Dr. Haru Liangyu
In the eighty-four years of Liang Lao's life, the twenty-three spring and autumn periods that coincided with the prosperity of the spring and autumn were swept into a ruthless political storm, wrongly classified as a "rightist", and spent a hard time losing their freedom on inhuman farms and labor reforms that were sent back to the village. Moreover, when he was 65 years old, he had 7 daughters and 1 son under his knees, and his 22-year-old son suddenly died of illness, leaving behind a child who had just passed the full moon and the mother of a young child, and the white-haired man sent away the brunette. However, Elder Liang did not give up his beloved calligraphy because of the loss of freedom and relatives, and soared in the clear sky of calligraphy with an open mind and an open mind, completing his life full of bitterness.
By Haru Liangyu's Works
Liang Shengchun, known as Gu Song and the book name Changqing, was born in August 1928 in Liangjia Village, Tianjiazhai Town, Huangzhong County. In 1949, he was in the second grade of high school in Xining Middle School, and he gave up his studies due to the merger of Qinghai Liberation, Xining Middle School and Huangchuan Middle School. Later, he tried every means to study at Xining Normal School. In 1951, he began to work and was organizationally assigned to teach at the former Huangzhong County Yima Primary School (now Ping'an County), and was later transferred to Sanhe Complete School (now Ping'an County). Since then, he has silently fallen in love with the art of calligraphy. In 1958, disaster fell from heaven, and in the anti-"rightist" struggle that shocked the land of China, he was mistakenly classified as a "rightist" and sent to Qilian Babao Farm for labor reform. The three inhuman careers that he never dreamed of in the spring and autumn became an unforgettable emotional entanglement for his life. During this period, not only was he unable to pick up the brush freely, but even his life was difficult to maintain normally. Three years later, he was sent to Liangjia Village in Tianjiazhai Town to continue his reform and receive re-education from poor and lower-middle-class peasants. Planting, collecting manure, watering, leveling the ground, day after day, year after year, sunrise and sunset. For three hundred and sixty days, facing the loess with his back to the sky, he must also abide by the principle of talking less and working more, and obeying the principle of honest transformation. It is more than twenty spring, summer, autumn and winter, but there can be several twenty years in life!
During this period, in addition to participating in the normal labor of the production team, when he was building the Antgou Reservoir, he pushed the shelf cart on the construction site day and night for a year. Whenever night fell and everyone finished their work and rested, he looked up at the vast starry sky alone, cherished his beloved calligraphy countless times, and prayed countless times for the heavens to end his life without freedom as soon as possible. But the reality is merciless, and he is still trapped in a long period of ideological transformation for a long time. At that time, his calligraphy did not dare to have the slightest luxury except for writing some slogans, otherwise the fruits of the dictatorship would certainly make you unable to eat and walk.
As the saying goes, three years waste a show talent. Elder Liang's calligraphy lingered for twenty-three years in hopelessness, what a painful reality!
In 1979, the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China brought a second life to Elder Liang, and the grievances that had tormented him for more than twenty years were finally completely rehabilitated. Because he wrote well and had a good cultural background, in 1980, the organization assigned him to work at the county cultural center and continuously calculated the length of service, but that year he was already an old man who was more than half a hundred years old. In the face of this pie that fell from the sky, he had mixed feelings and thoughts of gratitude, but he couldn't laugh out loud, he was dazed and overwhelmed, and his life that had been bumpy for more than fifty years could no longer weigh the "sadness" and "joy" in his heart today...
The old Ji Futuo, determined to be in a thousand miles.
After Liang Lao came to the county cultural center, he quickly calmed down his mentality, although he was old, he was full of enthusiasm for calligraphy. As early as middle school, he knew Mr. Li Deyuan. At that time, Elder Liang had the privilege of always being by Mr. Li Deyuan's side, carefully observing the chapters of Mr. Li's calligraphy from the gap in helping Mr. Li to study the ink paper, carefully pondering the mystery of Mr. Li's calligraphy, and over time, he felt that he also had some inspiration. Li Deyuan was the uncle of Li Haiguan, whose original name was XiTao, graduated from the National Northwest Normal College in 1944 and was the principal of Xining Middle School in Qinghai Province. Influenced by his uncle Li Deyuan, Li Haiguan loved calligraphy, taking Tang Kai as his ancestor, learning Ou, Yan, Liu, Yuan Zhao and Qing Zhang, going up to the "Second King", cursively writing Right Army and Sun Guoting, and studying "Cao Quan Stele" and "Three Old Steles". The lines are strict and beautiful, and the cursive gestures are unrestrained and vigorous. Elder Liang was also a student of Li Haiguan, because he was talented and quite talented in calligraphy, and he was also deeply loved by Mr. Li Haiguan, and often opened a "small stove" for him, and also specially wrote him a sticker. Elder Liang is also like a treasure, love to let go, like hunger and thirst, immersed in tracing, until he joins the work. In 1951, he began to copy the qing dynasty calligrapher Huang Ziyuan's calligraphy stickers, and at the same time studied the posts of liu gongquan, Yan Zhenqing and other masters. With the passage of time, his calligraphy has matured day by day, and he has gradually formed a certain chapter. However, from 1958 onwards, in the turbulent years of the decades, it was almost difficult for him to contact with pen and ink except to write a few couplets every year.
