About the Author
Lei Zhenmin, Lei Gong, Shaanxi Heyang ren, vice chairman of Shaanxi Provincial Federation of Literature, honorary chairman of Shaanxi Provincial Book Association, librarian of Shaanxi Provincial Museum of Culture and History. He once served as a member of the National Committee of the Chinese People's Political Consultative Conference, a director of the Chinese Calligraphers Association, a member of the Standing Committee of the Shaanxi Provincial People's Congress, the chairman of the Shaanxi Provincial Calligraphers Association, and the president of the Shaanxi Chinese Painting Academy. Lei Zhenmin was born in a family of science, young inherited family learning, Shuzong Jin Tang, part-time work in various bodies, long in Kai, Xingshu style, calligraphy works by the Great Hall of the People, China History Museum, Chairman Mao Memorial Hall, Central Military Commission and other units of collection, Shudan carved stone mainly includes Gansu Tianshui "Building Dragon Garden", Jiangsu Changzhou "Yancheng Fu", Inner Mongolia "Ordos Fu", Xi'an Big Wild Goose Pagoda "Heart Sutra Carved Stone" and dozens of other kinds. He has published a set of six volumes of calligraphy collections "Water Drops and Stone Wear", "Lei Zhenmin Xiaokai Ancient Classics", a set of ten volumes of "Jiayan Records of Master Yinguang", a set of five volumes of "Lei Zhenmin's Poetry Collection", "Hand-copied Classics of Traditional Chinese Studies", a collection of poems "Still Water Flowing Deep", and presided over the planning and compilation of "History of Shaanxi Calligraphy" in the upper and lower volumes.
SPRING IS COMING
The body is big and the spirit is the end of the original
○ Liu Xuezhi
Mr. Lei Zhenmin is a scholar-type calligrapher I respect, who is full of three Qins, and he has recently completed a masterpiece of "Lei Zhenmin's Interpretation of the Dragon of Wenxin", which asked me to be the preface, and I was embarrassed at first, but finally I gladly accepted. Therefore, it is difficult because the interlacing is like a mountain, "Wenxin Carved Dragon", as a famous masterpiece in the history of literature, although I have also read it, but after all, it is not my research expertise, and I dare not rush to agree. The reason why I agreed again was that I was quite impressed by mr. Ji's spirit and sincerity, and when a stack of thick and thick manuscripts that combined the interpretation of the original text and the beautiful calligraphy text were presented to me, the spirit of Mr. Ji Futuo, determined to be in a thousand miles really touched me. The important thing is also that Mr. Wenxin Carved Dragon in the ancient years is out of a social responsibility and responsibility. Feeling that some of the current writers or "improper rhetoric" or "style incompatibility", "even grammar is not comprehensible, the meaning of the text is out of tune, contradictory before and after, and the end is reversed", and so on, he turned his attention to the study of the famous book "Wenxin Carved Dragon" in the Southern Dynasty Liang Dynasty, which specialized in the theory of literature, literary criticism and writing rules, and tried to introduce it to the reader in an easy-to-understand interpretation, in order to "inspire the creative mind and standardize the rules of writing articles", mr. Liu Xun's painstaking efforts were in line with the shortcomings of the times that Liu Xun was worried about. Although Mr. Li modestly said that the book was "the old man learned the steps of his predecessors to take a new road" and "the interpretation was purely self-entertainment", in fact, the book was carefully written by Mr. Li for many years of in-depth study of "dragon studies".
