Xu Wuwen's name, I believe that friends in the field of calligraphy and painting will not be unfamiliar. On October 8, 2015, when Xiaobian chatted with Professor Chen Hang of Southwest University, he once told me that If Mr. Xu Wuwen had not gone so early, he would have been more remarkable, and his contribution to Chinese calligraphy would have been even greater, and he must have been one of the few calligraphy giants of this era. Many links and posts on the Internet have pushed a lot of Xu Wuwen's calligraphy and seal carving, but few people know that Mr. Xu Wuwen also paints, so this issue will first push Xu Wuwen's Chinese painting works to friends to appreciate, and then will recommend calligraphy, seal engraving and so on in stages. Thanks to Xu Wuwen's eldest son Xu Li for providing pictures and literature - Xu Zhiteng
Xu Wuwen (1931.10-1993.6) was named Yongnian and Jialing. A native of Chengdu, Sichuan. He graduated from the Department of Chinese of Sichuan University in 1954, was assigned to work in Southwest Agricultural College in 1954, and was transferred to the department of Chinese of Southwest Normal College in 1955. After the age of 30, due to ear diseases, he was even more deaf. He has been teaching for 40 years, mainly teaching classical Chinese literature and calligraphy and seal engraving. In 1992, he was hired as a librarian at the Sichuan Provincial Government Research Museum of Culture and History. He died in 1993. He died on December 31, 2012 at the age of 6 He is a member of the Chinese Writers Association, a director of the Chinese Calligraphers Association, a vice chairman of the Sichuan Calligraphers Association, a member of the Standing Committee of the Sichuan Provincial Federation of Literary and Art Circles, a vice chairman of the Chongqing Calligraphers Association, a member of the Xiling Printing Society, and a professor of the Department of Chinese of Southwest Normal University. He enjoys the special allowance of the State Council, won the Zeng Xianzi Education Fund Award, and was awarded the Outstanding Graduate Tutor of Sichuan Province. He has made outstanding achievements in the fields of Tang and Song Dynasty literature research, literary creation, paleography, calligraphy and seal carving, gold and stone inscriptions, and cultural relics appraisal.
Xu Wuwen has been engaged in teaching and scientific research in colleges and universities since graduating from university in 1954. He has published dozens of papers, including "Xu Wuwen's Collected Papers" (Cultural Relics Publishing House). In 1957, as a representative of young teachers in colleges and universities, he went to Beijing to participate in the National Youth Activist Congress, and joined the Chinese Writers Association in the same year. In 1958, he went to Beijing to participate in the National Congress of the Communist Youth League. He successively served as an assistant teacher to Mr. Wu Zeyu and Mr. Wu Mi. Teaches literary theory, a course on the history of Chinese literature. He was named one of the top ten lecturers of Southwest Normal University. During the ten years of turmoil, he was seriously impacted, and he was raided, criticized, and reformed through labor, but he still did not change his original intention to study paleography assiduously, hand-proofreading the "Explanation of Words and Characters" seven times, hand-copying "Characters Seeking", revising the "Oracle Bone Script Research" and approving more than a dozen kinds of ancient books. In 1975, he participated in the compilation of the Hanyu Da Zidian and served as an editorial board member and the leader of the glyph group. He has successively presided over the compilation of the "Chinese Ancient Character Glyph Table" and edited the "Qin, Han, Wei, Jin, Seal Li Glyph Table" and "Jia Jin Seal Li Da Zidian". In 1984, he was appointed as a postgraduate tutor of Tang and Song dynasty literature, and recruited the first batch of tang and Song literature graduate students. In 1987, he was appointed as a postgraduate tutor of calligraphy and seal engraving, and recruited the first batch of calligraphy and seal engraving graduate students. He has successively edited more than ten works such as "Selected Works of Dongpo", "General Inspection of Tang and Song Dynasty Literary Treatises", "Calligraphy Tutorial" (co-edited with Ouyang Zhongshi), collated "Songs of Baishi Daoists", "The Art of Liaojian", "Shen Yinmo into Shu Word Inkblots" and other works. At present, xu wuwen calligraphy collection (published by Sichuan Fine Arts Publishing House), Xu Wuwen Printing (published by Xiling Printing Society Publishing House), Xu Wuwen Anthology (published by Cultural Relics Publishing House), Xu Wuwen Lin Zhongshan King Instrument Inscription (published by Anhui Fine Arts Publishing House), 20th Century Sichuan Calligraphy Masters Research Series Xu Wuwen Volume (published by Sichuan Fine Arts Publishing House), Book Lesson in The Ming Room (published by Chongqing Publishing House), Yuju Cottage Printing (published by Chongqing Publishing House), Lanting Preface Collection (published by Zhonghua Bookstore), Xu Wuwen collected gold stones (published by Zhonghua Bookstore), Jinli Seal Engraving and Collection (published by Zhonghua Bookstore), Fang Jiekan Self-Selected Seal Notation (published by Zhonghua Bookstore), Qin Han Wei Jin Seal Li Glyph Table (zhonghua bookstore new edition), "With the ancient as new - The collection of Xu Wuwen's works in the four collections of Shuzhong" (published by cultural relics publishing house), "Tang Dynasty Ten Thousand Absolute Sentences" (published by Southwest University Press), "YiJun room tibetan printing selection" (published by Zhonghua Bookstore) and other works have been published.
