I have known Mr. Wang Lanjun and liked his calligraphy for many years, and I have invited him to drink tea and talk about books many times, so we have become close friends.
Mr. Lanjun is simple, straightforward, and not sociable; far from the worldly glitz, more indifferent to fame and fortune. In his communication, the most talked about is his perception of calligraphy, as if he is not interested in anything other than calligraphy, let alone romantic. A wave of cloth clothes, xianfeng Dao bone, embodies the fortitude, courage and enterprising of Confucianism, or the emptiness, dispersion and calmness of Lao Zhuang.
Watching Mr. Lanjun write is a spiritual pleasure. He who has just talked to you about books and talks and laughs, once he lays out paper and catches pen, he will immediately quiet down, concentrate on immersing himself in the world of calligraphy, and the pen will go away. During this time, he does not say a word, and he will not respond to any compliments you say--entering the mind is born from the heart.
In recent years, Mr. Lanjun's calligraphy inscription plaques have been often written, and exhibited in provincial, municipal and even national exhibitions, and "famous products of big countries" have been written for the CCTV channel. It can be seen that Mr. Lan jun's calligraphy has not only been recognized by the industry, but also paid attention to by the society, which is rare. There is no shortage of sensationalists in the book world, who think that it is profound to make calligraphy fly and dance, but this is not the case. The world is not to be fooled. Compared with the two, Mr. Lan Jun's calligraphy can be called a clear stream.
His calligraphic works pay great attention to the structure of the bones and the presentation of strength. His pen uses a center forward and a flank. The use of the center forward seems simple, but it is difficult to get into the mind. Once "caught in the fire", the light is muddy, and the heavy will fall into soft pretense. However, in the circulation of Chinese calligraphy, Shen Kuo's Mengxi and Yin Mo's stubbornness have "instilled" the way of the center forward too deeply for too long, so that it is difficult for houxue to "wrongfully" follow the path of the center forward for a hundred years and difficult to understand the essence, so although Houxue has quite a criticism of the former sage's way of centering, it is also inconsistent. As for the flank, it is more difficult to grasp, and a little carelessness will fall into the dilemma of the partial front, thin and weak, and it is difficult to harvest water, so the later learning does not think so. And I think that the way of center forward and flanker is beyond reproach, the heart is the same, each has its own good fortune; the same way, see the wisdom, as long as it suits their personality and style is the best choice. Mr. Lan Jun's calligraphy follows the principles of inability to be outside the heart and the tao of nature. Although the center of the ink pen, but immersed in the masculine and upright weather, after the steady positioning, the rapid downward stroke like an axe chopping knife, sometimes the ink like gold, sometimes the ink like Hong, ups and downs; the wall stands thousands of people, no desire and no demand, after the bone is supplemented by the lateral edge to take the momentum, a rigid and a soft are in the balance of the form and the expression of momentum, so as to complete the condensation and release of internal forces. Therefore, in his calligraphy, it is difficult to see the smoothness and roundness of folding, turning, bending, and hooking in the usual sense, and even under the double superposition structure, he will not "wronged" himself and become inflamed. Therefore, the cultivation of everyone's disposition lies in the height of tolerance and the existence of the true self.
Lanjun's calligraphy pays great attention to the layout of the chapter and the decoration of ink color. Ming Zhangshen's "General Interpretation of Calligraphy" once said: "The ancients wrote as composition has a orthography. Chapter law, chapter law, the structure of the final part corresponds from beginning to end. Gu Yun: 'A point becomes the rule of a word; a word is the lord of the end'. Ming Dong Qichang's "Painting Zen Room Essays and Comments on Calligraphy" Yun: "The ancients' treatise on the book took the chapter method as a major event, and the so-called dense between the lines was also. Yu Mi Mi Xiao Kai, composed the "Xiyuan Yaji Tuji", is a fan, its straight as a string, this must not have other ways, but usually pay attention to Zhang Fa'er. The Right Army's "Lan Ting Shu", the chapter law is the first in ancient and modern times, and its words are all born with reflections, or small or large, as you like, all into the law, so it is a divine product. "Although Mr. Lan Jun's calligraphy is independent and self-controlled, it does not lose the essence of the main guest and the overall strategy, or moves with the heart, or suppresses the ups and downs, a vein of sonorousness, a touch of clouds, a piece of relaxation in the grasp and grasp of the measure. Under the domination of aesthetic principles, there is an orderly and proportional construction of a balanced, rhythmic, concise form, conceived in an image, and the image is completely intentional. At the same time, the use of dot painting to create the overall desired glyph changes, with ink color to reflect the connotation and extension of the fortune, the pen is flexible, the words are flowing, "the potential is the mainstay, do not make a real pen", in the rhythm of mental imagery and feeling to get rid of the shackles of tradition, bring out the self-confidence of cultivation, feathered into a butterfly in the combination of rigidity and softness, showing brilliance, unique standard rhyme.
Mr. Lan Jun's calligraphy also pays attention to the reference of words and the penetration of theory. The reason why it has achieved remarkable results is also closely related to its diligence and studiousness, shamelessness in asking questions, and perseverance. He worked in the cultural relics department, and from the ancient Chinese characters to the evolution of modern characters, he not only became familiar with them, but also worshipped the scriptures. After public rest, they often close their doors to thank guests, indulge in the world of inscriptions of past generations, and frantically absorb the power of sage wisdom and cultivate the body and mind of art. In today's society, it is extremely rare for Mr. Lanjun to be able to quietly sink his heart, talk with his predecessors through the years, feel each other's warmth, close the distance between each other, and enjoy the joy of growth in listening and accepting. However, the process of growing up is not only painful but also long, the most painful thing is that you can endure suffering but not get it. But without pain, without struggle, without exploration, without effort, it will never awaken. Mr. Lanjun is a seeker who grows up bravely in this harsh reality. After a few degrees of heartache, a few degrees of confusion, a few prayers, and a few struggles, the inspiration of the gift of life made him firmly believe and chase madly. He longed to fly, and even more eager to usher in brilliant splendor. As the saying goes, "Kung Fu pays off." He eventually blended his hobbies and beliefs to push his beloved art of calligraphy to a new level and influence the trend of calligraphy, which was both an ability and a blessing, and a proverb that comforted his predecessors.
Mr. Lanjun believes that calligraphy is originally devoid of body, and personality and style have made himself a success. The work of calligraphy lies in expressing feelings and optimizing the pattern. Copying for the sake of inheritance must be ancient; only on the basis of inheritance, there is some discovery, some cultivation, some breakthrough, some innovation, is a real calligrapher.
Cow double jump
2022 壬寅初六于龙吟草堂
About the Author:
Niu Shuangyue, pen name: Shi Ye Fei. He is a member of the Hebei Writers Association, a director of the China Collectors Association, the vice chairman of the National Paper Collection Alliance, the executive chairman of the Red Tibetan Society of the China Cultural Information Association, and the honorary curator of the White Haired Women's Art Exhibition Hall. He has independently written and collected columns in newspapers and periodicals such as China Pictorial News and Yanzhao Metropolis Daily. Published twelve monographs.
Source: Yan Zhao Shixun