Huang Zhengrong, the number Manzhi, is currently the president of the Institute of Calligraphy and Painting Arts and Crafts of Tujia and Miao Autonomous Prefecture in Xiangxi Prefecture, born on August 16, 1968 in Longshan County, Hunan Province, a calligrapher who has sought advice from Mr. Lin Shijiu, Mr. Zhang Xiliang, Mr. Chen Ximing, etc. His major works include Xiao Kai's "Nine Songs", the album "Getaway", and the xingshu "Qin Fu". He was included in the Second National Album Calligraphy Exhibition sponsored by the China Book Association, the National County and Town Calligraphy Exhibition of "Xiaolan Cup" in Guangzhou, the National Calligraphy Exhibition of Beijing "Urban Construction Cup" sponsored by the China Book Association, and the "Sanjin Cup" National Civil Servants Calligraphy Exhibition in Shanxi; "Calligraphy Newspaper" won the silver medal in the selection of excellent works in 2009; was included in the first national "Thousand Characters" calligraphy competition; won the third prize in the first "People's Air Defense Cup" calligraphy competition; and won the outstanding contribution award of the literary and artistic circles and the "Five Ones" Propaganda and Culture Award issued by the Xiangxi Prefecture Party Committee and the Prefecture Government of Hunan Province six times.
Some of Huang Zhengrong's calligraphy works
The album Ji Kang Qin Fu (27*13CM*16) has two pages
Xiao Kai's sketch "Zhongchang Tong LeZhi Theory" (40*30CM)
Wei Bei's sketch "Su Xin Ruo Xue" (50*50CM)
Xingshu sketch "An and Ji Shou Er Kang" (50*50CM)
Xingshu Doufang "Li Baiguan Shanyue" (69*69CM)
Xingshu Doufang 《Yang Nengbin, You Yuelu Academy) (69*69CM)
Xingshu Doufang "Zhou Bida Peng Noon Mid-Spring Tongjia Small Collection Sub-Old Rhyme" (69*69CM)
Wuxi clothes - green shirts
——I know Huang Zhengrong and his book
Liu Tairan
I have been broken by Mr. Huang Zhengrong's calligraphy for a long time, but I have never had the opportunity to visit him in person. A few years ago, I noticed several calligraphy sketches in the framer next to the Wenshi Bookstore, which contained the Xiao Kai Xin Sutra. I remember there were many other works in the framer shop, but only these few sketches deeply touched me. I was learning to write small pieces, so every time I went to a literary and historical bookstore or a framer, I would stay in front of these sketches for a while. "These works belong to Mr. Huang Zhengrong," the guy at the framing shop told me. Jishou also has such a calligrapher! I silently remembered the name.
Later, with Tan Liangtian's brothers, he commented on the Jishou calligraphy figures, and Liangtian told me that Huang Manzhi's Xiaokai breath was very good, and I said that Huang Zhengrong's was also good. Liang Tian smiled and said, "Huang Zhengrong is Huang Manzhi." Zheng Rong, Man Zhi Ye. ”
Another time I went to the mounting shop and saw that there were a lot of calligraphy works for Tian Yishuo in the store, and the words were very eye-catching. I think this "Tian Yishuo" should not be a Jishou person. When I asked the owner of the shop, the boss said, "It's Ji Shou's." A few months later, I saw the "Tian Yishuo Calligraphy Training Class" on the side of the commercial street recruiting students, so I met Tian Yishuo. He also knew that Tian Yishuo was a disciple of Mr. Huang Zhengrong, so he felt that this Mr. Huang Zhengrong was not ordinary.
Later, Tian Yishuo came to the house to chat, and I intended to mention Mr. Huang Zhengrong. Tian Yishuo told me that he had benefited a lot from calligraphy, but he could not be as indifferent as Mr. Tian in dealing with the world. So I roughly told me about some of Mr. Huang's experiences. Huang Zhengrong's father, Mr. Huang Renqing, is also a well-known calligrapher in the local area, Huang Zhengrong grew up reading and learning calligraphy with his father, and grew up, but still just read, learned, wrote poetry, did not worry about anything else, even did not consider the problem of marriage and tobacco, and really could not go on to do some calligraphy training and other reluctantly supported the past. The days are truly downcast. In the end, it was fortunate that Mr. Huang Ye found him and helped him arrange to solve the basic livelihood problems of the Literary Association. Tian Yishuo said, "I can't learn home when I learn Teacher Huang, and if I learn home, I basically only have to become a monk, and I don't even want my wife to marry." We all laughed, and at that time Tian Yishuo was preparing to get married.
