Yin Guanglu, born in 1986, is a native of Jizhou, Hebei Province. A member of the Communist Party of China He is trained by mr. Wang Jiaxin, a famous calligrapher, and is trained by Mr. Yang Mingchen, Chen Zhongkang and Long Kaisheng. He is currently a member of the Chinese Calligraphers Association, the National Association of Industrial and Artistic Artists of China, a director of the Fengtai District Calligraphers Association of Beijing, a special calligrapher of China Calligraphy and Painting Magazine, a tutor of the Rongbaozhai Book Court, a distinguished professor of the School of Calligraphy of Beijing University of Humanities, and the deputy director of the National Calligraphers Art Committee in the 1980s. His works have been collected by many cultural institutions and private collections such as the Chinese Character Museum and Du Fu Caotang.
His works were selected for the 10th National Exhibition of Calligraphy and Seal Engraving Works, the 2nd National Album Calligraphy Works Exhibition, the 3rd National Fan Calligraphy Art Exhibition, the 3rd National Cursive Calligraphy Exhibition, the First National "Sun Guoting" Xingcao Exhibition, the National Exhibition of Calligraphy Works of Employees Celebrating the 90th Anniversary of the Founding of the Communist Party of China, the "Shun Tak Cup" National Calligraphy Exhibition, the Chinese Youth Calligraphy Art Competition, the First "Eighty Models" Biennale, the 2nd "Four Cups" Chinese Calligraphy Exhibition, the First Hebei Provincial Calligraphy Exhibition, the Beijing International Calligraphy Biennale, Post-80s National Excellent Calligraphy Works Exhibition, Hanmo Focus - Invitation Exhibition of Contemporary Calligraphy Masters, The Sixth National Zhangzhi Culture and Art Festival and the National Cursive Calligraphy Masterpiece Invitation Exhibition, etc. He has published "Yin Guanglu Xingshu< The Preface to the Tengwang Pavilion > Volumes", "Park Zhengtang Calligraphy" and so on.
Yin Guanglu: The Writing and Calligraphy Inheritance of the Orchid Pavilion Preface
The ancient city of Jizhou, the first of Kyushu, where the Yanzhao culture is located, is a collection of famous artists, and there is no shortage of people. Mr. Yin Guanglu, a calligrapher, grew up on such a hot land and has been culturally edified for thirty years. As a leader among contemporary young calligraphers, Guanglu has especially seen kung fu in calligraphy, calligraphy and cursive calligraphy, with a sharp pen, a wide knot, ancient meaning and flowing beauty, and has been admired by teachers and friends in the calligraphy community for more than ten years.
Yin Guanglu's Book of Orchid Pavilion
Guanglu's calligraphy has a "law", and he is influenced by Wang Xizhi, Zhiyong and other "two kings" all the way in his pen, and the dot painting is flexible and vivid, clean and neat, and he is flattering and energetic. This is the core of the handsome style of the "Second King", who is pursuing "floating clouds, swimming like a frightening dragon", which seems to be tangible and invisible. Shuzong Jin people, often easy to be pulled by its flow of beauty, do not know that there is still ancient clumsiness outside the flow of beauty, and since childhood galloping on the land of Jizhou Kuanbo, landing between the high walls and towers, so that Guanglu opened his mind, and there was no twisting of the pen. His calligraphy is a penmanship, and the knot is beautiful and majestic, not the weakness of the power of the chicken, which is rare in the current study of "Two Kings" calligraphy. Wang Xizhi's calligraphy, "YouRuo Frightening The Dragon", is a kind of vitality and vigor, and the two are by no means weak and weak. Since the Qing Dynasty, calligraphy has admired Dong Qichang, and it is mostly based on the cabinet posts that have been copied and carved, so that the style of writing is not vibrant, and the right vein of the study of the thesis is gradually combed, and once the powerful wind of "steleology" is opened, it is the torrent of the times, vast and unstoppable. At present, when reviewing the history of calligraphy and thinking about the method and development of theology, the first task is to dialectically and deeply understand the charm of the "Two Kings" calligraphy, not to be deceived by an external beauty, but to grasp and explore more deeply. Just as Guanglu thought about the "Second King", he grasped the key to this problem very well. The closer he became to the calligraphy of the "Two Kings", the more he could feel the extraordinaryness of Wang Xizhi's greatest work, the Orchid Pavilion Preface. Guanglu accumulated decades of writing skills, and used to like to create, which was praised from time to time, but he minimized that state of creation and slowly transformed into a devout writing for "Lanting Xue".
Wang Xizhi's "Preface to the Orchid Pavilion" was pushed by later generations as "the first line of the book under the heavens", and it was xuanhe yilin and shone in thousands of autumns. Guanglu's imitation of the Orchid Pavilion Preface is first of all an attraction to its own artistic height, and at the same time another extremely important hometown complex. Why? The author of the "Preface to the Orchid Pavilion" is neither a native of Jizhou nor written in Jizhou, so where does this hometown feeling begin? In fact, this involves the complexity of the circulation of the Orchid Pavilion Preface. According to the general introduction, after the Orchid Pavilion Preface was obtained by Tang Taizong, it finally became a funerary product. Fortunately, Emperor Taizong once ordered people to copy it and make it incarnate into thousands, and these copies also became the second source of various later versions of the Orchid Pavilion Preface. In these Tang dynasty books, Lin and G are separated, and some are Pro, such as Ouyang Qian, Yu Shinan, Chu Suiliang, etc., these Pros are wonderful, but they have left a strong personal style, and Wang Xizhi has a distance. Some are G, such as Feng Chengsu, Zhao Mo, Zhuge Zhen, etc., and G reproduces the original divine form very well. Therefore, the facsimile is closer to the original work of the Orchid Pavilion Preface. Among these imitators, Feng Chengsu was the first, and the copy he copied (now known as the "Divine Dragon Book") became the best version no less than the authentic manuscript.
Feng Chengsu's "Orchid Pavilion Preface"
Although this Feng Chengsu is said to be from Xi'an, according to the recent excavation of the tombstone of his father Feng Ying, it can be seen that in fact, Feng Shi was originally a person from Jizhou. Then, the first hero who reproduced and disseminated the "Orchid Pavilion Preface" was the Jizhou people. Feng Chengsu became an important figure in the history of calligraphy only by copying the Preface to the Orchid Pavilion, and this significance also profoundly affected Yin Guanglu, who was also a native of Jizhou. He believes that the significance of writing the "Orchid Pavilion Preface" is not only the piety of the calligrapher "facing the supreme", but also a kind of promotion of the dissemination of calligraphy culture and the promotion of the development of calligraphy, moreover, copying the "Orchid Pavilion Preface" is originally a "commentary" style of creation mode.
Guanglu had a glimpse of the wonders of the Orchid Pavilion Preface, and he did not stop writing it, and in the past few years, he had actually written more than eight hundred volumes. This seemingly repetitive work, for ordinary people, may have already been tired, but he was tireless, and the more he wrote, the more he felt that there was infinite meaning. In the process of continuous writing, he constantly tried all kinds of paper, ink, pen, thinking about every word, every stroke, the more so, the more profound his harvest, as said in the "Orchid Pavilion Preface": "Looking up at the size of the universe, looking down on the grandeur of the category, so the wandering eyes are full of nostalgia, enough to be extremely audiovisual entertainment, and the letter coke is also." "This effort of Guanglu has its own pleasure and perception that he cannot communicate with outsiders. (Author: Xie Quanyi)
Text: Xie Quanyi
Editor: Wang Xiaoxue
Review: Yang Runxiao
Producer: Li Yunpeng