In history, what are the stories of Sun Boxiang?

Mr. Sun Boxiang, a master of epigraphy, a giant of contemporary epigraphy, a famous calligrapher, a taidou of Weibei, a master of calligraphy, is known as a contemporary "giant of epigraphy" by the book world, and is known as the founder of contemporary epigraphic art.

It is said that one day in September 2015, at the wedding of a couple in Tianjin, the arrival of an old man aroused the crowd. The three characters on the check-in book indicate the name of the old man, and also indicate the identity of the old man, who is the famous Chinese calligrapher Sun Boxiang. "Grandpa painted the peony. Look, if you love mounting, you will frame it, and if you don't love mounting, you will tear it. "The bride's father is a student of Sun Boxiang and a famous calligrapher in Tianjin, so many of the people present are well-known people in Tianjin's calligraphy circle, and most of them are students of Sun Boxiang." Let the two juniors respect Grandpa. "As the third generation of all of us, the third generation of Sun Men you as representatives." Sun Boxiang: "Tell you, everyone pay attention, I will tell you the truth." In the future, don't mention Sun Gate, there is no door." "Yes, no doors, no doors." Sun Boxiang has no way out of his own house, but there are thousands of students, almost every day there are students to ask for advice, many even thousands of miles away to worship the teacher. The reason why he is so highly regarded is because of his unique position in calligraphy. Sun Boxiang, known as a generation of "Weibei masters", he used a soft long-bladed sheep to crack the Weibei brushwork that had been sleeping for a thousand years, so that the Weibei calligraphy could be carried forward. For this contribution, Sun Boxiang won the 11th Plastic Performing Arts Achievement Award in 2014 and the Lifetime Achievement Award of the Lanting Award in 2015, which is the highest honor in the national calligraphy art. In contrast to his fame, Sun Boxiang's life is very simple, getting up at seven in the morning, eating a simple breakfast, and watching the morning news for half an hour. At eight o'clock, he prepared his paper and ink and began to write calligraphy, which he called work. Working on the yantian is not working, now, it is the sunrise, but it cannot be done at sunset, every day is like this, the month is like this, or every year, this shake can be said to be a lifetime, a lifetime has not left paper and ink. Sun Boxiang, who is already eighty-one years old, still insists on learning calligraphy and painting for three hours a day, and he can't move. This table is not only Sun Boxiang's weekday book bill desk, but also a dinner table for the family to eat three meals a day. Pen, ink and paper are very ordinary, but the moment he lifted the pen, Sun Boxiang finally revealed his unusual side. Ren Yuncheng said: "For example, if you say that he is painting, suddenly there is a pen that writes ink that is bigger, he has no paper, he dares to take his own clothes up to absorb ink, he is such a person." In life, there is really no pursuit for eating, drinking, and wearing, but it is meticulous about art." Zhang Jianhui said: "It seems like he usually writes or something at the dinner table, but let yourself feel that this is all an external, and he feels very powerful inside, and that aura is very sufficient." Looking back on this life, Sun Boxiang now has such a great achievement in wei tablets, which comes from a decision when he was in his thirties. At that time, he was still working as a warehouse manager in a company in Tianjin, living the hardest years of his life in obscurity, and the calligraphy he began to learn from an early age became his greatest spiritual comfort. In 1934, Sun Boxiang was born in Wuqing County, Tianjin, to a solid peasant family, and although his ancestors were not scholars, they were also slightly literate. At the age of five or six, he became obsessed with calligraphy. In his youth, he was catching up with the land reform, because he was born as a rich peasant and could not continue his studies after graduating from junior high school. At the age of eighteen, he came to Tianjin alone to find a livelihood. In 1956, Sun Boxiang was assigned to a service company in Nankai District, Tianjin, where he stayed for nearly three decades. Because he could write and paint, the unit let him keep accounts, manage warehouses and trade union propaganda. At that time, Sun Boxiang's family of four was crammed into a house of less than ten square meters, confined to a small and almost forgotten space, and calligraphy became a paradise for him to talk about his heart and relieve his depression. The child is asleep, which is the time he uses. At that time, to be honest, it was true that sometimes I practiced until one or two o'clock and was tireless.

Day and night, Sun Boxiang was immersed in the world of calligraphy, and after writing in the middle of the night, he often couldn't sleep excitedly, and continued to use ballpoint pens to tick on kangweizi. Sun Boxiang's son, Sun Jianzhong, said: "Originally a very white and clean Kang Weizi, called his father with all the characters on it. Because of this his own mother fighting with his father, but there is no way, he is confused. "In those days, calligraphy was not as revered as it is today. It will not change the fate of money in exchange. Practicing calligraphy without sleeping or eating is entirely out of love. At that time, no one paid attention to their reading and writing, and they were not known, discovered, or looked at. I read hard and write hard, so I want to say that I have achieved a little, and that period is the best period for laying the foundation for myself. At that time, Sun Boxiang still copied the Tang Dynasty's calligraphy over and over again according to the method taught by his childhood teacher. Yan Zhenqing, Liu Gongquan, Ouyang Qian, more than 30 years of accumulated practice laid a solid foundation for Sun Boxiang to become a calligrapher. However, the change in his calligraphy career, his fate and even the entire history of calligraphy began when he transcribed the Wei Monument from Tang Kai. Tang Kai is a rule, he summed it up to the work photo, their work photos that year were like this, you fixed me, "stand well, take a picture", click a bit, take it out to see, is the rules, a serious book, and then say it is not good, lifeless.