Refreshing and flavorful
Written in the Yiguang Zhai Xu Wu WuShu Calligraphy and Painting Exhibition
In the spring of Wushu, Brother Cao Wen, the master of Yiguang Zhai, told him that an exhibition of Xu Wuwen's calligraphy and paintings would be held during the year, and I was very moved. It has been more than 20 years since the Xu Wuwen Calligraphy Exhibition was held in Chengdu. The years are like a stream, diluting the memory, dyeing the sideburns, and taking away our young adults. However, when a series of calligraphy and painting works are presented in front of you, the unheard and smiling appearance is so vivid and vivid, as if just yesterday, a cup of tea, a cigarette, literature and history fishing, characters palming, customs and customs, eloquent, interesting, like a spring breeze. Quiet joy, elegant taste, high character, let people leave a deep memory, timeless charm.
Looking back on his artistic career for more than forty years, he did not hold a solo exhibition in his lifetime, nor did he publish a collection of calligraphy and seal engravings. At that time, many people advised him to open an exhibition book, and he always laughed at Mimi and said: Don't worry, take your time. The exhibition is to be shown to everyone, and the book is to be passed on to future generations, and it should be careful and cautious. He told the big truth, but also left some regrets. However, time is the most just and word of mouth is the most objective. From the works of this calligraphy and painting exhibition, we can see the hints, some works have been yellowed, with the traces of time, obviously long-term hanging appreciation, some works paper as new as yesterday, carefully framed, carefully collected. In any case, appreciation and love are the consensus of everyone. Wuwen Gong was born in Chengdu and grew up in Chengdu, and did not leave his hometown until he graduated from Sichuan University. His hometown complex has lingered for decades. The bamboo cultivation forest in Yuju Village, the babbling brook, the elderly parents, and the clear study are all his haunting hometown. The Xu family is not rich or expensive, only the fragrance of books is qin. The poor family situation cultivated his diligent and upward character, hard reading in the snowy night, the sound of lights and chickens, accompanied him through the youth and youth, coupled with the hard work of Yi Junmu, Zhou Xuanbai, Zhou Juwu, Yang Mingzhao, Bai Dunren, Qu Shouyuan and a number of other masters, making him a scholar-type calligrapher with profound learning, exquisite calligraphy, and magnificent seal carving. The influence led to the calligraphy and seal engraving in the southwest area. Created a generation of "Western Teachers' Calligraphy". His works in the modern book world are like a clear spring, a breeze, containing the essence of tradition, carrying the atmosphere of the times, making people chew for a long time, and the aftertaste is endless.
Former Xianyun: Books are like people. In this exhibition, we can see the colorful calligraphy of the unknown public, as well as the painting sketches of ink on the edges. Whether it is a book or a painting, it all carries a strong bookish atmosphere and the interest of a literati. Not hot, not dry, full of charm. He integrates his reverence for Chinese painting and calligraphy, his love for his hometown, and his pursuit of his ideal career into the pen and expresses them in each work. The thick foundation, strong spirit, and reverence for traditional culture constitute the connotation of unknown public calligraphy and painting works. Po Laoyun: The taste of the world is Qinghuan. In today's world of desire, there is a pure charm, there is a quiet state of mind, joy in purity, joy in fun, how precious it is!
Thank you Brother Cao Wen for your hard work for this exhibition!