"Wenxin Carved Dragon" is a literary theory masterpiece written by Liu Xun, who was born in the cold gate of the Southern Dynasty Liang Dynasty, and is also the earliest, most systematic, poetic and most comprehensive literary theoretical work in mainland China. In view of the flashy literary style of "leaving the original" at that time, Liu Xun took it as his mission to save the creative tendency of the literary world of "indiscriminate abuse", hoping that the writers would "return to the end of the day". He believes that the key to solving the flashy literary style is to "enlist the saints" and "sutras.". The so-called "Tao is written along the sacred text, and the sacred is clear because of the text", that is, it advocates that the writing should be naturally expressed in the article according to the intention of the saint, and the saint will show the moral value of society through the article. The so-called "Zongjing" emphasizes that the Confucian classics are the "articles of the Aofu" and "the ancestors of the group words", so the rhetoric of the suggestions must take the Confucian classics as the "sect". Therefore, the "Wenneng Sect Sutra" established the basic criteria for writing. At the same time, in terms of writing methods, he also took "Zhizu to speak of the text, love letter and words skillfully, but the jade of the chapter, the golden branch of the bingwen", requiring that the thinking should be enriched, the language should be literary, the emotion should be sincere, and the words should be wonderful, so he proposed to use this as the "golden rule" for writing articles. Liu Xun opposed excessive carving, advocated combining the rich content with the exquisite form for the text, adhered to the basic principle of "holding hua peishi", "creating literature for the sake of feelings", and opposed the hypocrisy and fabrication of "creating feelings for the sake of literature", hoping to correct the current creative tendency of "wuhua abandoning reality". "Original Tao", "Zhengsheng" and "Sutra" are the core literary ideas of "Wenxin Carved Dragon". Liu Xun's pursuit of literature and, on this basis, the exposure and flogging of the flashy literary style at that time coincided with Mr. Lei Zhenmin's writing pursuit, which may be the spiritual motivation to inspire Mr. Lei Zhenmin to sink his heart to interpret the "Wenxin Carved Dragon"!
In the history of literature, the study of the "Wenxin Carved Dragon" can be described as a lot of sweat. As early as 1914, Huang Kan put "Wenxin Carved Dragon" to the university pulpit, and on this basis wrote "Wenxin Carved Dragon Notes", which is the earliest modern annotated version of "Dragon Science" so far. Followed by Fan Wenlan's "Notes on the Dragon Sculpture of Wenxin", Liang Qichao once wrote a preface to it, saying that "its evidence is examined in detail, the evidence is carefully examined, and the doctrine of righteousness is expounded." Therefore, it is praised by the academic community as a milestone in the research history of "Wenxin Carved Dragon". Later, in the 1950s and 1960s, works on his proofreading, annotation and interpretation appeared one after another, especially Wang Liqi's "Wenxin Carved Dragon New Book" (1951), Yang Mingzhao's "Wenxin Carved Dragon Proofreading" (1958), and Liu Yongji's "Wenxin Carved Dragon Proofreading" (1962). These studies have greatly stimulated the reader's reading needs for "Wenxin Carved Dragon", and the need for universal reading in society has also increased day by day, so the current translation of the book has also appeared one after another. Zhang Guangnian, the editor-in-chief of the Literary and Art Daily, was an earlier translator on the mainland, and since then there have been translations of certain articles of the book by Zhou Zhenfu, Zhao Zhongyi, and Liu Yuchang. The Selected Translations of Wenxin Carved Dragon (Shangxia), translated by Lu Kanru and Mou Shijin, and the Eighteen Notes on the Translation of Wenxin Carved Dragon, translated by Guo Jinxi, were also published in the early 1960s, which is the earliest translation of Wenxin Carved Dragon in mainland China. At the end of the 1960s, taiwanese scholar Li Jingshu also published the "New Interpretation of Wenxin Carved Dragon", followed by the Japanese Xingshanhong's "Wenxin Carved Dragon Translation". As for the papers that study the whole book or the individual research, there is an endless stream of papers, and the research is more in-depth. It is on the basis of comprehensively reading and examining the above treatises, especially "referring to the annotations of Mr. Fan Wenlan, Zhan Ying, and Zhou Zhenfu, and at the same time referring to the analytical chapters of several contemporary writers", that Mr. Lei Zhenmin completed his book "Lei Zhenmin's Interpretation of the Dragon of Wenxin" (hereinafter referred to as Lei's work). It can be seen that the book is a re-creation based on extensive and in-depth study of the writings of previous generations.
