【Biography】
Xu Guolin: Character Yigong, number Nine Ding Zhai Lord. Born in 1956 in Shaoxing, Zhejiang Province, he studied under Mr. Wu Zhongqi, a calligrapher. Inheritor of martial calligraphy, graduated from the Department of Chinese of Nanjing Normal University, national first-class artist, national calligrapher of the Ministry of Commerce, member of the Calligraphers Association of central state organs, ambassador of Sino-US cultural exchanges, professor of Sanjiang College, part-time professor of Yancheng Normal University, professor of Nanjing Commercial School, chairman of Jiangsu Guolin Wuti Culture Development Co., Ltd., secretary general of Wuzhongqi Calligraphy Art Research Association, director of Wuzhongqi Calligraphy Art Patriotism Education Practice Center...
Appreciation of Xu Guolin's works
The text is externalized with the heart
Xu Wenjing (a teacher of the pen...)
The value of all things is rooted in the material and spiritual needs of human and social life, and in the objective evaluation of the satisfaction of such needs. This kind of evaluation, which runs through the process of understanding the thing from beginning to end, is not static, and there are many uncertainties of one kind or another. This kind of value evaluation judgment is not only reflected in the needs and pursuit of identity of many factors such as people, things and specific environments, but also goes against certain natural laws and ideological will. This is true of material products, and it is also true of spiritual products.
Art is a spiritual product, different from the material object, how valuable, difficult to judge, there is no accurate answer, and it is not easy to measure it with money. It can be said that it is both valuable and priceless, and the value varies greatly with the times, objects, needs, and purposes, and the results are very different. Spiritual value, although it transcends matter, is often quantified by material value. This is the measure of secular values, and it is also the dilemma of judging the value of spiritual products. In other words, spiritual values are realized in the relative relationship between spirit and matter, but fail to transcend this relationship. This is a paradox of secular thinking, a logical fallacy of traditional values, and a strange circle of values.
There has been no shortage of such examples throughout the ages. Wang Futi wrote a note for Fuxian Temple, and it is said that each character element is three horses of silk, which can be described as valuable; Zheng Banqiao calligraphy and painting, although not into the mainstream, once marginal, partial Tonyang Prefecture, but hui merchants bought it. Later, he imitated Dai Yi, the widow of the Early Qing Dynasty, and simply came to "creativity", clearly marked the price, and the price of a work was no less than the monthly salary of a sanpin official, and publicly stated that he did not accept credit and did not accept items - "gifts and food are always better than silver." Although it is slightly pretentious, the hype component is greater than the practical significance, but it is also the trend of the times, otherwise who dares to be so wild? Coincidentally. Wang Xizhi was embarrassed, he wrote the Tao Te Ching for the monk, only in exchange for a few fat geese, Han Yu made an epitaph for people, and also received many gifts, but only stayed on the return of "gifts and exchanges", not the real meaning of the equivalent exchange. It is precisely because of this that Li Bai once frankly said: "In the north window of the poetry, a glass of water is not straight in ten thousand words." This is not an unprovoked sigh, but a whining outrage and helpless sigh. But it is no wonder that considering Li Bai's actual life, it is indeed a catharsis under the dilemma; Van Gogh is even more miserable, his life is rich in works, the quality is also superior, but life is poor, life seems to have made a big joke with him, before he died, he was on the verge of collapse, leaving a large number of works after death, Zhang Zhang over 100 million. It's not that there are no Maxima, but it's that there are few boles in the world.
However, the only one who really understands the value of art is Mr. Li Bai, "Qu Ping's words are endowed with the sun and the moon, and the Chu king Tai Xie empty hills." "The one who really appreciates art is Wang Lun in Xuancheng. He invited Li Bai to Xuancheng, ate, drank and had fun all inclusive, did not ask for anything in return, and wrote a poem if it was convenient. "The peach blossom pond is thousands of feet deep, and it is not as deep as Wang Lun sent me affection." Real, bold, free, honest. Therefore, the level of the work of art, in addition to the indispensability of its own value, the key lies in its appreciation, audience and sociality, otherwise it will be difficult to distinguish between good and bad, and even the best is inferior and the inferior is superior.
The same is true for the evaluation of Mr. Xu Guolin's calligraphy. It can be said that the value is very high, but it can also be said that it is not necessarily. But these are not the most important, the key lies in the true value of the self, in addition to the character and realm of the judge. Even if it is something true, there is no shortage of deniers; Even if it is authoritative, it is not guaranteed to be recognized. If nothing else, in terms of Mr. Guolin's personality charm and social "impact factor", I think there are very few people who can stand out. Not to mention that there are a large number of "book fans", many "signboards", and an endless stream of teachers and artists. This is an indisputable fact.
Mr. Xu Guolin is a warm and bold person, but my interaction with him is as light as water, similar to a gentleman's friendship. He and I are both from Nanjing, and both have the surname Xu, so emotionally we have gone a step further. I know that he is a disciple of the great calligrapher Wu Zhongqi; I also know that he himself has received various recognitions and awards in calligraphy many times, some of which are even international; I also know that there are many large and small units in Nanjing whose signboards are from his hands, which can be described as famous. But I never talked to him about calligraphy, let alone went to his office or studio to bother too much...
