Sun Xiaoyun
Sun xiao yun
Born in August 1955
Chairman of Jiangsu Provincial Book Association
Honorary Director of Jiangsu Provincial Art Museum
Vice Chairman of Jiangsu Provincial Federation of Literature and Literature
President of the Chinese Calligraphers Association
Academic Advisor to the Rongbao Zhai Shu Court
The Resolution of the Sixth Plenary Session of the Nineteenth Central Committee pointed out that "cultural self-confidence is a more basic, broader and deeper self-confidence, the most basic, deepest and most lasting force in the development of a country and a nation, and there is no great rejuvenation of the Chinese nation without a high degree of cultural self-confidence and cultural prosperity." ”
Under the guidance of Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era, calligraphy workers across the country have continuously followed the correct path of casting the soul of Bacon and keeping the right innovation in recent years, creating for the times and writing for the people. Standing at a new starting point, we must more firmly understand that China's excellent traditional culture with a long history is the outstanding advantage of the Chinese nation and the foundation for us to stand firm in the turmoil of world culture. Chinese calligraphy is a unique identity and spiritual symbol of Chinese culture, and we must firmly root in this rich soil of China's excellent traditional culture, strengthen cultural self-confidence with calligraphy, and stimulate strong spiritual strength.
The "Canghai Ri Nanhua Jing" is associated with Sun Xiaoyun
Carrying cultural self-confidence with calligraphy is a spiritual force drawn from the 5,000-year history of the Chinese nation. Cultural self-confidence stems from our deep historical accumulation. As a vast country with vast land and vast resources, China has gone through five thousand years of ups and downs, created a brilliant history and culture, and accumulated rich literary and artistic achievements and ideological elites. Especially under the leadership of the Communist Party of China, the Chinese nation has ushered in a great leap from standing up and getting rich to becoming strong, which is unmatched by any era. Today, culture is also facing an unprecedented new situation, which requires us to look at the past and the present and draw wisdom from China's history. Just as Wang Xizhi said in the "Orchid Pavilion Collection", "After the present, but also the present is the past", this ancient saying reminds us to think about yesterday, today and tomorrow in the history of continuous inheritance.
"Pine Shake Bamboo Shake" is associated with Sun Xiaoyun
Chinese characters are the root and soul of Chinese culture. In the unique spiritual charm of Chinese calligraphy, the genes of Chinese culture are precipitated. Whether it is oracle bone bamboo jane, Le stone inscription, engraving engraving, movable type printing, are inseparable from the text, inseparable from calligraphy. In any past era, calligraphy has been indispensable as a historical recorder and a cultural disseminator. Whether it is composing poems or recording history, the dissemination of culture and the continuation of the national spirit are all historical missions that need to be completed by generations of literati and craftsmen.
"Those who fall into reality think of their trees, and those who drink their streams cherish their origins." Only by not forgetting the road of coming can we take the road of the future. As far as writing instruments are concerned, in just a few decades, we have experienced a historic change from brushes, pens, signature pens to computers and voice input, but no matter how the form changes, Chinese history is recorded and circulated by words, and we still use the script left by our ancestors. In Chinese culture, writing and writing are parallel. The Chinese civilization and Chinese spirit formed by thousands of years of writing are given by Chinese calligraphy. Cultural self-confidence includes self-confidence in Chinese calligraphy. This confidence has always inspired me to remember that I can never lose the brush in my hand.
"Leaning on the Stone" is associated with Sun Xiaoyun
General Secretary Xi Jinping pointed out that literature and art are the clarion call for the advancement of the times. As a form of literature and art, calligraphy also shoulders the heavy responsibility of drumming and shouting for the times. In addition to the function of recording history, calligraphy also has a silent charm, charming concentration, and special appeal. Traditional calligraphy contains the common aesthetics and emotions of the Chinese nation, especially the wind and bones and ideas it contains, and it has the role of cultivating morality and strengthening the spirit of contemporary people. Contemporary calligraphers should be soberly aware of the historical mission they undertake. Through the inheritance and promotion of calligraphy, we must arouse the identity of the spirit and aesthetic identity of the whole nation, play a role in cohesion, unity, centripetalism and establishment, and encourage and inspire everyone to raise the spiritual sail high on the road of struggle in the new era with a firmer, more confident and full mental state.
Mao Zedong "Qing Ping Le Liupan Mountain" Sun Xiaoyun
Stimulating cultural self-confidence with calligraphy is an urgent need to meet the people's new expectations for a better life. Cultural self-confidence is not a slogan, it has very specific content. The revival of traditional Chinese culture must first start with "me". Entering a new era, we can better meet the people's new expectations for a better life, including the higher demand for spiritual and cultural life. With the increasing cultural consciousness and cultural self-confidence of the entire nation, everyone's enthusiasm for learning traditional calligraphy is also rising. In the hearts of the people, what kind of requirements and expectations do they have for calligraphers? What kind of works make people like? We contemporary calligraphers should really pay attention to the needs of society and provide more and better spiritual food for the people.
Tang Meng Haoran "Climbing da Nang Mountain with the Sons" Sun Xiaoyun
I grew up in a family where traditional culture, revolutionary culture and advanced socialist culture coexisted, and my sincere love for calligraphy from an early age was my original intention. I have been in the queue and served as a soldier, and these grassroots work experiences have allowed me to understand for a long time what the people need most, what they like the most, and what they yearn for the most. For decades in a row, I have actively organized and participated in cultural benefits, charitable donations, calligraphy lectures, book signings, etc., which made me truly feel the people's great enthusiasm and heartfelt love for traditional culture. Seeing so many people love calligraphy is a motivating force and a proof. At the same time, I also understand the people's evaluation and suggestions for me, and I will make further efforts and corrections. After such interaction and progress, I have strengthened the purpose of making calligraphy serve the people, and also made me firmly believe that calligraphy is the common spiritual home of all Chinese.
