Text/Guo Xiaodong
Lantern writing is my description and touching of a person's life.
He is such a person, who regards painting and writing as his favorite love and cultivation, and lives to the age of eighty, never sells a book or a painting, and takes what he is not satisfied with, destroys, and is satisfied with, and takes it with others. What a realm this is! Guo Shenxue likes to paint orchids, so he goes to plant orchids and grows up with orchids. Calling on the painters, peasants, and soldiers, he mixed with the flow of car sellers, so he painted and wrote. Also because I like it, I purely paint for my neighbors and friends, and use painting to serve the people. No money, white paste. After painting for seventy or eighty years, I have unconsciously become a famous artist, still humble and added, not asking about the harvest, but asking about liking.
Speaking the Chaoyang dialect, there are more than seven million people, accounting for half of Lingdong (Chao Puhui). Painters and artists with benevolent virtues like Guo Shenxue, although like a trickle, have become the context and tradition of this place.
In The Great Chaoyang, in the 1960s, there were three prodigies in the Chaoshan calligraphy and painting circles: Zhuang Xiaojian, Fang Chuxiong and Li Zhaodong. They were about seven or eight years old when they became famous, which is the cultural crystallization of "God was fifteen hundred years ago, and no one knew." Chaoshan cultivation is the basis, the tradition of poetry and etiquette is passed down from family to family and the cultural stability of more than a thousand years, the family culture is lush, and the generations of talented people in Chaoshan are born, and the so-called prodigys emerge in an endless stream.
When Guo Shenxue was six years old, the lantern shop master opposite him taught him to write the word "fly" on the lantern. A flying word, even if it is enlightened, can also be regarded as standing. After that, he flew in his garden, freely, without restriction, completely according to the invisible master, to physically engrave, draw, write, and live purely. With their own preferences and ethics, they dance alone in a limited form, like many Chaoshan rural cultural people, without a teacher, they understand the world and understand the people. In the darkness, this understanding is attributed to art, and the clouds flow, such as being a person, or like walking grass, or like wild grass.
The six-year-old lantern, that faint light, has been tenaciously illuminating his bumpy path of survival. From the stone drum texts he often used to, his grass, and his wild grass, people read a state of mind that practices in drifting zero, chooses in hesitation, and struggles in difficulties. A kind of rules that are difficult to regulate, a kind of unrestrained intrusion, an outbreak of arrogance and forbearance that cannot be ignored... Let the known form be sideways, which is exactly what Guo Shenxue did not know at all when he was "writing lanterns", but in the later artistic quest, he was firmly held, and at the same time blocked the worldly desire to write, and the predeterminence for him to seek.
Because there is no unified teacher inheritance, because there is no academic class to follow, because there are no rules to follow, and so on, his calligraphy and paintings are all done by the will, and they are out of control by enlightenment, and when they are staggered, they are even more purple and red.
When it comes to shicheng, in fact, the sources of shicheng are multifaceted. Guo Shenxue liked the "Monument to the Good King", and one of its characteristics, some commentators (such as Shi Shuyi) knew: Fang is not square. It seems to be plain and plain, ancient and simple, the word is square, in fact, the changes are endless, full and thick in the opening and closing of the degree, retract freely. Second, the circle is not round. Horizontal painting and vertical painting are round and introverted, starting and closing, turning, and skimming and twisting, round and healthy. It is like the dot painting of the seal book, but also shows the form of the dot painting of the letter, the font seems to be square like a circle, it seems to be like a kai; horizontal painting and painting rarely have a subordinate intention, such as a dragonfly dotting water, pointing to the end. Third, Mange is dissatisfied. The calligraphy of this stele is also unique, it seems that the line spacing, the word spacing are uniform, the arrangement is orderly, but it is combined with the size of the glyph, and the jagged changes are strong, which is interesting. These characteristics, in Guo Shenxue's cursive writing, play a role in convergence and frame construction, and it is difficult to empathize with the two without careful study and identification. The square is not square, the figure is poor and round, the word spacing is uniform, and the weight is clumsy and light, and the distribution runs freely, and these characteristics of the "Good King Monument" are expressed in Guo Shenxue's cursive writing without trace. All of this is related to the enlightenment of the "Monument to the Good King". And this correlation is the interweaving of the mind of the Lord, at a certain intersection, when he meets guo Shenxue's life bumps...
Guo Shenxue practiced the path of experience throughout his life, from copying and learning, it is self-contained, although the context is confused (because the author has no intention of preserving, can not see his early and consistent creative calendar, so it is difficult to find the research trajectory from the beginning to the recent), but the results are sometimes out of the blue, sometimes surprises. His cursive writing naturally weakens the dry pen and less frames the pattern, but has a sense of wind movement, that is, the state of flying nature. There is no need to force it into the unification faction. In this regard, Guo Shenxue is not an exceptional case, which is due to the unique artistic flow of artists from the folk grass. They have their own jianghu. This kind of jianghu custom must be more prominent than that of the old-school restorationists.