By the Tang Dynasty, it was already the pinnacle of the Tang Dynasty and was difficult to surpass; However, Wei Bei still has a strong vitality. Sun Boxiang fell in love with this majestic, agile, and changeable font at first sight, and when he first saw the teacher writing Wei Monument on the blackboard newspaper when he was a child, he unconsciously stood behind the teacher and watched for an hour because he was fascinated. It's like sucking iron stones sucking themselves in, saying the most popular words, like waking up from a dream. The vigorous vitality of the Wei Monument is related to its unique history. Wei Stele is the common name for the Northern Dynasty script carved stone during the Southern and Northern Dynasties period. After Emperor Xiaowen moved the capital to Luoyang, he advocated Sinicization, and the trend of erecting monuments and epitaphs prevailed, and Northern Wei calligraphy also arose. Therefore, the Wei Stele not only has the graceful and square state of the Han and Jin Dynasties, but also has the northern ethnic minority Jinge iron horse, rugged and strong god, and the Wei Stele, which is in the transition from the Han and Jin Lishu to the Kaishu, belongs to the calligraphy of the period when the Han and Jin Dynasties are not fully mature. But it is precisely because of immaturity that it shows the natural simplicity and flexible beauty. If Tang Kai is a work photo, Wei Bei is a life photo. The crown-free photo is quiet, the life photo is moving, and the honor guard at Tiananmen Is the work photo; On the battlefield, the smoke of war is a photo of life. On this night, a student came to the door with the newly arrived Wei Monument work "Zhang Ronglong Monument" for advice. As usual, Sun Boxiang gave his opinion. "The direction is good, and she has a good grasp of this structure." Mainly write big, remember "Zhang Raptor" don't write too big, the more you write the bigger the more ugly. "Wei Bei's penmanship is complex and changeable, but Sun Boxiang can always use in-depth and humorous language to analyze. For Sun Boxiang's students, the teacher is undoubtedly the guiding light on the road of his own calligraphy, and for Sun Boxiang himself, being able to go farther and farther on the road of Wei Bei is inseparable from the guidance of one person, that is, his teacher Wang Xuezhong. Wang Xuezhong, a famous calligrapher and painter, studied under Xu Beihong, graduated from the Chinese Painting Department of the Central Academy of Fine Arts and taught at Tianjin University. In the 1970s, Sun Boxiang heard that Wang Xuezhong advocated the stele, so he took his homework that he had written with all his strength to visit Tianjin University. At that time, he also took the "Zhang Raptor Monument". At that time, he was also poor, he didn't have money to buy gifts for the teacher, so he went with his homework in his empty hands, waited in front of his classroom for more than an hour, and only went in after class. Elder Wang took it out and looked at it, half a day to say, you can write it, continue to write, in a few days you will come again. Since then, Sun Boxiang and Wang Xuezhong have formed a teacher-student relationship. Under the guidance of Wang Xuezhong, he was more clear about the direction of studying Wei Bei. He mainly told himself the purpose, you write the Wei Monument as cast iron with steel, my mother, the steel cast iron is so good to write, writing Wei Monument is destined to be a difficult road, because there is almost no experience of predecessors to learn from, because it is not accepted by the traditional mainstream aesthetic concept, Wei Monument has been snubbed for a long period of history, until the middle and late Qing Dynasty Zhao Zhiqian, Kang Youwei, Yu Youren and other calligraphers advocated Wei Monument, only to end the situation of Wei Monument's thousand-year decline. However, these contributions to epigraphy were mainly concentrated in theory, but no breakthrough was made in practice. Wang Shuqiu said: "Zhao Zhiqian and Kang Youwei, the two people who studied the stele, and they just wrote the Wei Stele in the same way as they wrote the post, and he and Teacher Sun were different, and It was Teacher Sun who interpreted it precisely because of the effect of combining the swords and pens of the entire Northern Wei Stele with such a combination of swords and pens." "Grandpa tells you three more words to slowly and then understand, called steady and accurate." What is called stability and precision, be decisive and do not hesitate, this is steady and accurate, this is stable and accurate. In that year, at the suggestion of Wang Xuezhong, Sun Boxiang began to write the "Record of the Statue of the Duke of Shiping", which laid the cornerstone for his life's Weibei road. The "Statue of Shiping Gong" is a representative of the Square Pen of the Wei Monument, which has been passed down to future generations with its majestic and majestic and masculine beauty, but it is also the most difficult to write this inscription, and many calligraphers have retreated before this work. The calligraphy community generally believes that the Weibei square pen is carved out by the engraving, can not be expressed with the pen, and even some people use the method of drawing with painting to write the Weibei, in such a big environment, Sun Boxiang has his own keen interpretation and thinking, insisting that the Weibei is written. Tang Yun said: "Mr. Sun was insightful in understanding the brushwork of Weibei calligraphy, and he correctly resolved the relationship between Weibei calligraphy writing and carving." Wang Shuqiu said: "Many of them have studied like this, and they have been passed down from generation to generation to this day, so can't I finish writing like this, isn't this also a kind of Weibei road, but Teacher Sun Boxiang did not, and he must have found out the heaven and earth in his mind and his Weibei spirit here." However, as an ordinary worker with a junior high school education who was almost entirely self-taught, Sun Boxiang was controversial in the calligraphy world at that time and had little place to stand. Wang Shuqiu said: "The atmosphere of our entire study is in a Wu (Yuru) gate, in such a system as the Second King, forming a tianjin mainstream; As for Teacher Sun Boxiang, whether he could be recognized and accepted for writing this thing, many people in Tianjin at that time were also dismissive and sneering. ”