Thank you to the friends of Bashu for helping this exhibition!
Xu Zhengxing
In August of the year of Pengchen in the foothills of Jinyun Mountain
"Seven Paintings of Mr. Wuwen of Guan Xu Shi"
Qiu Shihong
One, write bamboo
Leisure pen write Bi Xuan Lang,
The verses are more exuberant than the text.
The original fun came out of the seal,
The horizontal oblique shadow reflects the floating light.
Two, write Orchid
Write Ye Zi Seal write roots,
The fragrance is full of souls.
The secluded gentleman enlightens himself,
Fall Tuofang knowledge dai traces.
Three, write loose
The old stem of the branches walks the dragon,
Energetic for a thousand years.
Frost and snow are difficult to deceive the wind and bone,
More pity for the spirit trail.
Fourth, write Mei
Wind and bone, proud and bitter,
Yao Calyx is self-soothing.
Even if there is loneliness to the wilderness,
Indifferently dancing and dancing.
Five, write the lotus
Tender mass powder calyx naturally clear,
Cool breezes follow the waves.
Wait for the frogs to sing to dissipate the heat,
Gratuitously provokes poetry.
Sixth, write landscapes
When the hook dot is less stained,
Turn your wrist like a pearl to be a teacher.
Vientiane chest restoration,
A hill and a valley to appreciate the gems.
Seven, write flowers and birds
Birds, fish, birds, animals, when the wind blows,
The sharp hair rhymes with the empty horizon.
Yi Ge often comes out of personality,
Sending affection is like a rainbow.
Xu Wuwen paints Huangshan pine fan noodles courtesy of Qiu Shihong
Courtesy of Qiu Shihong
Xu Wuwen, Study, Thought, and Study
Qiu Shihong
Abstract: Mr. Xu Wuwen is a well-known scholar-type calligrapher, seal engraver, poet and educator of contemporary times. Although it has been fifteen years since his death, his calligraphic ideas still have a huge influence on the book world and play an important guiding role in the path of scholars. His calligraphic thought is based on profound artistic practice, from the technical theory to the calligraphy of the great grasp, the formation of his own perfect and unique calligraphy thought, in the contemporary era still has practical significance.
Key Words: Book Theory Scholar Type Mellow Influence
The seasons are not living, the years are like a stream. In a blink of an eye, Mr. Xu Wuwen had been dead for fifteen years. I have studied more and more of Mr. Xu's writings, and personally, I have published many articles such as "Re-understanding Xu Wuwen" ("Calligraphy and Painting Literature" No. 6), "Self-Esteem in Intentions and Customs--A Long Commentary on Xu Wuwen Printing" and Its Seal Style( "Seal Engraving" Volume IV), "The Spirit of Personality in Xu Wuwen's Poetry, Calligraphy and Painting Seal" ("Art Book" and its "Calligraphy Herald" 2007 Edition) and other articles, respectively, which have studied and introduced Mr. Xu's personality, art, talent and his academic thoughts. In 1995 and 1998, he held exhibitions and academic seminars in Chengdu and Chongqing, and highly praised his academic ideas and artistic achievements. Remembering his Qingyin Sude will surely inspire the heart of future learning. The living are long-lived, and the dead are immortal. After his death, with the support of his family, students and society, he published Xu Wuwen Calligraphy Collection (1996), Xu Wuwen Lin zhongshan Wang Jiding (1998), Xu Wuwen Printing (2000), and Xu Wuwen Papers (2003). The "Research Series of Famous Calligraphers of Sichuan in the Twentieth Century - Xu Wuwen Volume" and "Xu Wuwen Poetry Collection" will also be published soon. Such a three-dimensional display of Mr. Xu's achievements, the world will more deeply feel the moving style of a scholar-type artist. This article intends to make some research on Mr. Xu Wuwen's calligraphic thought, and summarize it in succession to previous seminars to serve the same way.
The period of the formation of Mr. Xu Wuwen's calligraphic thought can be divided into three paragraphs:
(1) Before the age of 30, it is the brewing period, and it is widely adopted, paying attention to the study of techniques, and forming a technical theory that pays attention to "force and potential".
(2) 30-50 years old is the mature period, Boguan about to take, the formation of their own emphasis on "mellow" style of calligraphy.
(3) After the age of 50, for the development period, there are many creative ideas, strive for innovation, and form an innovation theory of "the ancient times are not obedient, and the present is not the same as the disadvantages".
