trample
pass
cherry
flower
clause
small table
bridge
——Practice and reflection on Yu Jimin's calligraphy
Hu Feng
・Cross the cherry blossom bridge ·
Consciousness is the embodiment of intuition.
Things exist objectively in the form of "being" and are expressed through the subjective form of consciousness. Huang Tingjian sentence: Peach and Plum Spring Wind a glass of wine, the night rain of the rivers and lakes ten years of lights. Without a single verb, the "sudden flow" of consciousness jumped on the paper and burst out in front of the eyes.
Calligraphy is the flow of consciousness. Cai Yong clearly pointed out the lyrical nature of calligraphy: "Bookish, scattered." If you want the book, you will first scatter it, let it go, and then you will book it. This shows that Cai Yong has realized that calligraphy should be an expression of sustenance emotion. Cai Yong also emphasized the free and quiet state of calligraphy creation: "Fu Shu, first sit silently and meditate, do whatever you want, do not speak, do not breathe, and are full of energy, if you are supreme, you are all good." In the process of writing, it is necessary to concentrate on "doing whatever is right", which is also related to the idea of "fushu is precious and quiet" that was later passed down as Wang Xizhi.
Practice and reflection on Yu Jimin's calligraphy
2022
Yu Jimin
I. Calligraphy Consciousness in the Wei and Jin Dynasties was a "revolution" in calligraphy from "technique" (practical function) to consciousness
The calligraphy of the Wei and Jin dynasties from 220 AD to 420 AD has a prominent position in the history of calligraphy. The Wei and Jin dynasties were the end of the evolution of the book genre. These new forms of Caoxingkai were conceived during the Eastern Han Dynasty, and by the Time of the Wei and Jin Dynasties, they had matured and shed the influence of the Lishu era. The emergence of Wang Xizhi and Wang Xianzhi has brought the development of xing, grass and italics to a mature stage. Wei and Jin calligraphy moved towards a stage of complete self-consciousness and became a universal appreciation of all levels of society, and the literati began to consciously pursue the beauty of calligraphy as a conscious artistic practice activity. With the maturity of the new body, the literati school of calligraphy is constantly updated, and this evolution is represented by Zhong Xuan, Wang Xizhi and Wang Xianzhi respectively, and the three schools have profoundly influenced the development of calligraphy in later generations and become the basic trajectory of the progression of calligraphy art in later generations.
Consciousness-oriented creative trends, such as "Fast Snow And Sunny Days", "Mid-Autumn Festival", and "Boyuan". These works are representative of the Wei and Jin styles at that time. Moreover, the calligraphers of this period greatly enriched the types of calligraphy at that time and promoted the formation of the Wei and Jin styles. For example, the simple and atmospheric calligraphy of the imperial elephants in the Wu period of the Three Kingdoms, the beauty of Lady Wei' beauty, the beauty of Wang Xizhi, and the handsomeness of Wang Xianzhi all enriched the artistic expression of calligraphy in the Wei and Jin dynasties. Therefore, a variety of artistic expression forms and open artistic thinking are a major feature of calligraphy in the two Jin Dynasties, and it is an excellent typical performance of calligraphy highlighting advanced thinking.
The "North Monument" corresponding to the "South Post" is exactly like the front and back of a coin. Massive folk statues and epitaph works, in an extremely simple style, are in opposition to the aristocratic calligraphy that continued in the Eastern Jin Dynasty, which is a wonderful era of artistic self-consciousness. The spiritual nihilism of the south brews its subtle sustenance in calligraphy and achieves its wind and bones; while the indiscriminate inscriptions of the northern childish inscriptions are full of extreme spiritual yearning. It was not until the appearance of Yan Zhenqing more than two hundred years later that this relationship was reconciled. In short, the stylistic development of calligraphy is not simply "inward" and "outward", it is determined by various spiritual wills "metaphysically".
It was also in Ji Min's youth that Mr. Lin Sanzhi stressed to him more than once that "Han Wei must learn" and "intend to write first". As he studied the book, he realized more and more that learning from Han Wei was not learning his style and penmanship (engraving), but taking his meteorological ear. Therefore, in Jimin's calligraphy, there is a combination of bookish qi and golden stone qi, without any sense of violation, which is the most solid basis and premise for the expression of consciousness.