From a stylistic point of view, Lei's works are different from general annotated works, nor from some translations that adopt the method of literal translation, but the practice of integrating interpretation and translation, which I call "interpretation", that is, according to the specific situation of the sentence, the sentence with a clearer meaning is translated literally, and some sentences that are less clear are interpreted and translated. This flexible approach to specific situations is a creation of Mr. Ray. In other words, Lei Zhu adopts the combination of literal translation, interpretation and paraphrase, and flexible handling. The result of this can enable readers to understand the original text smoothly and clearly, which is especially conducive to beginners' reading, so it is very conducive to the popularization of "Wenxin Carved Dragon". For example, the first sentence of the "Original Tao" says: "Wenzhi is also great", and some scholars have directly translated it as "the significance of Wen is very important" (Chinese Classical Literature Collection: Wenxin Carved Dragon, Beijing Yanshan Publishing House, 2001 edition, page 3), so the translation method is not inevitable, but its rich meaning cannot be fully revealed, because here it involves the two important words of "Wen" and "De". Text has multiple meanings, either cultural, academic, or refers to articles, or refers to literary style, etc. "Virtue" is more complex, with both the meaning of "morality" and the meaning of the natural "attribute" of things. Only by including the meaning of the ritualization of virtue and the meaning of natural attributes can it be connected with the following "coexistence with heaven and earth". Therefore, Lei Zhu translated this sentence as: "Literature can also be attributed to culture and article." As a form of expression of generalized attributes, its all-encompassing content is rich and far-reaching and broad. This kind of explanatory translation is often used throughout the book, so that the reader can easily understand the original text.
The translation of the book is more paraphrased, so the language is lively and the meaning is clear, not as blunt as the literal translation. For example, the Divine Thoughts say, "The thoughts of the text are far away." Therefore, silent contemplation, thinking for thousands of years; quietly moving, seeing through thousands of miles; between chanting, the sound of the pearl and jade; before the eyebrows, the color of the wind and clouds; the reasoning of its thinking. Therefore, thinking is wonderful, god and material travel. This sentence has a profound meaning, if literally translated it may be: "The idea of the article, its imagination flew too far." So silently gather the spirit to think, the thought can be contacted for more than a thousand years; quietly change the facial expression, the line of sight seems to see thousands of miles away; between chanting, it seems to emit a pearled jade sound; between contemplation, there is a changing scene in front of the eyes; aren't these all caused by the idea? So the wonder of the idea makes the spirit meet with foreign objects. Although this translation can be closely linked to the original text, it is slightly dull. The combination of interpretation and paraphrasing in Lei's work is vivid, and its artistic conception is much more wonderful: when writing and conceiving, the author's thinking is grand and far-reaching. Therefore, when meditating and contemplating, its imagination will spread thousands of miles away, silently changing its mood, as if the eyes have seen thousands of miles away. When chanting, there will be a beautiful sound like a pearl in the ear, and the eyebrows will show a scene of wind and clouds before, which is the reason for thinking. Therefore, the most wonderful state of conception is that the spirit and things have reached a high degree of unity.
Because the whole book of "Wenxin Carved Dragon" is grand in scale, the content is extensive, and the topics of analysis are quite extensive, including the "Original Tao", "Zhengsheng", "Zongjing" and other articles on the "hub of literature", which establish the basic criteria for writing, and in this way, there is a detailed analysis of its "wind and bone marrow" text, "Qi Trumpet Lingyun", etc.; the relevant styles of its "essay narrative", such as the six classics and the nine generations of texts, are all inexhaustible; the history of poetry, "literature" and "pen" miscellaneous treatises, all of which are not commented; and all the articles related to creation and criticism such as "cutting off emotions and analysis" are all closed" The works of "Thinking for Theory are Wonderful" and the theory of "God and The Journey of Things" have many sharp comments in the "Divine Thoughts", "General Techniques", and "Chronology"; and even the literary styles such as Zhu Mengming, Zhao Ce Shift, and Table Discussion are exhausted. In short, Liu Xun's discussion involves almost all the works and authors of all genres before the Southern Dynasty, and the richness of the canon and the exquisiteness of the commentaries are unprecedented. The spirit of its penetration is to refute the falsehood of "abandoning reality" and praising the wind of "Shu Wen Zai Shi". To translate such a masterpiece of literary theory of "great thinking" and "long-term dictionary" today, it is not only necessary to have a solid foundation in literature, history and philosophy, but also to have a comprehensive and in-depth understanding of literary history. Since all the treatises in the book run through the guiding ideas of its "Sutra" and "Conquest of The Sacred", it is difficult to translate a sentence without understanding the whole book. I can feel the hardships of Mr. Lei's interpretation of this book, but from the existing manuscripts, Mr. Lei's efforts are successful, the interpretation of the whole book is distinctive, and there are many wonderful interpretations of which show quite skill, indicating that Mr. Lei is good at absorbing the achievements of his predecessors in proofreading, annotation, omission, translation, etc., and taking the strengths of many families, and not blindly following the attack, on the basis of his own research and understanding, he has formed his own unique style of interpretation.