"Chronicle of the Spring Moon of Prophecy, My Humble Work" Sun Xiaoyun
In the past five years, I have participated in the tour of "Advocating Virtue and Shangyi and Being Literary and Art Workers in the New Era with Faith, Feelings, and Responsibility" organized by the China Federation of Literary and Art Circles, and in the past five years, I have gone to Xinjiang, Guizhou, Qinghai, Guangxi, Yunnan, Shandong, Guangdong, Shanghai, Tianjin, Chongqing, and other more than 20 provinces and cities, as well as troops, to communicate face-to-face with the vast number of literary and art workers at the grass-roots level under the themes of "Inheriting Chinese Calligraphy with 60 Years of Calligraphy Practice" and "Writing the Great Era with One Stroke and One Painting." In many remote areas, everywhere I go, I am warmly welcomed, and there are so many people who sincerely love calligraphy, and I deeply feel that calligraphy is really the most deeply rooted in the hearts of the people and can arouse cultural self-confidence.
"Four Ancient Poems" Sun Xiaoyun
To make calligraphy more deeply rooted in the hearts of the people, we must not only create more works of elegance and popularity and Chia Tai weather, but also spread the beauty of calligraphy more widely, let calligraphy enter schools, families, halls, venues, hang in study rooms, studios, conference rooms, and even scroll on fluorescent screens, curtain walls, etc., so that calligraphy no longer becomes the art of a few people, but becomes a daily life that Chinese must contact every day, so that calligraphy truly becomes the spiritual symbol and symbol of traditional Chinese culture, and lets the beautiful Chinese characters convey the Chinese spirit. This is the most concrete embodiment of our cultural self-confidence.
"Little Tuanzi" Sun Xiaoyun
Promoting cultural self-confidence with calligraphy is the conscious pursuit of contemporary calligraphy practitioners in practice and action. At present, the new era in which we live is magnificent and meteorological. As calligraphy workers, we should combine our personal artistic pursuits with the development of the times, paint portraits of the times, establish a biography for the times, and create a moral virtue for the times, give play to the function of calligraphy in recording history, reflect the great changes in history, and depict spiritual maps. This year, the Chinese Calligraphers Association held the "Great Cause - Celebrating the Centenary of the Founding of the Communist Party of China Calligraphy Exhibition" at the National Museum and the National Library of China, so that the art of calligraphy can be integrated into the grand narrative of the century-old party history, so that the personal calligraphy cause can be plunged into the goals and tasks of the great era, and the calligraphy works that the people like to hear, appreciate, record and praise the times.
Du Fu's "Eight Songs of Autumn Xing" no. 8 Sun Xiaoyun
Bearing in mind the "great power of the country" and writing closely following the traditional Chinese culture and the major historical nodes of the times, this is the responsibility that literary and art workers in the new era should bear. In recent years, I have written the "Four Books", "Tao Te Ching" and the family rules and family training of successive generations, which are the essence of traditional culture that everyone is familiar with; "Poetic Jiangnan" uses traditional pen and ink to write poems of Jiangnan images and praises the hometown of fish and rice in Jiangnan on the xiaokang Road; "China Fu" writes classic words describing jiangshan duojiao, Yudian Pavilion, four-hour phenology, oriental miracles, and other contents; this year I also wrote "Ode to the Canal", depicting the chapter of the magnificent canal and presenting gifts to the centenary of the founding of the party. I have always positioned myself as a "calligraphy practitioner", what I want to do is to activate the ancient classics of traditional Chinese calligraphy, strive to build a bridge between traditional Chinese calligraphy and contemporary calligraphy, pass on my writing, experience and experience to others, and let more people enter the writing and learning of traditional Chinese calligraphy and enter the aesthetic world of traditional calligraphy.
Du Fu's "Xing Pi Xing" Sun Xiaoyun
Aesthetic education can start from calligraphy, and the cultural self-confidence of the Chinese nation begins with writing well, which is something that every Chinese can do anytime, anywhere. Confucius said that "I am in three provinces and one body", through the training of Chinese characters with one stroke and one painting, self-examination, self-examination, and constantly cultivating personality, improving self, and improving the realm, can bring more people a sense of gain and happiness. As calligraphy workers, we should subtly let more people approach calligraphy, feel the charm of traditional Chinese culture, and then enhance cultural self-confidence. This is a process of "moisturizing things silently", just like a drop of raindrops, everyone does their duty well, more and more raindrops converge into a spring rain, "good rain knows the season, when spring is happening", and the prosperity of socialist culture will also come.
The Analects (excerpt) by Sun Xiaoyun
I have always believed that each of us is a small leaf on the lush tree of Chinese culture, and we continue to draw nutrients from the roots of this big tree of Chinese culture, grow luxuriantly, and finally form a thick shade. And the green shade under this towering tree is the spiritual homeland that shelters the prosperity of our Chinese nation. We must redouble our efforts to make Chinese calligraphy an inseparable and important part of our daily lives, a unique Chinese symbol standing in the forest of the world, and a sacred symbol of the great rejuvenation of the Chinese nation.
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