I. Theory of Technique:
Mr. Xu has a deep understanding of Shen Yinmo's "theory of luck" and other views, and on the basis of combining the ancient people's treatises, combined with his own experience to take the essence of the macro, he has formed his own technical theory. He believes that the emphasis on calligraphy skills is a prerequisite for achieving personal style. The main points are:
(1) Theory of hanging elbows and hanging wrists
The ancients also emphasized "hanging elbow hanging wrist", such as Xu Qian's "PenManship Exploration" in the late Qing Dynasty on elbow force: "Therefore, the elbow force must be used to use elbow force. Although the so-called elbow force lies in the transportation of the elbow, the force actually originates in the back." [ "Penmanship Exploration". Selected Calligraphy Papers of Past Dynasties, Shanghai Calligraphy and Painting Publishing House, 1993, 800 pp. The ancients used a pen to do it with a lifetime's effort. This is always said, but in practice, what should be done?
Mr. Xu once specifically consulted Mr. Shen Yinmo, and the first realization of the magic of using the wrist is that the wrist elbow is suspended in the air to increase the range of operation, which is mainly based on its study of Chu Suiliang's calligraphy. He used the high pipe and the hanging elbow hanging wrist as the basis for training calligraphy penmanship. Shen Yinmo said: "The key to using the pen is to mention the press; according to the appropriate mention, the disposition is to see, and the dot painting is intentional." [The Five-Finger Penmanship Method, Qilu Book Society, 1984, 3rd edition, p. 10.] After Mr. Xu saw Mr. Shen's personal demonstration in Shanghai, his understanding of using the pen deepened. He said in the "Examination of Chu Suiliang's Calligraphy": "The pen of the Yanta Sacred Order is flexible and changeable, and the structure is more than enough, especially those very delicate strokes, which must be written well with the elbow dangling in the air. When I was a teenager, I liked chu characters, and I thought that the glyphs were beautiful, but I always didn't learn well, and I leaned my arms on the table to come, like a flower, I was weak and weak. Later, I spent a long time learning to write small seals like "Yishan Monument" and "Three Tombs", exercising hanging elbow kung fu, and a few years ago, I enlarged "Zhongshan Wang Ding" to an inch, hanging elbow pro-writing, and could write a hundred words up and down in one breath. Now that I was about to go back and write the "Sacred Order of the Wild Goose Pagoda", I felt more at ease. [Chu Suiliang's Calligraphy Test Theory.] Collected Papers of Xu Wuwen, Cultural Relics Publishing House, May 2003, 291 pp. This passage comes from hands-on practice, and it is all very moving. He greatly appreciated the style of the Chu Tang calligraphers: "The thinness of the Four Masters of the Chu Tang Dynasty, which can only be obtained by the steady elbow and wrist, is more prominent in the "Sacred Order of the Wild Goose Pagoda", calm and gentle, and the manners are all-round, which is really enough to be theosophical. [Ibid.] 292 pp. ]
From this, he himself has since obtained the know-how of using a pen, ethereal and changeable, and clear and super-elegant. The calligraphy is taken from the Fa Wang Xizhi, Chu Suiliang, Mi Fu, Zhao Ziang, Li Yangbing, etc., and the power is solid and empty, which means to dance. In this way, he associated with the language of the previous people's books: "Printing mud and cone painting sand requires the strength of your elbow to turn a pinch of soft hair into a hard iron cone, the pen edge is everywhere, the dot painting is very clear and affirmative, painful and calm, and visually produces a three-dimensional effect, so that the calligraphy has vitality, has vitality, has vitality, and is the movement of life." [Ibid., p. 293.] Here to know his calligraphy, dot painting is thick and lively, a well-known epigrapher looked at one of his works and said: "The strength of the stroke is like a steel bar, and every word can stand up." [Chinese Calligraphy, No. 4, 1991, p. 34.] In the classroom, he wrote behind my seal book: "The daily hanging elbow book is like this, three years continuously, it will be a big success." He asked students to cultivate their self-cultivation, cultivate pen and ink, accumulate thick and thin hair, and naturally come to fruition.