Second, "contemplation" and "freedom", gradual enlightenment and epiphany, Yu Jimin's calligraphy creation practice stems from the reawakening of calligraphy consciousness by Zen ideology
Zen Buddhism is one of the schools of Chinese Buddhism, which specializes in "meditation". Nanzong's "epiphany" theory has had an immeasurable impact on Yu Jimin's calligraphy practice, which does not establish words, but points directly to people's hearts, so that people can quietly and stop distracting thoughts, and see sex and become Buddhas. In Chinese calligraphy, there are "those who want to write, first dry and study ink, concentrate on meditation, anticipate the size of the glyph, lean forward, straighten, vibrate, make the tendons and veins connected, intended to be the pen first", requiring the writer to eliminate distractions before writing the book, the unity of all gods, and after "human determination", there will be unexpected magical strokes. The deeper the "concentration", the more subtle the mysteries, the more the divine understanding, can lead the mind to the problems that are not realized in ordinary days, and stimulate inspiration, that is, to mobilize the subconscious.
From the creation of Yu Jimin's calligraphy works, it can be seen that the knowledge accumulated in practice that he usually inadvertently sees, hears, talks, reads, and accumulates in practice will suddenly run through a line according to new ideas, just like an electronic computer, grasping the key at once. In fact, this is a leap forward in the thought process. But this leap is irrational thinking. The characteristics of Zen Buddhism are "not to resort to blind faith, not to eloquently argue about the existence of emptiness, not to pay attention to analysis and understanding in detail, not to emphasize sitting and meditating, not to preach long practice and hard practice, but to attain enlightenment in the present moment of direct connection with life itself, and to become a Buddha in the reality of everywhere."
Yu Jimin said: Calligraphy can be fully understood as the impulse of the entire vitality, the desire for self-improvement of the entire subject. People always express it poorly, and only through the subject's enlightenment in the sensibility of daily life, and the great enlightenment, can they go straight to the mysteries. "It is neither deliberately pursued nor pursued; neither conscious nor unconscious; neither extinguishing the implications, nor remembering, the so-called dwelling in the middle of not dwelling and dwelling", which is the characteristic of artistic creation.
Notes on the History of the Southern and Northern Dynasties of the Wei and Jin Dynasties
A talented calligrapher is guided by his temperament, will, cultivation and the entire subject in the long-term practice of calligraphy art, guided by a higher level of pursuit, the subconscious (not just an objective object) is adjusted and screened, the best image is quickly gathered, and the intuitive wisdom factor overwhelms the imagination, perception and close integration of emotion and intention in reason. Therefore, "enlightenment" is the grasp of reality at a high level, the accumulation of rational content on perceptual content and the direct feeling of the inner law of art, which is "eternal moment" or "instant eternity". This is Jimin's personal experience of many years of calligraphy exploration. "The metaphysics of consciousness", qi rhyme is really the life of calligraphy.
Calligraphy has accumulated a rich connotation in the history of thousands of years, the ancients also cultivated a high sensitivity to lines in the daily brush tube, every stroke of the pen is consciously or unconsciously showing the inner ups and downs of the trajectory, its advocating the heart and sex and the Zen "nature is Buddha" and "enlightenment" have many commonalities in essence, which is also the internal reason why Zen Buddhism can influence the art of calligraphy.
The study and writing of Buddhist scriptures is a compulsory course for Yu Jimin to enhance his self-awareness. "No thought is the sect, no phase is the body, and no dwelling is the foundation." ("Six Ancestral Tantra Dinghui Pin"), which means not to be confused by external objects, but to pursue a kind of true transcendence and natural truth that forgets both things and me. The wind blows only the heartbeat, and everything in the outer world is nothing but the externalization of the mind. This kind of consciousness penetrates into art, which is to absolutely advocate the role of "intention", believing that all artistic creation is only the externalization of free will, not suppressing the spirit, and pursuing the style of romance and free stretching of life. And Zen Gate also has the saying that the Buddha cursed the ancestors and did not establish a written word, that is, do not worship the old rules of the Law, and take me as the ancient. In art, there is an emphasis on innovation, wildness, idols, and defiance of tradition.
So we can see the indulgent and wild style type such as the mad monk Huaisu. His works can feel the obvious embodiment of Zen in calligraphy, strongly demanding the desire to embody oneself, finding a way to vent in cursive, informality, enthusiasm, wild and cheerful, stormy. The Bada Shanren and Master Hongyi are representatives of ethereal dust, their calligraphy style is quite close, the knot body is childish and simple, and the pen is round and clean, full and smooth, revealing a religious atmosphere of loneliness and coldness, no fireworks and cold depression.