People are familiar with Mr. Lei Zhenmin as a calligrapher of the famous YangYiyuan, but few people know that he is also a scholar who deeply studies Chinese classics. However, even as a scholar, his knowledge structure will be limited. If you look at it from the perspective of specialized "dragon science", Lei Shu will inevitably have points that need further discussion, for example, the "Original Tao" has "the Tao mind is small, and the theology is taught." The phrase "Dao Heart Is Small" comes from the Dao Jing quoted in the Xunzi Xie Shu Chapter: "The danger of the human heart, the micro of the Dao heart." After the words "Later Mei Zhao changed" to "惟", it was adopted as a pseudo-"Da Yu Mo". Liu Xun did not distinguish that the "Ancient Wen Shangshu" was a forgery, so he used his language. (Fan Wenlan: Wenxin Carved Dragon Notes, Vol. 1, Original Dao Notes, p. 37) In fact, this "Dao heart" refers to the moral heart of people relative to the "human heart", which is used in the sense of axiology, so the following is "Brilliant Xuansheng, Bing Yao Ren Filial Piety". Many later interpreters did not relate to Liu Xun's last sentence and interpreted it as "the way of nature", which is inaccurate. In dealing with this sentence, Lei Zhu made a general explanation in principle, saying that "the meaning of 'Tao' is far-reaching, subtle, and natural, and it is indoctrinated with this magical and clear truth." His essay on the proposition of the saint enables the saint to show his brilliance.". Looking closely, such an interpretation is inappropriate: First, although there is no clear explanation of the essential meaning of the Tao, in connection with the above sentence "Xuansheng Creation Code, Su Wang Shuxun, Mo Buyuan Dao Mind sets up teachings by applying chapters and studying theology", it is interpreted as Su Wang (Confucius) "without tracing the essence of the Tao of Heaven and Earth, the essence of the Tao, to write in sentences", which obviously follows the sayings of some translators nowadays, deviating from the axiological meaning of the "moral" heart, and the sentences are slightly cumbersome; second, "Xuan Sheng" is not tedious. Su Wang" accurately translated it, and did not show the moral value of "benevolence and filial piety" in the indoctrination. "Xuan Sheng" and "Su Wang" said in "Zhuangzi Tiandao": "The husband is quiet and idyllic, lonely and indifferent, and the origin of all things." "Under this, the way of the Xuansheng Su King is also." According to Cheng Xuanyingshu, "Xuansheng" refers to Lao Tzu and "Su Wang" refers to Confucius. If this is the "Tao Mind," then many translators can justify interpreting it as "the basic spirit of the way of nature." However, Liu Xun quoted the saying that Xunzi was transformed from the pseudo-"Great YuMo", so his "Dao Heart" refers to the moral heart. This problem is a deep problem, more complicated, so Lei Zhu's explanation, although inappropriate, is understandable.
The novelty of Lei's book is that Mr. Lei gives full play to the strengths of his calligraphers, and displays the interpreted texts in the form of "lei body" calligraphy, and publishes them in parallel with the original text and the interpreted texts, which is novel. It can not only enable readers to read the beautiful articles of the book "Wenxin Carved Dragon", but also appreciate the beautiful calligraphy, giving people a fresh and fresh visual feeling, which is commendable. Because of this, I recommend this book to readers, and I believe that everyone will read it with joy and enjoy reading like me.
This is the preamble!
Postscript
○ Lei Zhenmin
When he was young, he had read the literary theory masterpiece "Wenxin Carved Dragon" by Liu Xun, a great Confucian of the Southern Dynasty, but he was only "good at reading but not seeking much understanding". Even if some of these aphorisms or passages can occasionally be recited in passing, their true meaning may not be fully understood, or the composition is just a solution.
