and all plastic arts are manifestations of life. What is valuable about Liu Yanhu is that he can still present this arrogant mentality in his life. I'm a confidant. I don't know if I can be a confidant of Liu Yanhu. I can also explore this kind of news, which is why he can show real reputation and morale, which is very valuable. Moreover, after the Republic of China, like Zheng He, Zheng's personality is definitely insufficient, except for him. This writing style, which really shows a kind of morale, has almost completely declined, and now it is almost out of sight, but Liu Yanhu can inherit this (morale). I don't know whether Liu Yanhu was unintentional or intentional. Anyway, I saw this message clearly in his works. This is where I want to congratulate him and learn from him. I'll park here.
-Shikai
Liu Yanhu is a passionate person and doesn't want to settle down. The Record of Old Lake has a beautiful structure, simple and honest, and it is tepid to hold a knife. Generally speaking, the most important thing in art is kung fu, which is difficult to understand and memorize.
Chen Guobin
It's amazing that Liu Yanhu can handle single-character printing so well. One of his skills is to create and even invent some words, but the smell is mellow and old, which can make you feel that the word is very historical. Without the traditional long-term edification and extraordinary flexibility, this realm can not be achieved. With such skills and talents, Yan Huge should be a proud person. Perhaps because of his self-cultivation and experience, Brother Yan Tiger doesn't seem to show arrogance in his life, but he may be unable or unwilling to hide his nature in his works. I think his seal cutting is a bit arrogant and cold. Liu Yanhu in the works should be more real!
-Xu Zhenglian Xue Yongnian
Hu Yan's talent began very early, and he made his mark in the field of contemporary calligraphy and seal cutting. It has been more than ten years. His calligraphy is profound and subtle, with a sense of discipline and a spirit of freehand brushwork. He is good at expressing contemporary aesthetic trends among the ancients, and can inject strong personality into various calligraphy styles. Fine everywhere between the lines can be described as a golden life, with moist lines; The difference between coincidence and strangeness is a new theory and a unique theory. I often feel that behind his grand and quiet style, there is an ancient and modern pride, just like the crystal clear river, which contains endless waves of passion. With the growth of age and experience, the soul of exploring the times has become more and more immersed in the efforts of change. He seems to be more scholarly than his contemporaries, and more conscious of exploring the tradition and turning the past into the present.
Liu Xie has long said: "Wen bian is related to the world, and the rise and fall are related to the time sequence." Calligraphy is no exception, and constant innovation is the undisputed right way in the world. However, in the connection between vision and culture, in the way of thinking and expression of national aesthetics, in the harmony between hands and eyes, and in the intersection of "coquettish meaning" and "the heart of heaven and earth", the accumulated experience of predecessors, whether in the form of works or in the form of theory, is not all useless, not to mention outdated affairs. Instead, it is often a matter of clearing the fog. Therefore, in order to connect the inheritance and change of calligraphy art, we need the sensitivity of genius and the wisdom of scholars. Liu Yanhu is a wise man in this field.
Recently, another batch of his calligraphy works will be published, and I was lucky enough to get a sneak peek. Most of these works appear in the form of facing the ancient times, and the reference objects are steles, mainly in static calligraphy styles such as seal script, official script and original works, starting from the Han and Wei Dynasties and down to the Ming and Qing Dynasties. After careful observation, he seems to continue to understand the mystery of ancient calligraphers' posts by selectively deducing classic inscriptions, continue to explore the essence and exquisiteness of making pens like knives and using knives like pens, continue to practice the perfect combination of pens and blades in paintings, continue to observe the interaction between brushwork and space artists, and continue to study the talents and practical ideas of predecessors to get through various styles. In a word, he seems to tap the potential of tradition more consciously with a modern vision, realize the transformation from modern calligraphy to the essence of ancient calligraphy on the connection of inheritance and change, and further enrich the eternal accumulation of traditional culture in his distinctive style.
Salt Lake and my calligraphy can be traced back to Changchun, which has come and gone. The year he studied in Changchun, I returned to Beijing. The Jilin Provincial Museum, where I once worked, is famous for its deputy director Zhang Boju. This great collector is not only the old master of You Chuntu, but also organized the Beijing Painting and Calligraphy Research Association at the beginning of the founding of New China. After coming to the northern spring city, he launched a spring outing and elegant collection. He often got together with Yan Hu's later teachers, such as Yu and Luo Jizu, to talk about the present and discuss the present, carve a spring outing by hand, carry forward the tradition and spread it in China. Although Yu and Luo Jizu are ancient philologists and historians respectively, their calligraphy is also outstanding. I think Yanhu used "Spring Tour Collection" in order of Qian I, probably to commemorate the years of studying in Changchun, to remember the traditional Taoru accepted by Chuncheng, and to express the heart of boxing in the context of innovation and change. peiyuan zhang
Brother Liu Yanhu, a rock man, was introduced by Luo Xuetang in Shangyu, and entered into Nuoweng. I once asked Lu in Haitian and sat in Qingfeng Pavilion. Today, I look at natural history and celebrities.
I met my brother very late. Ding Hai was born in 19 1 1 year in 57 years of Germany and the Republic of China. "Ten Doctors" was jointly exhibited in Liulichang, and its affinity left a deep impression. They said: "their words are clumsy, but their thoughts are great and their wisdom is stupid;" The capital of the heavens can't be square, and the way to enter the ancient times is thought-provoking. " The following year, the "Book and Spectrum Society" was rebuilt and the "Reprint Number" was compiled.