In the face of all kinds of controversy, disdain, and even personal attacks, Sun Boxiang can almost be said to be fighting alone, but he has always insisted on his beliefs. In order to prove his point of view, in order to write the words like an axe and a knife with a brush, Sun Boxiang once practiced to the point of going into a rage and forgetting to eat. On a hot summer day, the sweat of learning to write will hit the wet surface, because the pen shaft will sometimes break suddenly when the pen is twisted in the loop. Sun Jianzhong said: "He folded countless words that were nonsense, and he saw with his own eyes that the old man folded the should and folded five or six pens. It was written in large letters, and it was folded from it. "Another decade, the cold window is lonely, the iron is worn through, in order to write the Wei Monument, the paper used by Sun Boxiang can be counted by truck. In fact, in this life, I have come from a bad paper. The ancients said that the pen is a mound and the ink is a pool. The paper was gone, it was said that one truck was used, and now five trucks are not enough. After more than ten years of repeated practice and exploration, Sun Boxiang finally succeeded in moving the stone carved Wei Stele to rice paper, and wrote out the artistic effect of the Wei Stele cutting iron and steel casting iron. Sun Jianzhong said: "That kind of strength is a thousand jun, it should be said that the force penetrates the back of the paper, once I remembered that I took paper for the old man's home, I did not pay attention to it, I wrote back to him to urge me, when the old man wrote the couplet, he took two pieces of paper to lay for him, of course, after the old man wrote it, after picking it up, he knew that it was two pieces of paper, but when you saw that the ink on the second and first sheets was the same, you should think about how much force he used at that time."

Sun Boxiang created a set of scientific methods for writing Weibei, especially the writing method of The Square Pen Weibei solved the problems that people had not solved for hundreds of years, and pushed the Calligraphy of Weibei to a new peak. Year after year, year after year, he wrote Wei Bei from thin to thick and from dead to alive, which was the direction of his life. The world of Wei Bei overwhelmed him, and he gradually became aware of this world. In 1982, in the National Calligraphy Competition for Young and Middle-Aged People, Sun Boxiang stood out with Wei Bei's "Zhengyi Song" by Wen Tianxiang, and blew a strong and newly built Wei Monument into the newly revived book world. At the same time, Sun Boxiang's situation has also changed greatly. He was elected as a director of the Chinese Calligraphers Association, and his work changed, and he has since specialized in calligraphy and painting. Seeking innovation and change, never satisfied, throughout Sun Boxiang's entire calligraphy career, when his Wei stele set off a nationwide imitation fever, he risked self-destruction of the Great Wall, boldly tried to find a new breakthrough in Wei Bei, along the way there have been conservative, radical, but also walked a lot of detours. I am a few radical returns, walking and turning back, walking and turning back, I must maintain a state of beauty. For more than thirty years, Sun Boxiang's creative path has been constantly changing, or domineering, or subtle and introverted, or soft and rigid. In 2010, Sun Boxiang rewrote Wen Tianxiang's "Song of Righteous Qi", which is completely different from the version from twenty years ago. He pursues a powerless force, but if you look at writing, he is not the kind of strong crossbow power, very relaxed, very relaxed, that kind of writing state is very free, some look very romantic, lyrical. But the inner weather and pattern in that one is very big. Wang Shuqiu said: "Today, Teacher Sun Boxiang looked at him, in such a northern monument of his, in such a creation of his "Song of Righteous Qi," there is no ancient or modern, there is no nature, and it is all his own re-creation." In his later years, Sun Boxiang still explored the road of calligraphy, and he began to try to integrate the inscriptions and the apsarays, bringing the beauty of the thesis into the magnificence of the epigraphy, and gradually moving from Fangzheng to gentleness and realm. Mountain stone is not beautiful, beautiful, but the light mountain stone is not good, you insert a pot of daffodils in the spring, very coordinated. What art talks about best is coordination.