Middle-aged people run around, only for livelihood. He also focused part of his energy on calligraphy practice, and often made a wall view of the "classic" works of literature in previous generations, and finally fell into the list of "books are used when they hate less", and they are still ashamed! In the old age, there is a little leisure. Or looking back on the past, or regurgitating old reading, this becomes a pleasure, but also a good way to kill time. After a short time, I quietly observed and found that a considerable number of leading cadres and their followers were "secretaries", although they claimed to be from famous universities, bachelor's degrees or even graduate doctorates, etc., the articles and report materials they made were not exquisite. There are those who are not in line with rhetoric, those who do not conform to the style, and even those who do not understand grammar, are out of tune with each other, contradict each other, and put the cart before and after. As for the genus of misnomers in titles, indistinguishable between guests and hosts, and consecutive typos, it is not surprising that there are many. What is even more lamentable is that some college students write home letters, but they do not understand the format and cannot write down, and there are many people who write the beautiful square Chinese characters as ants walking tightrope.
Some commentators bluntly said: The rapid development of the telecommunications network has brought great benefits and contributions to social progress, but it has also led to the neglect of traditional culture by the Chinese people and the lack of basic knowledge of Sinology. When asked about the heavyweight scholars or cultural leaders of the modern and contemporary countries, most people do not know how Liang Qichao, Zhang Taiyan, Ma Yifu, chen Yinke, and how they know the great names of Rao Zongyi, Ji Xianlin, Nan Huaijin, and Qian Zhongshu. People at the time narrowly believed that so-and-so fiction prose writers can be regarded as literary leaders, so can such a recognition not be worrying?! In fact, we do not despise the respected and beloved group of writers, who are also full of special skills, and they have cultivated kung fu and chest, but as far as the overall cultural situation is concerned, the threshold of the master of traditional Chinese studies is higher. Liu Xun, the author of "Wenxin Carved Dragon", classified "novels" at the end of literary works, implying that it was not appropriate to refer to the "novels" of modern people, and gai referred to the interpretation of stories or nonsense conversations that caused people to be ridiculed after the secular offering of wine and tea at that time.
The dilution of cultural inheritance probably goes back to the "May Fourth Movement" period. At that time, the huge anti-feudal and anti-closed cultural trend of thought completely destroyed the old institutional system that had imprisoned the cultural freedom of the Chinese people for thousands of years, abolished the harmful "Eight Strands of Literature", and promoted the civilization and progress of Chinese society. However, while rectifying the situation, attention is mainly focused on the popularization and application of vernacular language, and the excellent traditional culture of the nation under the heavy blow is despised and snubbed. The "Ten Years of Turmoil" that followed swept away the elite literary style that had been passed down for thousands of years, and it has since collapsed. Reading the works of today's people, reading various documents, listening to various lectures, although inspired and inspired, but always feel that the literary quality, taste, is not ideal, and more admiration for Western cultural values. Even in the calligraphy, poetry and other national treasure exhibition competitions, there are many mistakes, frequent typos, can this kind of cultural chaos and lack of serious thinking without worrying the intellectuals of my generation?
Therefore, after careful analysis and reflection, we got an answer that we thought could arouse the public's vigilance and improve the level of literary creation of contemporary intellectuals: that is, those who hoped that those who had the conditions and willingness to write would seriously read the "Wenxin Carved Dragon" to enlighten the creative mind and standardize the rules of writing articles.
"Wenxin Carved Dragon" is a literary theory monograph with both physical quality and excellent literary style, and is also a comprehensive and systematic creative collection of literary criticism, writing rules, creative concepts, literary metaphors, structural tailoring, rhetoric with things, image and sound law, etc. Especially for the application of stylistic rules, it is more worth learning from today's people.
Although the author's commentary on "Wenxin Carved Dragon" is based on Confucian thought, it can also objectively and fairly put forward the image thinking concept of "god and material travel" and the creative concept of "scenery and affection", advocate "creating literature for the sake of feelings", and oppose "creating feelings for the sake of literature"; require works to "dissolve" the temperament of the temperament, "condensed by pottery collection" and "article style and bone"; and particularly emphasize that the broad artistic imagination should be based on "accumulating knowledge to store treasures, making money by discretion, and studying to observe". He also suggested that literary criticism must be "selfless in its own way and not biased toward love, and that it should be viewed in terms of its "position, rhetoric, transmutation, oddity, righteousness, and tolerance," positioning these six views as the criterion for criticism and judgment, and criticizing such undesirable tendencies as "noble ancients and the present," "suppressing oneself and suppressing others," "believing in falsehood and being confused," and "clinging to one corner of each other."