Also from Chaoyang, the famous calligraphers and painters Guo Mangyuan, Xiao Yingchuan, Liu Bogao, Guo Jiansheng and Fan Chunqi are very similar to Guo Shenxue's artistic experience, and do not affect their fame or not, on the contrary, Fang shows the essence of the essence. Although after the achievement, there are always all kinds of famous teachers who inherit it, but such false words are negligible.
Painters and calligraphers from Chaoshan Province, whether from the class or from the wild folk, most of them have a family or a family background, and perhaps some of them are little known in the whole country, but they are famous in Chaoshan or Southeast Asia. Huang Guoqin, Fan Chunqi, Xu Dongsheng, Ji Chang, Guo Jiekun, Zhuang Yingrui, Chen Junyi, Hefu, etc., as soon as they walked out of Chaoshan, their heads were revealed, and their reputation rose rapidly.
Chaoyang Guomen Eight Jie: Guo Dushi (deceased), Guo Mangyuan, Guo Shenxue, Guo Jiansheng, Guo Chukai, Guo Jiekun, Guo Linji, Guo Xiongming, and even more powerful. Among them, Guo Chukai and Guo Linji studied at the China Academy of Arts, which were doctors and masters respectively. They all learned the art at an early age, stood up through the ages, and achieved success at a young age.
Guo Mangyuan and Guo Shenxue have been practicing art for more than 70 years, and their printmaking, Chinese painting, and calligraphy art all have a single ride, and they are desperate for spring, seeking what no one has, what they are afraid of, and what they are creative.
If Guo Shenxue's printmaking art is somewhat related to making a living in difficult times, his calligraphy art has nothing to do with his livelihood. This is the reason why his ability to still pull out metaphysical and illusory actions in the metaphysical existence.
Guo Shenxue's calligraphy, just like his name, a choice of cautious characters, is all in silence. What is the flow of clouds? This somewhat vulgar adjective, in the depths of the word, is actually a supreme and illusory statement, while ordinary learning knows only its words, but does not know its deep meaning.
How about clouds and flowing water? Behind them is the wind. The wind cannot be shaped, but can only be perceived: it is done by other things, and it is shaped, and it is like it. Moving clouds, the wind pushes the clouds, the clouds move into a walking trend, and the clouds are a kind of potential energy, a kind of entropy. Flowing water, the wind pushes the water away, the waves are continuous, and it will not be lost without boundless slippage.
The wantonness of the wild grass, here in his place, is almost a vast ocean, but Guo Shenxue's intimate and partial love for Shi Guwen makes his pen clumsy, and it seems that he has set up various rules for the forward movement of cursive writing. This kind of statute invisibly makes Guo Shenxue's cursive, without losing caution, but overcoming hesitation, at the time of writing, and doing and blocking and stopping, are under the control of mental strength, otherwise, "Fujian Westbound" and others, that kind of resolute waving, is impossible to happen.
Just like his painting orchid, he first went to plant the orchid. Lan's hardships, Lan's growth, Lan's spring, summer, autumn and winter, are the delicate indulgences of Lan on rice paper, and they arrive as scheduled. He has a firm understanding of the composition of the life of writing. He and Lan's presence, growing together, on rice paper, swore an oath of determination to live.
The six-year-old lantern originated from the lantern shop, which is the road to light. Lanterns, like incense candles, give light to others, shine on themselves, and illuminate others. Like incense candles, it burns theosophy. The symbol of all this is that he has no intention of succeeding in success; at the same time, it is also a tortuous and bumpy road, without knowing the process and the end.
His dream is not to be a lantern, but to follow the lantern and let the lantern illuminate his life. Therefore, he did not have the artist's style, nor was he prepared to be an artist, and he never sold a painting by liking, and he did and painted and wrote and discarded, did not leave a draft, wrote a piece, destroyed one, or gave it away, or gave it away. So much so that I painted countless things and wrote countless things, but I left no numbers.
Guo Shen studied in the Republic of China, cultivated Pu Lu, showed in the chaotic world, and immersed himself in it. He was completely in essence and made a rough journey. In the past, calligraphy and painting, young and old, but when the old age is coming, the old Ji is new, but the tiger is tiger. Although the gentleman is still stuck on his feet, he still does not spare his heart, does not squat, repeats his actions, and his artistic life flourishes, which is the ultimate state of life.
The phenomenon of Guo Shenxue is a phenomenon of the great tide and a law of folk art. Guo Men Bajie, inheriting the first and starting the future.
December 30, 2021 Yangcheng Evening News A13 Flower Land Edition
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Source | Yangcheng Evening News Yangcheng Pie
Editor-in-charge | Sippi