In the 1990s, Mr. Shen Peng, then acting chairman of the Chinese Calligraphers Association
Perception and orientation
Text / Shen Peng
In front of me were prints of two kinds of works by Comrade Sun Xiaoyun: a copy of "Sun Xiaoyun's Calligraphy Collection" based on Xingcao, and a copy of "Words and Sayings in the World" in Xingkai. I often play and appreciate, to see how active her creative thoughts are, full of aura between the dots and strokes, and full of emotional movement between Gu Pan. Pushing up, it is naturally the "Second King", as well as the "Holy Order"; down, I see that there are at least Mi Fu, Wang Pet, Wang Duo, Xu Wei, Dong Qichang and so on. Many ancient people are with her day and night, will not be lonely, and her works are really like "on the mountain vagina".
However, Xiaoyun claimed to be willing to be the Nanyang Liu Ziji in "The Tale of Peach Blossom Origin", "with a beautiful yearning and persistent pursuit, enjoy the enjoyment on the way, and let the dream of finding a fairyland accompany you all the time." Liu Ziji's unsuccessful spirit of searching for Taoyuan was appreciated by Sun Xiaoyun, which is an aesthetic attitude, or an attitude towards life, or an aesthetic attitude towards life. She decided that "pursuit" was more important than "acquisition." Although beauty does not exclude "acquisition", beauty is more embodied in the "pursuit" of noble purposes. From this, Xiaoyun established a higher level of aesthetic concept, which included the dilution of secular merits and the persistence of true life and true art.
Sun Xiaoyun in his youth
Such a basic attitude, of course, also directly affects her book style and book meaning. I don't quite understand Sun Xiaoyun's original intention in writing "Words and Sayings in the World", but I think that the choice of this work is consistent with Sun Xiaoyun's inner meaning. Not only did Wang Guowei's perseverance in writing about the three realms profoundly affect her, but I was convinced that Wang Guowei's "realm" said that the "beautiful" "realm of no self" that "only obtained in silence" also played a role in her style and writing. Xiaoyun, who loves the Thep school and draws inspiration and freedom from thesis school, although she also plays a sense of movement in cursive writing, but her aesthetic consciousness, I think is biased towards contemplation, she exudes leisure, ease and elegance in her dashing. She also hopes that the audience will understand that she has not "eaten human fireworks", but the pursuit of a higher level has not made her lose the character of "elegance".
In 1989, Sun Xiaoyun won the award at the 4th National Exhibition
One of the advantages of Sun Xiaoyun's study is respect for the ancients. I remember that in 1987, when I first met Sun Xiaoyun (when we joined a delegation of Chinese women's calligraphy to Japan), she had a fierce debate with another calligrapher over whether to copy books. Xiaoyun's habits, do not like to copy, like to read posts, which is easy to give people the illusion that she does not respect tradition, but now her works show that "pro" and "reading" are actually different method problems, "get the fish to forget the basket" and "get the rabbit to forget the hoof", as long as you get the fish, get the rabbit, what means to take is the second. In the Song Dynasty, Huang Gu talked about the benefits of "reading" and said that if you want to "look into the gods" and "know what you want", you can get the true meaning of the ancients' penmanship. (Selected Calligraphy Essays of Past Dynasties, Vol. II) If you blindly know only copying, especially if you are limited to the rigid "opposite" and do not melt and absorb, you may not get the essence of the ancients' brushwork. Therefore, the ancient writers all emphasized the importance of "Boguan".
In 1992, Sun Xiaoyun won the award at the 5th National Exhibition
Sun Xiaoyun's calligraphy practice contains the unity of many contradictions. For example, not to give up the in-depth understanding of traditional laws because of the emphasis on "reading posts", or not to deny the importance of getting out of the rules because of the spirit of playing the spirit. When someone asks "what is both basic and difficult in the art of calligraphy," she replies succinctly: "brushwork." At this point, Xiaoyun is consistent with traditional concepts. Traditional calligraphy has always attached importance to the fundamental importance of brushwork in the creation of calligraphy. The concept of "brushwork" includes "using the pen" and goes beyond the scope of "using the pen", which can refer to the law of creation in general, but is based on "using the pen". Zhao Mengfu once said: "The knot body is based on the times, and it is not easy to use the pen for eternity", which can be understood as emphasizing the importance of "using the pen", and can also be understood as "using the pen" can not be changed, but Zhao wrote before this: "Calligraphy is based on the use of the pen, and the knot must be worked hard." After all, in the relationship between "using the pen" and "concluding words", the former is placed in the main aspect of the contradiction, which is consistent with the views of the historical treatises. However, "it is not easy to pass through the ages" and "along the times" relatively speaking, it seems that it is still necessary to explain the "unchanged" nature of the pen, which may be the limitation of Zhao.