(2) Force and potential
The ancients talked about "force" and "potential" a lot, but they were more abstract. For example, it is said that Cai Yongyun "write hard, the beauty of the skin"; Zhang Xu soyun: "The power is in the pen", "Do not make the restraint" and other words, all have reference value. Mr. Xu believes that strength is related to the sense of life, and it should be expressed skillfully and accurately. First, it is necessary to use the natural elasticity of the pen, such as the bristle pen he customized in Chongqing, the elasticity is better, the vertical and horizontal are appropriate, the book writer can destroy the rigidity into softness or turn softness into rigidity, write lines with a sense of volume, so that the dot painting has a three-dimensional sense of jumping out of the paper. When I returned to Chengdu in 1990, I invited Mr. and Mrs. Xu to live happily for a short stay, and at night I used the Anhui Wadang paper seal book to pay a couplet, the content was: "Family lineage is a treasure, long si li and people", the seal is between Qin and Han, although the pen is decadent, and the qi pulse is coherent, there is no slackness, it can be said that the pen strength is solid, and the bone rhyme is strong. Steady end condensation, wide and comfortable temperament, better than usual. Although the magic of this latent inner rotation is in one heart, the merit of Linchi's hard work is indispensable. He said in the "Book for Young Scholars": "It is difficult to carve insects and insect skills. Genius ankymi, pen tsukasa out of the magic. This illustrates the relationship between external and internal causes. Second, in addition to the center, the flanks and astringent pens should be strengthened. He recognized that the center was important, but he couldn't do the book. The astringent pen and the flank are caused by artificial external forces, which enrich the use of the pen to take the position. When discussing Chu Shu, he also said: "I used to be superstitious about the center forward, and Wang Xizhi's "Funeral Post" came several times and did not look like it, but after repeated speculation, I confirmed that there were quite a few flanks, especially the words 'pain through the heart and liver', which were indeed quickly drawn on the side of the pen tip. So I raised the pen tube, and the flank rushed to write, and sure enough, it was like some." When we look at the entire "Book Genealogy" that he came to in his later years, it took three days of hard work to complete it in one go, and all the forms and gods were prepared, and it was indeed made up of mutual use on the middle side. This is also his practice beyond Mr. Shen Yinmo's "pen and pen center" theory, and truly reached the realm of "reasonable tone on paper, poor change in the end". Third, he believes that force comes from the momentum. Mr. Xu changed Shen Lao's "debigation" to "gaining power" theory, which is actually the inheritance and development of the Han and Jin dynasty theories. Cui Yan's "Cursive Writing Posture" is the first book treatise in China, and it is discussed in terms of "potential", and Cai Yong's "Nine Potentials" and Wei Heng's "Four-Body Calligraphy" both have studies on word posture. However, the language is too flowery to understand. Zhang Huaihuan's exposition that "writing must first recognize the situation" and Kang Youwei's exposition that "if you have the power, you have already won the victory" have always received attention. Mr. Xu more specifically elaborated on the role of "potential", which is grasped by the rhythm of the pen and obtained by the intention of the pen. He said: "Why can the eclectic and rich and changeable dot paintings be combined into a harmonious and unified whole, rather than the chaos of contradictions?" The trick is in two words: 'force', 'potential'. Force is the pen force, that is, the book produced by the printing mud mentioned earlier, the next pen is steep and fast, in the process of writing, the horizontal painting is not dragged by hand, the vertical painting is not straight down, and the pen is neat and not stagnant. Potential is a gesture, a situation, good at using force, good at controlling the priorities of the pen is to gain momentum. The dot paintings that have a variety of adaptations are unified by this force and potential. [Chu Suiliang's Calligraphy Test Theory.] Xu Wuwen's Collected Papers, 293 pp. He believes that the sense of force is one of the life and essential characteristics of the art of calligraphy, and the radiance is nothing more than the melodic expression of the sense of force. The "anti-pinch point" in his own line of grass is very distinctive, and it pops out like a hayabusa tail quickly, which is considered to be one of the characteristics of "Xu Body" calligraphy.