"Liangkuan Poem"
3. Through the study of Japanese calligraphy, Nippon Calligraphy's understanding of "Shangji" and Shangyi, with consciousness as the contribution of "subjectivity", firmly express the expression of "everyday books"
The art of calligraphy in Japan originated in China and is called calligraphy. Chinese calligraphy was transmitted to Japan at least in the Jin Dynasty and even earlier dynasties. The art of Chinese calligraphy flourished in Japan during the Tang Dynasty. Japan has sent thirteen groups of Tang envoys to China to study and exchange, while learning the advanced culture of the Tang Dynasty, it was also deeply influenced by the flourishing atmosphere of calligraphy art at that time, and calligraphy masters such as Kukai and Tachibana Yishi emerged, representing the height of the era of Japanese calligraphy, which is still quite influential, and the Japanese call Kukai the Wang Xizhi of China. As envoys to the Tang Dynasty, they were a bridge to the spread of culture— not only to learn, but more importantly, to spread Chinese culture and calligraphy art to Japan, and the traditional Chinese art of calligraphy began its journey to Japan and took root. Since they have not changed dynasties as in Chinese history, nor have they had a theoretical awakening similar to that of the Song Dynasty, so the development of the two is also very different, Yu Jimin once used "one branch and two leaves" to summarize their relationship.
During his stay in Japan, Yu Jimin made several interesting investigations of Japanese calligraphy and the relationship between Chinese and Japanese calligraphy: 1. Went to The Sacred Guard Temple in Kaohsiung, Kyoto, to investigate the "Empowerment" of Kukai, to analyze the synthesis of Kukai's calligraphy of Wang Xizhi and Yan Zhenqing, and to compare the specifications and scale of Chinese and Japanese paper in the Tang Dynasty; 2. To investigate the collection donated by the late avant-garde master Ueno Yukimura to the Goto Art Museum, focusing on the inscription of the Heart Taiping book "Huang Ting Jing"; 3. Take suzuki Tsuiken, Aizu Bayi, and Kosaka Kishi as the main line. Study the interconnection of Kanji books and kana books, and collect in-depth information on the daily books of scholars. He also wrote the article "The Walker of the Line", taking Kosaka Kishi as an example to explore the image expression of inheriting the calligraphy tradition; 4. Excavate the traces of the Republic of China's Liannan Lake to Japan, collect various versions of the "Clarification Hall Post" printed in Japan in the past hundred years, and complete the inscription examination of the "Clarification Hall Post" of kowanyanagido. During this period, he received strong support from many Japanese scholars such as Mr. Ito Shigeru, Mingyer ming, and Mr. Kōyō Uno, "knowing each other far and near, and still being neighbors", their rigor and enthusiasm for sinology and calligraphy also made Jimin doubly confident in the future of traditional Chinese culture. Through the above many activities, it is not difficult to see that Jimin's calligraphy practice is multi-faceted, and his calligraphy creation is the spillover of his calligraphy practice activities, and it is also the practice of the concept of "daily book" proposed to him.
Wang Xizhi's ruler, Yan Zhenqing's manuscript, and Kukai's name are all fragments of daily life, and human nature also jumps on the paper, sincerely for the art forest. Like China, Japan has established an annual system of national art exhibitions (or daily exhibitions) since the 1940s, which also includes calligraphy. This kind of exhibition-led phenomenon determines the value of art, which is beneficial to promoting the attention and investment of the whole society in art. However, such works are extroverted performances, and often lack deep introspection, which makes it difficult to achieve the true transmission of "Shangyi". Ji Min feels that only by improving personal quality, going deep into tradition, and reducing the stimulation of meritorious fame can we see the aura of the origin of art.
Yu Jimin said that we must attach importance to the absorption and acceptance of different cultures, respect different cultures, find deficiencies and motivations in differences, and lead calligraphy culture to find living space in the new era. We should summarize the new appearance of Japanese calligraphy works, learn from the excellence of Japanese calligraphy, integrate the essence of different art forms, take the essence of their dross, learn from the attitude of Japanese calligraphers to creation and innovation, integrate this attitude into calligraphy, and bring more works that conform to the characteristics of the times.
Spring rain building head shakuhachi Xiao, when to look at the Zhejiang tide? Mangshoe broken bowl no one recognizes, stepping across the cherry blossom bridge? Isn't this poem by Su Manshu an excellent portrayal of Yu Jimin's long calligraphic quest?
--------------------------------------- Let's set our sights on Ji Min's work.