In 1980, when he regained his freedom, he could no longer hold back his extreme excitement and threw himself into the experience of calligraphy, working day and night to write. Mr. Li Haiguan, who was the chairman of the Provincial Book Association at the time, also frequently asked him for a manuscript, and he often wrote that in the middle of the night the chickens called the east white, and even two or three nights could not close their eyes. Without information, he took photos of the books of Wang Xizhi and other famous artists, and sometimes directly used a blank paper to take a pen and stroke down one stroke after another, and then copied it carefully. He also carefully studied Yu Yuren's standard cursive.
In 1989, his calligraphy works were included in the "Chinese and Foreign Cursive Exhibition" organized by the China Standard Cursive Society, the China International Friendship Promotion Association, the Chinese Calligraphers Association, the Overseas Edition of People's Daily, Guangming Daily, China Youth Daily, and the China University of Calligraphy and Painting, which won the appreciation and affirmation of many experts.
In 2005, his work (Wen Tianxiang Zhengqi Song) won the "Chinese Patriotic Artist" commemorative medal in the joint exhibition of calligraphy and painting commemorating the 60th anniversary of the victory of the War of Resistance Against Japan.
Trees have roots and sources have heads. Liang Lao's works pay great attention to the essence of calligraphy.
He often said that the most basic way to learn calligraphy is to write, and the primary purpose of writing is to remember and exchange feelings, the minimum requirement is to write the words in a standardized, neat, and clear way, so that people can see and accept it, if the words are written in a disorderly manner, or even arbitrarily, randomly created words, the reader such as the interpretation of the "Book of Heaven", can not be recognized, it loses its practical value. Liang Lao Xishu has always been rigorous and disciplined, and his book style is fresh and natural, and it is generous. When he was inaugurated at the Cultural Center, the crowd of people who asked him for books, plaques and signs on the streets of Rushar and even all over the county was endless, and he was also responsive to his needs and did not ask for anything in return. He said that as long as everyone likes it, it is better to have this affection than anything!
Some people think that calligraphy is the patent of "genius", "people who are over thirty do not learn the art". And Liang was more than half a hundred years old to learn art time, and he resolutely worked hard to write a book. He said that learning from an early age or a teenager is undoubtedly a great advantage, but when people learn calligraphy at an older age, they also have many advantages: they have knowledge, life, experience, understanding quickly, deep feelings, good expression, etc. Young people are incomparable. It is not difficult to see from Elder Liang that learning calligraphy is the same as learning other arts, as long as we do not doubt our own ability, have confidence, enthusiasm, and have the right method, we will be successful.
When Studying Calligraphy, Elder Liang also deeply understood the relationship between calligraphy and health. He said, "Writing books can nourish qi and can also help qi." "When practicing calligraphy, you must never be suspicious, start with your whole body, send a little end, note it on the paper, express your breath in your chest, and relax your heart." In this way, people's psychology and physiology have a certain adjustment and exercise effect, over time, can make people refreshed, no disease and life. Even if you are unfortunate enough to fall ill, you can practice writing to heal your heart and prolong your life. Throughout the ages, calligraphy has been able to make people healthy and long-lived, and it is not a false legend. Because of this, Elder Liang is eighty-two years old, except for a little problem with the knee joint, he is still deaf and blind, and his spirit is strong and very talkative. It can be seen that splashing ink in the pond is indeed a fitness work, as long as it is persistent and persevering, you can change "calligraphy" into a wonderful "way of health".
In 1989, his works were exhibited at the Chinese and foreign cursive exhibition Beijing Art Museum;
In September 1991, his calligraphy works won the Calligraphy Excellence Award at the Provincial Elderly Calligraphy and Painting Television Open Competition;
In 1992, Liang Lao's calligraphy works won the first prize in the second "Red Army Cup" National Calligraphy and Painting Competition;
In December 1993, his work Li Bai 'Will Enter the Wine' screen strip (Yan Body) was included in the second episode of the Dictionary of Contemporary Chinese Calligraphers;
In June 1994, his works won the Excellence Award in the "Yu Youren" Cup Book Fair in Sanyuan, Shaanxi Province; in the same year, the calligraphy works of Kaishu (Liu Body) were selected for the "Forest of Steles in the West Sea"; in October, the calligraphy works won the International Chinese Calligraphy Excellence Award;
In 1995, Liang Lao was entered into the Chinese Celebrity Dictionary.
In March 1996, his calligraphy works were entered into the first edition of the "Weishan Shuo Calligraphy and Painting Collection" published by the International Culture Publishing Company;
In 1998, his calligraphy works and personal resumes were entered into the "World Art and Calligraphers' Achievements at the End of the Century" edited by the Committee of the Chinese and Foreign Celebrity Culture and Art Research Association (published by Chinese Affairs Publishing House). His works are included in the collection to commemorate the 60th anniversary of Comrade Mao Zedong's speech at the Yan'an Literary and Art Forum and the 60th Anniversary of the Exhibition of Masterpieces of Chinese Contemporary Calligraphy and Painting and the National Exhibition of Calligraphy and Painting. He won the silver medal in the 4th Chinese Calligraphy and Painting Masters Grand Prix of the 2nd Wu Daozi Art Fund Exhibition, and his book was included in the "Chinese Contemporary Calligraphy and Painting Masterpieces".
In December 2003, his calligraphy works won the gold medal of top talents in the Chinese calligraphy and painting art world. (Text, picture\Chen Shenglong)