(2) Theory of foundation
Mr. Xu likes to use Han Yu's ancient adage of "not being sick and ignorant, being sick and ye ye" to teach his disciples, and opposing haste for quick success. In 1991, he said to me, "Practice your wrist and elbow strength more." After fifty you can write casually." A seemingly ordinary sentence actually includes encouragement to me. In the "Brief Treatise on the Seal of the Qin and Han Dynasties", he described that he had studied the seal for more than forty years as the Book of Enlightenment. Hanging elbow small Kai practice wrist elbow, pen strength, solid kung fu, you can write any body. In 1990, he took 8 calligraphy graduate students and their families to Shandong, Anhui, Jiangsu and Zhejiang for professional investigation, and wrote a reward for the reception unit all the way, often writing a book, rarely failing, which was impressive. After thinking back, I wrote to me during the holidays: "The art of calligraphy, to succeed, must rely on skill, sailing against the current, and retreating if you do not advance." "I have so far been cited as the right-hand man. Before Yi Zhen in 1993, the epigraph of the Tonglin "Book Genealogy" said: "In the past years, the Linshu Genealogy was discarded with waste paper and did not exist, and at the beginning of the serious illness in February of the year of The Decameron, the poor three days of living in Chengdu obtained this Linben Pass, and it was preserved to test his daily entry." "It can be seen that his diligence is so hard, he does not know that old age is coming." In order to accumulate skill, he believes that it should be done specifically: (1) We must work on the most refined works. (2) The most extravagant works should also be studied in depth. (3) Access to the classic works of ancient masters. In order to make the grass break through, he himself spent a lot of effort to copy Huang Gu's "Li Bai's Old Cursive Long Scroll" with a copy paper, with his wrist hanging over his elbow, his pen in place, and his form and spirit were beautiful. He very much agreed with the prosperity principle of Sun Guoting's "Book Genealogy" of "Examining the Essence of The Essence, And Quasi-Preciousness", and believed that the calligrapher should distinguish himself from the general enthusiast, and he needed professional skills. When discussing the imitation of the seal, he said that beginners should not talk about the high ancients, let alone pursue strangeness. [ A Brief Treatise on the Qin and Han Seals.] Preface to "Calligraphy Self-Study Series-Seal Li", Shanghai Calligraphy and Painting Publishing House, 1984 edition. He was opposed to beginners' "easy-to-write sloppiness" and did not seek refinement. In the poem "On the Immeasurable Calligraphy of Xie", Yun: "The heart and hand forget each other, and the poem Cirrus Cloud Jindan." The world is suffering from false names, and it is difficult for the pen to draw tigers without style", which is an admonition to those who take the shortcut to the end of the south. He objected to the practice of cutting the tip of the pen for the sake of hiding the edge when people wrote seal books, believing that it lacked a button and was tacky. He praised Li Yangbing for his "steady and natural strokes, the pen is sharp in the center, the front is hidden everywhere, the front is at the end, the long straight painting and the strokes that have been bent several times, the strength is concentrated, and there is no weakness." [Preface to The Three Tombs of Li Yangbing.] Prachuap Khiri Khan Publishing House, 1990 edition. To rely on the real kung fu of controlling the power of the pen, the strength embodied by Cai is reliable. He summed up in the "Afterword of the Queen of Linshan": "(Zhongshan Wang seal) is exquisite and beautiful, and is the master of warring states calligraphy", and in his later years, he especially liked to use this as a type of creation. Its collection of characters has created a new style, and its imitations can be seen everywhere in the competition. Its book prints are exquisite, "never curved and vulgar, graceful and elegant, outstanding everyone". [ Ma Guoquan's Biography of modern Indians.] Shanghai Calligraphy and Painting Publishing House, August 1998, 523 pp. Watching Mr. Xu's poetry and paintings, you can get this feeling. The longer it goes on, the more intense it feels.