Win by observing the husband's rock, between ancient and modern times. Before the Han Dynasty, I was proud. After the Tang Dynasty, I hesitated. Grasp customs, not ancestors; Law enforcement is elegant and self-contained. I am also a simple and honest person, and I can be magnificent, so I am called a personable person. Hongbo is profound, especially ethereal, and people call it the heart of mountains and seas. Hao Hao soup, with an upright man is open and poised; Generous, without the shabby economist. It hangs high in the north que with the reputation of domain; Meng and Yan died in Tokyo. This is also a grand view of an open day. But the book is a remnant, so it is not only passed on, but also. A generation of literati, brothers are proficient in Buddhism, Confucianism, Taoism and art: good epigraphy, seal, official, truth, behavior and grass; It is also fashionable to do something once in a while. The compilation, book review and seal textual research of barnyard grass, based on "Four Treasures of the Study", gives a "five lights" by combining horizontal and vertical plaques with characters. It is shameful to know the "three religions", and Hanshu is a good introduction. Hello, brother Yan Hu! Is it a moment of dominance, or a century of coquettish? On earth in bloom, it is better to ask for the good knowledge.
Give up, insult Hoya's life in an accident, talk about redundancy and simplicity, and dare not say anything. My husband will entertain all those who are heartless with reality.
Fifty-nine years (ugly), I went to the moon, I know. Huian Zhangpeiyuan Yuhetang. Liu Yanhu
That was half a century ago. Before I was born, a group of cultures gathered in Changchun from all over the world like duckweed, which gave birth to a very poetic name-Spring Tour Society. These people learn from each other, comfort each other and be gentle with each other. With them, they become more miserable, more lonely and more desolate. Every time they get together, they all become characters in Zhan Ziqian's works in spirit, bathing happily and harmoniously by the windy and rainy days of the Han, Wei, Sui and Tang Dynasties. As a result, "spring outing" has become a symbol in the spiritual history of Changchun intellectuals, and the spring outing society has also become the context of modern Changchun.
Congbi is the founder of the Spring Tour Club. His parents Yu Sibo and Luo Hanru (stepfather) of Kharkov are teachers of my alma mater, Jilin University. I was lucky to have dealt with them when I was studying and graduating. Before the publication of "Talk about a Spring Tour", I had read some chapters of those yellowed wax paper mimeographed books in Mr. Luo's study, and I also heard some anecdotes about the Spring Festival Society from Mr. Luo. Although I was born late and dare not sell myself short, I can kiss the older generation gracefully, so my heart is also a spring outing.
From the age of 18, I began to travel to Changchun without friends, and moved to Beijing with my wife at the age of 38. For twenty years, all my memories of youth was a spring outing! This place has become a gentle hometown for me to stop thinking. Whether romantic or daily necessities, because the soul has the direction of conversion, it is no longer illusory and bleak, and the world is warm and cold, and the seasons are like spring. These twenty years have become my endless scenery.
Travel is a realm, and Confucius' ambition, morality and benevolence are ultimately to be implemented in "entertainment". Travel also reflects different realms. In Wang's Travel Notes of Baochan, there is a difference between "closeness" and "distance". Haike talks, the smoke is faint, and the sky is three feet away, and the language is amazing. It is a realm; And "gorgeous weather, gorgeous literary talent, aging and maturing, returning to dullness" is another realm! Before the age of forty, I liked Dongpo's heroism of "looking at the west too white and towering, eyes high in the sky" At that time, I also wrote couplets such as "Lang Chang, high-spirited", and I could imagine the mental outlook of that year. For example, this year will be over half a hundred years old, and I prefer Zhang Chunshui's gloomy sentence "Too white idle clouds, Xinfeng old rain, how many British tourists have a rest". Strong travel and wandering, tired, and then return home. Talking to elders in Sang Ma is a kind of realm, which has become an unattainable luxury for me. A month ago, my teacher, Mr. Zhou Xifei, the owner of Haitian Road, passed away. Since then, the romance of the older generation has withered. This kind of pain is not only the word "depressed, frustrated", but also can be sung when crying!
The exhibition was originally scheduled to return to Changchun in early spring this year, but it was postponed to the long summer due to various reasons. I had hoped that Mr. Zhou's health would last until the opening of this exhibition, so that I could ask his old man face to face. This wish has now become a dream. However, I still pulled myself together and took out my poor job to meet my colleagues in Changchun. I believe that those predecessors who have given me kindness are spiritual in heaven, their wise eyes will see my works, and their spirit will continue to enlighten me. Then, this exhibition is dedicated to those wise eyes, and also to those calligraphers who, like me, pinned their infinite dreams on the dancing and writing of flowing clouds and lost their precious youth.
Those spring travelers!
I would like to thank Mr. Jiang Lihua, the sponsor of this exhibition, and express my heartfelt thanks to Hailin, Xiyou and Huaiyi brothers who helped me in the process of this exhibition and album publishing. Thanks to Professor Xue Yongnian and Brother Zhang Peiyuan for their busy schedules.
Early summer of 2009
In the morning, the sunrise is hazy, on Anchang Road.