Chen Da's inevitable work
Aesthetic and elegant is his almost paranoid pursuit of traditional art;
Showing vitality and expressing personal interest is his original intention to explore traditional art;
When traditional art meets Chen Da, it is inevitable to achieve achievements.
Fukuzawa Oriental Flying sky and sun and moon
Cloud sideburns, thin makeup peach face; covered in cloud brocade, posture is wonderful; dancing in the air, not stirring up half a speck of dust.
When you see the flying sky, you will naturally think of the art of Dunhuang Mogao Grottoes. Dunhuang Mogao Grottoes has 492 caves, almost all of which have flying skies.
However, this flying sky has a different style. But when he saw her, his left hand was facing down, his fingers were slightly upturned; his right hand was turned up, and in the palm of his hand, the sun and moon were rising, using the words of Shi Xian Taibai: "Su hand puts hibiscus, and the virtual step is too clear." Neon clothes drag wide belts, floating and ascending to heaven. ”
Fuze Oriental Chen Da Seal
Even better, the flying sky dances on the surface of a portrait-shaped seal. Below her, from right to left, there are four characters "Fuze Dongfang" and two slightly smaller seals in the lower left, "Chen Da".
The entire printing surface is evenly and full, the lines are clear and powerful, and it is very ingenious. This xiao-shaped seal was carefully created by traditional artist Chen Dayi on the theme of the Seventh Cross-Strait Seal Engraving Competition.
Fuze Oriental Chen Da Seal
"Flying in the sky to hold up the sun and the moon, isn't this the proposition 'Fuze Oriental'?" I refer to many flying statues and rubbings for design. But this creation can only be completed on a large print surface. The print of this size is not easy to find, so I polished off the original bottom of the seal I carved in my early years and recreated it. After coming out, my friends felt very good. ”
Obsessed with creation, repeated deliberation, and self-destruction of the previous work, this may be Chen Da's purest and most frank expression as a traditional artist.
Chen Dazuo
Chen Dazuo
Explore the traditional literary style and persistence
A square table, two cups of tea, a little laughter.
Talking face-to-face with Teacher Chen Da, you will find that this is a gentle and elegant, lively and cheerful old gentleman, but also a rigorous and humble artist who is not willing to be lonely.
Gentle and unwilling to be lonely, the two sets of words that seem contradictory do not seem to conflict when placed on him.
Chen Da prides himself on being a traditional artist.
The word "tradition", which refers to the characteristic customs, morals, and ideas that have been passed down from generation to generation, coexists with gentleness, rigor, humility, and magic.
I don't know if the old man is coming to Chen Dahuan
"Inevitable", "I don't know that old age is coming", "Pick up the lamp in the middle of the night to see the stone"... Chen Da's seal engraving works, between the words, are neatly arranged, symmetrical and coordinated, simple and timeless, each gets its own place, always transparent and elegant, and sees the rules everywhere;
"Tradition" is also said to be "conservative", and this point does not exist in Chen Da, which may stem from his unwilling loneliness.
The lines he made were sharp and powerful, quite like the seal carving charm of Wu Changshuo and Huang Mufu; the side sections he made condensed the aroma of Han Mo's books and the elegance of the literati, and skillfully integrated the taste of calligraphy with the taste of gold and stone.
In his seal engraving works, you seem to be able to see the glory of the ancient seals of the Qin and Han Dynasties, listen to the echoes of the Ming and Qing seals, and then enlighten, think, and then give birth to a sense of freshness from the bottom of your heart, and feel pleasant and happy.
Calm and Chen Da
"China's thousands of years of culture are something I can't dig up in my lifetime. Tradition is not the same as conservatism, which has no vitality. Take nourishment from tradition, that's what I do. ”
Chen Da believes that seal carving originated in the pre-Qin Dynasty, which itself is a very traditional element, and it needs to be continuously excavated and nourished from the long river of history. He very much agreed with the artistic proposition of teacher Chen Zifen to "end with one stroke" and "put it in the subtle".
"Tradition is rigor, and we must consolidate the basic skills." Now many seals are carved in a vacuum, showing off the so-called skills. In fact, from the calligraphy, from the knife method, so that the finished work is thicker and more spiritual. ”
In the middle of the night, pick up the lamp to see the stone Chen Da seal
From art to now, Chen Da has always insisted that a good sealer is first and foremost a book. He has learned a lot, and has successively studied under Xie Yigeng, Chen Zifen, Feng Liyuan, Pan Zhonglan and so on.
In the early years, he studied art at Teacher Xie Yigeng, and he saw all kinds of posters and rubbings, which he loved very much, borrowed them at the moment, and sketched them with a brush. Since he was to be returned the next day, he usually hooked it all night.
Although 50 years have passed, the Huai Su Ti in the depths of his memory still haunts Chen Da's soul. He recalled that in 1972, the People's Daily published a text post in Huaisu cursive. "The first time I saw it, I was so excited that I hooked it out with a brush. After that, it was carefully carved on the bamboo with a knife, which lasted for 3 years. ”
In this regard, Chen Da also laughed that he was the most stupid person in China. But this stupidity from his mouth should be the love of calligraphy and the original intention of advocating art.