2. The Theory of Calligraphy
Calligraphy is simply the mental quality of the calligrapher who creates pen and ink imagery at a higher level, that is, an aesthetic idea or ideal, or a high-minded interest or artistic realm hidden in the image of calligraphy. Wang Youjun's views on "intention to write first", "books must be stored in thought", and "the meaning of books turn deeper", Sun Guoting's "Heart of Heaven and Earth", "The Meaning of Turmoil" and other views have all shown that calligraphy is the highest art that is best at expressing the noble qualities of mankind and the spirit of the times. Mr. Xu believes that after mastering calligraphy skills, it is necessary to pay attention to the expression of calligraphy, that is, the concept of expressing the writer's sense of life. Before the writing is the memory of reason, after the writing is the emotional mood of life. To this end, we must achieve four points: first, forget each other, but the book must have rhyme, third, cultivate yourself, and fourth, write words and be familiar. Forgetting each other, we can express ourselves freely regardless of utilitarianism. He wrote in the poem "The Journey of Shaoxing Lanting in the Year of Nongshu": "The collection of young mountains and rivers that are released, Yonghe was in this stream at that time." Heavenly chances will forget the heart, and what a thousand autumns will talk about short and long." In his later years, Wang Youjunshu was wonderful, and he was detached from the mortal world. He praised Zhao Xi's calligraphy as "Haojie stood up to the atmosphere", and envied the demeanor of the Right Army: "Xingshu fell to the pen to lead the group of sages, and the order flowed through the ages." Yi Shao wind rules are not far away, I still come to see the lofty mountain. "It's interesting here. To express the meaning of the book, but also to pursue the "charm" outside the skill, the words are intriguing between the lines. He commented on the HuangGu poetry: "What is the taste of Fu Weng Shu Wei Guo? Or like back to the sweet double well tea. I want to come to the temple with my own eyes, but I don't want to seek enlightenment and eat peach blossoms. "Taste the valley book taste in the "rhyme wins", in the simple and mysterious beauty, the magic in the far away of the soul. Paper and ink are in love, full of anger. When he commented on the Ni Kuanzan as a forgery book, he said that this stele lacked the "vigorous strength" of the Chu shu stele and lost the ancient meaning of the Six Dynasties that existed in the early Tang Dynasty. This "ancient meaning" is the "rhyme" that can be understood and not said. This "rhyme" is the result of the synthesis of learning, instrumental knowledge, and talent. He said: "The penmanship can be obtained by pondering in the pond, and the penmanship also requires various cultivations other than calligraphy." Su Dongpo said, "Withdrawing from writing is like a mountain that is not enough treasures, and reading ten thousand volumes begins to understand the gods", and the seals and penmanship made by many scholars are more elegant than those of specialized scholars, and this is the reason. [A Brief Treatise on The Calligraphy of seals.] Xu Wuwen's Collected Papers, 269 pp. Scholars coupled with skilled skill are more likely to enter the Sacred Realm. Ouyang Xiu, Su Shi, and Liang Tongshu have all discussed it, such as the Ouyang wenzhong Gongzhi: "Writing should be familiar, and familiarity is complete and more than enough." However, many young people deliberately pursue the "mature life" advocated by Dong Qichang and others, which is unclear and strangely written, but strange.
Mr. Xu agrees with Liang Tongshu's view that "writing must have qi, qi must come from familiarity, and qi has its own potential", and opposes the self-use of the teacher's heart of "letting the pen be the body and the ink gathering as the shape". When commenting on Wang Duoxing's scrolls, he said: "Because of the skillful writing skills and the rules of the heart, with the natural operation of the pen, it has formed an extraordinary effect. ["Ji Beibei Library Collection of Wang Duoxing Scrolls".] Xu Wuwen's Collected Papers, 320 pp. The pursuit of "proficiency" has been a common reading standard among the theorists since the Song Dynasty, which is meticulous and deeply rational, and promotes the development of abstract thinking. Naturally, the book is also influenced by this style of study. Mr. Xu believes that "familiarity" is only a means, not an end. In the 1990s, when he wrote the preface to Dai Mingxian's Calligraphy Collection, he said: "His books and engravings are ancient and not muddy, and there is no craftsmanship that is distorted. He understood the true meaning of 'book for heart painting', and used books and carvings to lyrically express sentimentality, which was simple and natural. In fact, this is exactly the goal pursued by his "book theory". As for the seal book that everyone thinks is simple, Mr. Xu believes that it is not so simple. He often said that many people can write cursive, so why can't they write seal books? He said: "The strokes of the seal book must not be too thirsty, and all the brush hairs must be opened and the ink sufficient, so that the flesh and blood can be written evenly and the warmth is considerable." The reason why the burning pen head is wrong is that it does not understand that at first glance, the seal book is mentioned without a pause, starting and stopping the Tibetan front, but in fact there is still a mention and a dun, and the beginning and stop are clear, but it is just a subliminal inner rotation, implicitly not revealing. [A Brief Treatise on The Calligraphy of seals.] Xu Wuwen's Collected Papers, 267 pp. The so-called "latent inner rotation, implicit and not revealing" method here is to hide the meaning of the pen, many people have not fully understood, and the misunderstanding to burn the pen head is precisely the lack of understanding of the concept of the pen meaning.