In 1995, Sun Xiaoyun won the award at the 6th National Exhibition
In 1998, Sun Xiaoyun won the award at the 7th National Exhibition
The understanding of "using a pen" varies from person to person, not to mention that "penmanship" is a broad concept. How to reflect it in the work is different. Sun Xiaoyun's pursuit pays more attention to the identification with the ancients, and she prefers to dilute "personality", in her words, "Only within the scope of commonality can we talk about individuality." The positive aspect of Xiaoyun's understanding is that she has carefully observed the brushwork of her predecessors, which can be said to have entered a nuanced level. Between the leaning, the front side, the hidden dew, and the gathering and dispersion, it seems to be random, but it is very carefully managed. However, the value of her meticulous management lies in the fact that it is implicit but not revealing, deliberately harmless and casual, and the so-called "harmonious and harmless". Reading Xiaoyun's works, the first thing I feel is the leisure and elegance that naturally flows, and the beauty of talent, which almost makes people no longer think of what aspects of her "personality" deficiencies need to be added. But I think that in her commonality, she also needs to theoretically experience the truth that "commonality is in personality", leaving personality and particularity, that is, there is no commonality. Comrade Xiaoyun may have to take a road of "inheritance", but more ways of establishing self-perception and value orientation are still beneficial to the development of her talents. We can't equate works with personality with good works, but good works always have outstanding personalities. Mi Fu does not use "jigu characters" as a derogatory term, but he is also proud of "people see it, but they don't know what is the ancestor". We cannot develop an unchanging framework for the vast number of calligraphers, but we want each calligrapher to constantly adjust to a better orientation according to their own characteristics.
Shen Peng
February 1994
Shen Peng, born in 1931, is a native of Jiangyin City, Jiangsu Province. Calligrapher, art critic, poet. He is an honorary member of the 10th China Federation of Literary and Art Circles. Since 1950, he has worked in the People's Pictorial, and has served as deputy director of the editorial office, director of the editor-in-chief office, deputy editor-in-chief of the People's Fine Arts Publishing House, deputy editor-in-chief, and concurrently serving as the executive deputy director of the editorial review committee, enjoying the special government allowance approved by the State Council, and was elected as a member of the Eighth National Committee of the Chinese People's Political Consultative Conference in March 1993. He has successively served as deputy editor-in-chief and director of the editorial review committee of the People's Fine Arts Publishing House, vice chairman, acting chairman and chairman of the Chinese Calligraphers Association. He is a member of the National Committee of the Chinese People's Political Consultative Conference and vice chairman of the China Federation of He is currently a librarian of the Central Museum of Culture and History, the honorary chairman of the Chinese Calligraphers Association, the honorary president of the Chinese Poetry Society, the president of the Calligraphy and Seal Engraving Institute of the National Academy of Painting of China, the consultant of the China Art Publishing Society, and concurrently holds various social positions.
Sun Xiaoyun, born in 1955 in Nanjing, Jiangsu Province, is a national first-class artist, the 8th chairman of the Chinese Calligraphers Association, the chairman of the Jiangsu Calligraphers Association, the counselor of the Jiangsu Provincial Government, the vice chairman of the Jiangsu Provincial Federation of Literature and Literature, and the honorary curator of the Jiangsu Provincial Art Museum. He is a member of the national calligraphy exhibition and the Lanting Award, and the vice president of the Calligraphy and Seal Engraving Institute of the National Academy of Painting of China. Doctoral supervisor and master supervisor of Central Academy of Fine Arts, doctoral supervisor of Soochow University, dean of Chinese Calligraphy Research Institute of Nanjing University.
He has won the honors of "National Advanced Worker" (National Labor Model) of the CPC Central Committee and the State Council, three provincial and ministerial labor models, "National Outstanding Professional and Technical Talents" of the Central Organization Department, the Central Propaganda Department, the Ministry of Human Resources and Social Security, and the Ministry of Science and Technology; the "Four Batches" talents of the first batch of propaganda and cultural systems of the Central Propaganda Department, the "Advanced Workers of the National Cultural System" of the Ministry of Culture, the "National Virtue and Art Shuangxin Literary and Art Workers" of the China Federation of Literature and Art, the "Lanting Award" and "Art Award", the highest award of Chinese calligraphy, the first "Purple Gold Cultural Medal" of the Jiangsu Provincial Party Committee and Provincial Government, and the seven national calligraphy awards.
He has published "Calligraphy with Law", "Selected Calligraphy of Sun Xiaoyun", "Don't Forget the Initial Heart - Sun Xiaoyun Calligraphy", "Collection of Contemporary Chinese Calligraphy Sun Xiaoyun", "Tao Te Ching", "University", "Zhongyong", "Analects", "Mencius", "Family Discipline and Selection of Past Dynasties" and so on.