Later, at the wedding of Yishuo, Brother Qiu Liang personally introduced Mr. Huang Zhengrong to me, so I finally saw him with my own eyes: the bones were heavy and cold, and the qing was strong and outstanding. I shook hands with him, but the circumstances were special and I didn't get a chance to progress and ask him for advice.
A few days ago, Teacher Tian Maojun called me from Beijing and said that Huang Zhengrong was holding a calligraphy exhibition in Qianzhou, and he could not come back, this exhibition was more casual, there was no opening ceremony, and entrusted me to observe and observe on his behalf. So I took a taxi straight to Qianzhou and looked for a banner at the gate of the ancient city, but there was none. From the ancient city gate into the left stone of 100 meters, only to see a yellow silk on the door of an inconspicuous shop on the right hand side of the "Manzhi Calligraphy Sketch Exhibition", so I entered the door, saw Mr. Huang Zhengrong at the door, shook hands and greeted me, I began to appreciate the works in the museum, and finally had the opportunity to ask him for advice.
This exhibition deepened my understanding of Mr. Huang's calligraphy. His calligraphy is taken in many ways, and the large characters are mainly stele, especially in the Baozi; His cursive writing is interesting, but it seems that he is still groping for paragraphs; small characters take the Xiao Shan Gaogu of the Wei and Jin Dynasties, with song mingyi and the simplicity of Dunhuang's writing, and the casualness of the codexes of his neighbors, especially from the Erwang, Zhong Xuan, and Lu Ji's "Pingfu Ti".
His small words are not noisy, not domineering, but also not informal, not craftsmanship. He writes very seriously, but the details are not too calculated, and the overall pattern is calm and simple. Mr. Huang told me that he used to pay attention to the processing of each word, but now he does not care much about one word and one painting, but pays attention to groups of words and pays attention to the overall pattern. He also said that he consciously brought the pen-based intent of painting to his writing. All this is enough to prove that he is not only writing with his hands, but also with his own brain.
I admire the ability to write in small print to this level. What I admire is not only his increasingly pure skills, but also his inner spirit of not wearing clothes. In the framing shop, it was this inner temperament that first hit my soul with his small print. Dongpo once said: Watching people paint, such as reading the world's horses, take what they want. Not only is this true for paintings, but why not for books?
Real masters know that writing small characters is easy to work steadily, and it is difficult to work steadily. Mr. Huang did a good job of this. The reason why this kind of arrogance is rare is that it depends on understanding and learning, depends on the mind and vision, and once saw a passage of study on Mr. Huang's blog: The techniques of today's people are beyond the ancients. But it is difficult to write, what is it? No nourishment also, the so-called "boguan and about to take, thick accumulation and thin hair" is also. Therefore: the product of divine wonder, it is emotional. In fact, it depends on learning.
This passage is by no means a mysterious statement, but an enlightenment after Huang Sheng first practiced it. I have always believed that the problem of calligraphy is not only a matter of form but of culture, and that things of pure form have universal irreducibility for all mankind, but culture always has its relativity. This is why everything in China can be globalized, but calligraphy cannot be globalized, because the core of calligraphy lies in the historical accumulation of culture, spirit and taste behind it.
Therefore, Chinese calligraphy not only has its shape, but also its connotation, the level of appearance can be solved by technique, and the connotation is related to understanding and learning. Unfortunately, not many people understand this. The big problem with contemporary Chinese calligraphy is to reduce calligraphy education to technical education, calligraphy to form, and calligraphy culture to visual culture, not to mention that the art of calligraphy has become a calligraphy industry today. Sven swept the floor, the spirit did not exist, and the erection became famous.
The ancients said: "The bookmaker, the heart painting also", "the desire for the book to scatter the embrace first". Looking at Mr. Huang's calligraphy, understanding Mr. Huang's personality, believing in the truth of the ancients is not deceived.
(About author:Liu Tairan, Professor, School of Literature and Journalism, Jishou University, Ph.D.)