Of course, the author of "Wenxin Carved Dragon", which was written 1,700 years ago, is constrained by historical limitations and "respect for Confucianism and exclusivity" and "one-sided consideration", which will also cause certain defects in the commentary and judgment, or even excessive stylization and dogmatization will also play a slightly negative role, which also requires the reader to examine and understand dialectically.
Although "Wenxin Carved Dragon" is a classic treatise on literary creation, it is an ancient text, and it is inconvenient to read. Therefore, without being foolish, he dared to publish the annotated notes of learning, called "Lei Zhenmin's Brief Interpretation of the Dragon of Wenxin", one can be discussed with fellow practitioners, and the other can help those who have obstacles in reading the text.
In the meantime, we have referred to the notes of Mr. Fan Wenlan, Zhan Ying, and Zhou Zhenfu, and at the same time, I have read the analytical chapters of several contemporary writers, and I would like to thank you together!
In particular, it should be noted that the author is only shallow and shallow, and his reading of literature has not yet been able to be integrated, which is more than theoretical! If Youjun questioned Yu Yu: If Er is not among the literature and writers, why would he dare to footnote a famous book? Right: Children are ignorant and still learn to walk, and the elderly learn the steps of their predecessors to take a new road, not also good! Q. Do you know the depth? The answer is that the interpretation is purely self-amusement, but in a matter of opinion, An dares to ask for approval. If it can arouse the society's attention to the study of traditional culture, and cause scholars to face up to literary creation and literary theory, it will be comforting to give the original intention! And tell the reader that there will be many falsehoods in it, and I implore to criticize Kuang Zheng, which will be greatly appreciated!
In the process of writing the book, thanks to the famous scholars Liu Xuezhi and Mr. Wang Haijun, the famous writer Li Bin carefully examined and revised, and the students Liu Weiqun and Lei Jiang carefully and repeatedly proofread it. At the same time, he received free funding from the Weinan Jianguo Hotel, and Fang Made Siji pay as scheduled. Thank you from the bottom of your heart for their hard work!
WenXin ink incense reflects the bright moon
○ King Navy
As the greatest literary theoretical masterpiece in China, "Wenxin Carved Dragon" is Liu Xun's outstanding contribution to Chinese literature. He absorbed the excellent achievements of the development of literary theory criticism of the previous generation, collected its achievements, absorbed the essence, integrated it, did not fall into the clichés, was original, self-contained, comprehensively reflected the ancient Chinese literary theory and aesthetic achievements, and played a foundational role in Chinese literary theoretical criticism. In recent times, researchers who have collated and interpreted this holy scripture have been like bright stars. Huang Kan, Rao Zongyi, Fan Wenlan, Zhang Yuanji, Shen Jianshi, Wang Yuanhua, Zhou Zhenfu, Wang Liqi, Lu Kanru, Mou Shijin and other sages, adhering to the public instrument of academic exploration and the enthusiasm of dedication to the study of school notes, diligently pursued and exhausted the scriptures, and their famous mountain undertakings are still irrigating culture and legacy. However, due to the long age of the times and the ancient writing, the study of the narrow circle of experts and scholars is limited, and the general public, including students and scholars specializing in literature, history and philosophy, often sigh and dare not ask.
Seventeen hundred years later, "Wenxin Carved Dragon" and the contemporary cultural celebrity Lei Zhenmin had a wonderful encounter. Mr. Lei was born in Heyang, Shaanxi Province, a family of scholars, young Chengting Xun, a book artist, the second king of the heart, a lover of Yan Ou, quite interesting in Dongpo, especially good at calligraphy and grass and famous in Yangyi Garden. a thousand songs and then xiaosheng, look at a thousand swords and then recognize the instrument. Mr. Lei is good at ancient Chongwen, immersed in learning, in his early years, he loved the study and study of "Wenxin Carved Dragon", just like Professor Huo Songlin revealed when summarizing Lei Zhenmin's calligraphy process, "one is unshakable in aiming at the goal, the second is persevering, and the third is in the indifference and tranquility of the poor years and months only to drip", perseverance, water drops and stones, breaking through the traditional method of reading the scriptures based on notes and commentaries, interpreting sentences from the perspective of poetry, calligraphy and painting, is a work that integrates broken sentences, interpretation and calligraphy, and is by no means "picking up people's teeth and wisdom", let alone "stitching and patching" Instead, it is a masterpiece that contains the scholar's academic experience and academic origins, providing a unique perspective for the study of "Wenxin Carved Dragon".
