Author: Sword Heart
Source: Zhouzhi County Zeming College (ID: zzxzmsy)
Waking up in early spring, the chill is still there. I am longing for the spring in Gangnam.
Meng Chun's Jiangnan smoke and rain are glowing with the tones of "Crouching Tiger, Hidden Dragon": green and fragrant, unrestrained and calm, and the years are slowly dangling in the middle of the water moored by the black canopy boat, slowly grinding into a scene and even a state of mind.
In this state of mind, there is a background of life and a nostalgic style, and there is a core meaning of long-lasting pursuit. Reading Mr. Zhang Linzhong's calligraphy closely, I found that it was in the same discourse field as the Jiangnan Spring in my heart.
Mr. Lin Zhong narrates with lines, walks on rice paper, is not moved by the whirlpool in the hue world, and has a temperament of spiritual travel in the vast sky.
Everyone's life is worth examining, and everyone's pen and ink is worth looking forward to.
Art is the antidote to life, texture is the necessity of life, and Mr. Lin Zhong's texture of life comes from his calligraphy art and literary creation.
From the wind-chasing teenager to the vicissitudes of middle age, when the tribulations of real life are frequently ups and downs, he has set off a power that cannot be underestimated on rice paper.
Mr. Lin Zhong belongs to the 70th century, a typical peasant son, spent his bittersweet childhood in a place called Lin Jiatang in Taizhou, Zhejiang Province.
Because I have a dream of art, I long to go out, as free as the wind in the wilderness, and chase my dreams. From elementary school to junior high school, then to the health school, and then to the twelve years of military career, and even after the transfer of profession to practice in the power sector, in the secular life to work hard, calligraphy has always accompanied him, never abandoned.
Time flies, the night is cool, Flaubert said: "Art is so vast that it is enough to occupy a person." "If there is no heartfelt love for calligraphy, the long-term linchi in an impetuous environment alone is enough to completely drag down a person's patience."
Mr. Lin Zhong's calligraphy, like his articles, sinks down and does not float, and there is a true essence in his pen and ink.
As a literati calligrapher who took off at zero o'clock, he still does not forget Mr. Chen Yongtian, a primary school calligraphy teacher who led him to the road of calligraphy, and Mr. Wu Jihong, who helped him a lot in the growth of pen and ink, which are the relatives he chose for himself in the journey of artistic life, and have the spiritual transmission between lives.
In the face of the hustle and bustle of the times and the endless flow, although the paper is white and the ink is light, Mr. Lin Zhong's calligraphy can support all kinds of life.
Mr. Lin Zhong is good at writing and can also do grass. His lishu started from the famous stele of the Eastern Han Dynasty, "Ode to Zhang Junbiao", and then immersed in the world of inscription classics such as "Ceremonial Instrument Stele", "Zhang Qianbei", "Opening the Chu Chuan Dao Carved Stone", and constantly looking for the most important feeling of pen and ink.
It is worth mentioning that once, in order to see the original stele of "Zhang Qianbei" and "Ceremonial Instrument Monument", he went to The Tai'an Dai Temple in Shandong and the Confucius Temple in Qufu more than once to study on pilgrimage.
Along the vein of tradition, I re-acquainted myself in writing again and again, and captured and felt the charm of Lishu's majestic, simple, ancient and healthy.
In addition, in addition to learning from the classic Han tablets of the Two Han Dynasties, Mr. Lin Zhong expanded his aesthetic vision to the Ming and Qing Lishu, the Qin and Han JianShu and even some folk bricks and tiles, diving inward, like intoxication, over the years, his Lishu is like a mature man's powerful heartbeat and low singing, reading is nostalgic, unexpectedly has a simple and vast style.
Mr. Lin Zhong believes that "the creation of contemporary Lishu, whether in the sense of creation or in the use of the pen, compared with the Qing people Lishu, greatly emphasizes the change of the movement rhythm of the pen and the richness of the meaning, that is, his kind of writing, stronger than the Qing people, this is a great progress", in other words, "calligraphy is art, should be different from writing." ”
True calligraphers, the pursuit of art, should rise to the accumulation of extra-literal kung fu, focusing on talent and learning. He has published the prose collection "Lin Jiatang" and the poetry collection "Ink Marks", which are washed and fresh writing, unique and ingenious imagery, reflecting the family affection of a peasant who has been tempered by years, the youthful dream of the sea blue and sand white, and the long-distance feelings of the long night that cannot be sent.
These directed and clear expressions of life have repeatedly proved Mr. Lin Zhong's literary talent and diligence.
All along, he has been using the sweet spring of his literature to water the garden of calligraphy. It is no wonder that his calligraphy may sometimes reveal a neatly folded moon white old shirt, which is quite clear in The Show Cut and Straight.
Perhaps, because of this, his pen and ink lines are no longer trapped in monotonous narratives, and there are diverse spiritual repetitions, which are different from the contemporary Lishu creations.
"Hushan Xin is a southeastern beauty, a thousand miles away." Needless to say, Mr. Lin Zhong's calligraphy follows a humanistic path of double cultivation and harmony. He was fascinated at first sight by encountering a painting of The Codex of Jinnong, one of the Eight Monsters of Yangzhou, in an exhibition. Over the years, most of Mr. Lin Zhong's spare time has been spent on the study of Jinnong.
"To be precise, I am writing articles on the subject of Jinnong, interpreting Jinnong's codexes one by one - letters to friends, customers, salt merchants, and officials, and occasionally writing jinnong's codex-style small line books", the two-way drive of theory and practice, making him more and more addicted, and he has gained both literature and art.
With the deepening of research and writing, Mr. Lin Zhong germinated the idea of walking all over the road that Jinnong had traveled, like a wandering poet who walked on horseback, from Hangzhou to Yangzhou, from Yangzhou to Huzhou, to Beijing, all the places where Jinnong settled, became the place where Mr. Lin Zhong pursued, really falling in love with a city began with liking a person.
There seemed to be some kind of direction, in the darkness, three hundred years in time and space, he regarded Jinnong as a confidant, the kind that walked together in the wilderness and drunk together in the middle of the night. At the end of Xin Wei's life, Mr. Lin Zhong took the name "Mr. Ye Nong" to express his feelings for the private Jinnong.
In the eyes of Mr. Lin Zhong, "until now, the existence of Jinnong is still a magic, a cultural symbol of the times. From the perspective of the entire cultural renaissance, his value cannot be underestimated, and he still has unparalleled charm."
It can be said that Mr. Lin Zhong approached Jinnong through historical research, copying and writing on paper, and in-depth travel, and finally had more than 200,000 words of "Winter Heart's Circle of Friends" and more than 100,000 words of "What in the World Can Be Retained" two manuscripts that need to be published.
Cowhide Mingming's "Looking for Shimmer in the Crack: The Wind and Bone and Temperature of Cultural Masters" said: "People have two birthdays in their lives, one is the day of their own birth, and the other is the day of truly understanding themselves." "These two days, one belongs to lin jiatang, which is haunted by dreams, and the other belongs to tianya— the world of literature and calligraphy.
The end of the world is far away from the spring, and Mr. Lin Zhong still has the vitality and ambition to go to the greener grass.
Reading his calligraphy again, there is no pseudo-state and fashion, such as the seedlings of spring, not seeing its growth, but growing day by day.
In the middle of the ink dyeing flow, there are both the excitement of rock and roll, and the vicissitudes of folk songs, the lines are close to the temperament, and the pattern is written, and the inner vastness is written.