To be sure, his calligraphy, to my first impression, was a favorite. I think everyone feels the same way about this. Likes and dislikes, although not necessarily the most important criterion for evaluating calligraphy. Like is good, dislike is bad, this is common sense. But if you consider it further, in fact, this like is a very low criterion. Since its origin, the reason why calligraphy can continue to this day, the reason why it can be independent of the forest of world art, like may be the "initiator". From ancient times to the present, almost all recognized calligraphy art, their calligraphy, are liked by everyone, can be described as love. But "like", such a simple common sense judgment of the artistic value of calligraphy, is not known exactly how it was formed. This involves many complex issues that I cannot explain in two words. But what is certain is that the work of a calligrapher must first be liked, which is the universal standard. The reason why a calligrapher can write calligraphy works that people like has at least a few elements: First, he himself is first of all a person who likes calligraphy, is a love without selfish thoughts, and entering the hall of calligraphy art is also caused by nature; The second is that he must have worked hard in calligraphy and persevered for more than a few decades. The third is that he must be familiar with the history of the evolution of calligraphy and carefully study the fa-theses of those who are recognized by history as calligraphers. Fourth, he has a keen sense of the public's artistic aesthetic preferences, and can get inspiration and inspiration from natural things on the basis of speculating on the beauty of art, and further create works that people like.
In fact, there are not a few people who can write calligraphy well and like it in the past and the present, but it is rare to write calligraphy that not only meets professional standards, but also adapts to the aesthetic tastes of the public, has its own uniqueness, and sincerely loves the art of calligraphy. Of course, only to write calligraphy to make a few people like is not necessarily a competent calligrapher, only to write their own uniqueness and really let the public like it, the alley recognition, can be worthy of the title of calligrapher, otherwise it can only be called "writing", at most a "ticket friend".
Strictly speaking, calligraphy has a three-stage process. That is, writing, calligraphy (or "law book"), calligraphy art (called "calligraphy" in Japan). "Writing" can be used by everyone, it is a practical need, there is a distinction between hard pen and brush, calligraphy, as if it is writing, but it is not just writing: the "law book" stage, but also only some calligraphy skills and chapter experience, the resulting "work" is not completely art, at most some artistic tendencies; Only at the stage of "calligraphy art" ("calligraphy") can it really be counted as calligraphy, can it be called a calligrapher, and its works are real works of art. At this level, those who have deep humanistic cultivation, large patterns, and high ideological realms are calligraphers, and some are even masters. At present, some people can't wait to flaunt it when they are still in the "law book" stage, and there are even many people who boast of themselves at the "writing" stage. In real life, such examples abound, and the list goes on. That is, whether a work of art is mediocre or not is the difference in quantity; The difference between art and non-art is qualitative.
Mr. Xu Guolin's calligraphy is art, to what extent, what grade, may wish not to be judged first, he is still more than a year old, it is too early. Chinese art pays attention to the late completion of large instruments, such as the time of pure fire, which is the year of the old, which was unreal and immature before. Qi Baishi, Huang Binhong and other peak works are at this age, and everyone in the past and the present is no exception. But it is certain that Mr. Guolin's calligraphy is unique, has a personality, no embellishment, is natural, loved by everyone, and widely recognized by society. This says it all, and re-judging becomes superfluous.
Yang Xiong said, "Words, voices also; Books, heart paintings also. "Calligraphy is the trace of the heart and the carrier of the spirit of the times. At the beginning, the art of calligraphy was originally a practical art, and most famous calligraphers were the product of practical writing. When the writer writes, he probably does not think about whether it is an artistic creation, and he does not think that he must write a Dharma post that will be passed down to future generations. But today, calligraphy has long since lost most of its practical functions, and thus most of its natural state. Calligraphers pick up the pen to enter the "creation", thinking about how to layout the plot, how to force through the back of the paper, how to "hide the front", how to "cone painting sand", "house leak marks", how to "know the white and keep the black", how to "loose the horse, impermeable", etc., many "personality" and "frankness" are contrived, completely designed to show people, and the real calligraphy art of the original style of the horse and cattle are not in line with the original style. This is a troublesome, but it is a living reality that cannot be reversed. Some people believe that only a small number of calligraphers can also try to restrain the desire to perform, eliminate utilitarianism, and make the writing of calligraphy strive to retain some natural states and the original intention. This is thankful.
Mr. Xu Guolin is trying to do just that. Although in the tide of society, it is slightly weak and difficult to clap, but the first guarantee is that his calligraphy is authentic and natural. This is not only manifested in the expression of personality, but also in the occasional appearance of arbitrariness. It can be said that in his calligraphic works, the free personality has been fully exerted; It can also be said that the author's true emotions are unadorned and unadorned, without design or contrivance. The externalization of the heart, the internalization of the handwriting, the traces of simple and abstract lines, the poetry of emotions and moods, the rich rhythm and rhythm, and consciously or unconsciously load the mainstream values, shouldering the heavy responsibility of "preaching". The artistic indoctrination and ancient precepts of "Carrying the Tao" have been newly interpreted and interpreted by him, and they are full, simple, natural, relaxed, and vivid.
He rejects the "pure skill" writing movement, rejects the innocence of "pure art", disenchantment, de-sublime, and does not accept a certain reason for the final conclusion, in the popularity and sociality of calligraphy art, as if it is an "invisible hand", grasping the pulse of the times, blazing another trail, staging one scene after another of the historical mission of contemporary artists and the "one-man show" of social responsibility, and self-choreography, self-directing, self-acting, unique, and at ease. This is also an important reason why I like Mr. Guolin's calligraphy.......