Benefit from the widespread pursuit of Chen Da seal
Not only in calligraphy, but also in the chapter method, and in the sword method, Chen Da is also quite exquisite. "My Zhu Wen does not break the edge, and the white text pays attention to the big break, and the carved lines are very deep. I have enough strength in my hands, which is also practiced for a long time. I don't like to use machines, and with a knife, you have to be clean and neat, so that the printing surface can be neat and tidy, and you can clearly express the calligraphic interest you have accumulated and your ideas. ”
Through Chen Da's seal carving, you can feel the love for life, the pursuit of beauty, appreciate the purest humanistic feelings in traditional Chinese culture, and the meaning of written inheritance.
Jin Shi and the famous calligrapher and painter Pan Zhonglan have long been conclusive about Chen Da's seal carving, and he once gave Chen Da an oracle bone couplet, and the book reads: "Uncle Yuan, Miao Weng style; Shou Qing disciple, Mu Fu talent." ”
Pan Zhonglan presented Chen Da lian
Good is innovation
"What's good is innovation." This is Chen Da's most authentic answer to art.
This applies not only to his understanding of seal engraving, but also to all the artistic disciplines he has studied, explored, and created.
He loves traditional Chinese art, poetry, books, paintings, and printing, all of which are involved, and he is very willing to study hard and has deep achievements.
Fuzhou, the birthplace of Shoushan stone. Chen Da excavated and cultivated his own artistic world in this land, and naturally formed an indissoluble relationship with Shoushan Stone.
Chen Da's stone carving art, like all his art, has dug deep into tradition again and again, and changed people's stereotypes of tradition again and again.
Chen Dazuo
Chen Dazuo
Chen Da's stone carvings are not limited to the themes, with poetry, flowers and trees being the most important. He often stressed with his students that it is common to dig up themes from life, such as plum, orchid, bamboo, and chrysanthemum, but under the knife, it is only wonderful that it can be infinitely mysterious and show its bones.
Chen Da is well aware of the mysteries of each. Under his sword, Mei Zhi was arrogant and noble, Lan Zhi Xianda Yu Yun, Bamboo Qing Ya Po, and Ju Zhi Yi were self-satisfied, and they were ready to come out.
Then with the side paragraph, or the small seal, or the oracle bone, or the Bell Ding inscription, there is no flattering attitude, the world is independent, and the gentleman's character, wisdom, and virtue make people appreciate, look at, think, and be happy.
Chen Dazuo
Chen Dazuo
Similarly, Chen Da's stone carving works cannot be simply summarized as round carving, Bo Yi, Bogu or other carving techniques, but a combination of art fusion, elegant and ancient, beautiful and clean.
At first glance, it is simple and elegant, figurative and interesting; carefully deliberate, it contains a full literati atmosphere, exuding vigorous vitality, and with the creator's own somewhat mischievous careful thinking.
Chen Dazuo
For example, in his closet, you can find such a square seal. The yellow-white stone, crystalline and moist, did not move a knife on the top, and the black at the top was not carved into a traditional ancient beast, or a dried branch or a ganoderma lucidum fairy grass, but a small fist.
Fists, five fingers together, tightened inwards. Elegant yellow, simple white, smart black, the whole chapter is integrated. Or the sentiment of "even if there are tear marks of acacia, so I will throw my fist", or the arrogance of "I will be humble and fair, and raise my fist to Zhao Zhou", then the viewer must think carefully.
Chen Dazuo
Chen Dazuo
Rather than saying that aesthetic and elegant is Chen Da's almost paranoid pursuit of Shoushan stone carving; rather, showing vitality and expressing personal interest is his original intention to return to the authenticity of stone carving art.
"The ancients made art very focused, not impetuous, their bronzes, seals, not tacky. I pursue tradition, and tradition is about literary popularity and wealth. Rich and noble, not rich and popular. Rich and noble, it seems graceful and elegant, while rich and popular is vulgar and vulgar. Literary popularity is not literary popularity, literary popularity is ambition, and literary popularity is craftsmanship. Therefore, to engage in traditional arts, that is, to inherit culture. Can not be impetuous, only calm down to deliberate, pondering, in order to make a work that can withstand aesthetics. The work must first move itself, and only then can it move others. ”
Aesthetics, which is both aesthetics and philosophy, is the aesthetic imprint that people inadvertently reveal, and it is also the crystallization of wisdom that people think about for a long time. Sometimes, when you understand the work, you can also read a person. Chen Da's work is also an inevitable work...
The inevitable work chen da seal
Introduction to art
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Born in 1949, a native of Fuzhou, Fujian Province. Traditional artists. He studied under Xie Yigeng, Chen Zifen and Mr. Pan Zhonglan. He is currently a member of the China Artists Association, the Chinese Calligraphers Association, and the president of the Fuzhou Qingqing Boyi Art Research Institute. He has served as a judge for the cross-strait young and middle-aged seal engraving competition for seven consecutive years.
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The domestic unified issue number | CN35-0042
New Media Editor-in-Charge | Wang Mingquan
Editor-in-Chief of New Media | Zou Lu