Mr. Lin Yutang said: "Only in calligraphy can we see the ultimate of Chinese artistic soul. "Wenxin Carved Dragon has always been highly respected because of its lofty status in the history of Chinese culture, and it has been regarded as a tribute by the writers, and mu hand respects its famous passages and excerpts. Mr. Lei, as a well-educated calligrapher, his calligraphy starts from the Tang Dynasty Kaifa, carefully approaching the ancients, climbing the Jin dynasty, and insisting on his own unwavering for decades, especially the creation of long-form calligraphy works such as the "Wenxin Carved Dragon" interpretation, without a consistent quiet atmosphere and perseverance, it is unimaginable and unthinkable for ordinary people. He had no distractions, immersed himself in cultivation, was not swayed by the vulgar customs of the times, was obsessed with the "Wenxin Carved Dragon", talked with the ancients, integrated with the ancient style, only its right, quiet, seventy years of diligent study, more than two years of devout heart Linchi, in his heyday of the book on the "Wenxin Carved Dragon" to interpret the text, and finally became a school of its own. It should be said that Mr. Lei's writings and books have been combined into one furnace, which is a feat and innovation that has never been done before, and there is no doubt about the academic value, cultural inheritance value and social benefits.
The poems of the Tang Dynasty poets Jia Dao and Yao He, as well as the poems of the brothers Duan Keji and Duan Chengji in the late Jin Dynasty and the early Yuan Dynasty, were compiled as "Ermiao Collection", and the literary circle was passed down as a good story; the great poet Song Wan of the early Qing Dynasty presided over the "Ermiao Xuan Monument" of Du Fuliu's poems in Qinzhou, which was carved with the characters of Wang Xizhi and Wang Xianzhi, and it was also the ancient style of the poetry garden book world, and the wonderful poems of the poetry saints and the wonderful good words of the book saints were called "double bi". Today, the brilliance of Wensi and the great beauty of Mr. Lei's calligraphy can be called "two wonderful moves", which can be described as a great fortunate event and event in the book world, especially the antique hardcover design, the elegant fragrance of books, the style of high antiquity, not only can learn to appreciate the "Wenxin Carved Dragon" "body big worry week" and "shrouded group speech" (Zhang Xuecheng language) of the broad and profound, but also appreciate the appreciation of contemporary calligraphy everyone's calligraphy charm and style and character wisdom, which is nothing less than a feast of literary and artistic aesthetics and a magnificent journey with unique scenery of life. We are proud of its prosperity and glory, as if we can transform time and space, and integrate the ancient and modern into the heart: Liu Xun is in the huge production, Lei Gong is hanging in the book of hanging wrist diseases... What a flow of wind and freedom this scene is, and what kind of "once the golden wind and jade dew meet, they will win countless victories in the world"!
The four-volume xingkai "Lei Zhenmin's Interpretation of the Dragon of Wenxin" is another imperial masterpiece after the six-volume "Ancient Classics" and the ten-volume "Yinguang Jiayan Record" of the Kaishu, reflecting the calligrapher's responsibility for promoting traditional culture and inheriting the beauty of art, and the exploration of truth, goodness and beauty. I am glad to hear that the Lei Zhenmin Interpretation of the Book of Poetry (sixteen volumes) has been planned and carried out, which is worthy of the expectations of the Wenyuan book circle. There is humanities in the book, there is morality in the book, and there is a realm in the book. Just as "Wenxin Carved Dragon Divine Thought" said, "Between the chants, the sound of the pearls and jade; before the eyebrows, the color of the books", let us taste the history of Chinese culture and the colorful chapters of the progress of the times in reading the classic ancient style and elegant rhyme!
Image source: Network
This article is from the A06-07 edition of Culture and Art Newspaper on March 16, 2022