Third, the theory of innovation
Mr. Xu believes that innovation is the goal and the objective law of the development of calligraphy, and a history of calligraphy is a history of continuous innovation.
There are two basic points of innovation: (1) Innovation is difficult. (2) Must be innovative. Only innovation has a way out. To this end, he put forward the famous theory of "the ancient times were not obedient, but the present is not the same as the disadvantages" and the theory of "the magic meeting of the heavenly machine".
(1) "When the ancients were not obedient, the present is not the same as the disadvantages" theory
This sentence was originally a famous quote of Sun Guoting, and Mr. Xu borrowed it to express his calligraphy propositions, which is of more practical significance. After he finished carving it in Zhu Wen, he inscribed the inscription: "These eight characters are Wu Zhen's 'no confusion, there will be success." This proposition became his lifelong goal. He repeatedly stressed in class: "Calligraphy and seal engraving should be improved, one must be vulgar, and the other is to avoid craftsmanship, mud is not ancient, only fur." Not to teach the ancients, the foundation is not solid, only the combination of the two into the spirit of the times, can create a style. Knife and penmanship are secondary. [Calligraphy, No. 2, 1992.] pp. 46-48. As for dealing with the relationship between ancient and modern, He believes that only what has been tested in practice is reliable. Learning the essence of antiquity and overcoming the shortcomings of today's people are the same truth. To learn from the ancients, we must "teach the heart and not follow the traces." He expressed his views on the "vibrating pen" method pioneered by the Qingdao scholar Li Ruiqing and others, and the exaggerated practice of seeking high antiquity: "I am not absolutely opposed to the vibrating pen, but there is no single stroke without a word without trembling, it is not enough to take, the book is precious and natural, this very important aesthetic principle of calligraphy art should be pursued diligently, and should not be deliberately violated." [A Brief Treatise on The Calligraphy of seals.] Xu Wuwen's Collected Papers, 268 pp. He believes that "innovation" is a natural thing to follow the path of calligraphy for more than two thousand years. Yu Youren, Xie Wuliang, etc. have not said innovation, but have actually innovated. And innovation is to write exemplary works, those graffiti works, drumming for the power of the grass, in fact, in vain. He said in "The Title is Deep and Picturesque": "Although cursive is like a drunken monk, it is not written as a plantain to be cold. The good bird peeps at people for a long time, and the clear tone is gentle and fragrant. Cursive writing is also a product of the mind, not an outward form of turmoil, and the knower knows itself.
(2) The theory of "Heavenly Chance" theory
To innovate, in addition to the exhaustive study of ancient inscriptions, it is also necessary to "walk thousands of miles", which is a wonderful opportunity. Expanding your chest and broadening your horizons are all necessary preparations for innovation. In 1990, he brought the graduate students to investigate the Taishan Diamond Sutra characters, the Tieshan Moya stone carvings, the Shandong Stone Carving Museum, the Anhui Wenfang Four Treasures Production Site, etc., did not avoid difficulties, wrote several poems, and was happy and tired. He experienced the joy of life. For example, the "Huangshan Chronicle Travel Poem" yun: "The deep mountains are steep and the clouds and rains, and the soil and thin stones are strong and strong." The mystery of the day left who has the will, stand up and act successfully. "This poem is written to young people to ask for this, and the meaning is self-explanatory. His seals often contain words such as "infinite rivers and mountains", "rivers and mountains are everywhere to take advantage of the prosperity", "even if the victories of the rivers and mountains are now heavy", expressing the help of the miraculous mountains and rivers of the motherland, the help of the rivers and mountains, and the cultivation of heaven and earth, which is a necessary means for the perfection of the personality of the scholar. Visiting famous teachers is also one of the contents of going out. In 1990, when he passed through Shandong, Mr. Xu also took a detour to visit Mr. Jiang Weisong professionally, and presented the newly published "Dongpo Anthology" as a greeting gift. He has become famous all over the country, and his disciples prostrate themselves to the sages, and his humble mind is unforgettable. Professor Zhou Xubai wrote in the "Epitaph of Xu Wuwen": "Although I inherited my family's learning and turned to many teachers... Or day and night, or smell the Tao back and forth, all of them are respectful and respectful, so they can become their deep ' through the mountains and rivers to see the monuments, with the help of nature, so they can become great. There is inheritance and then there is creation, and there is practice and then there is communication." [ This inscription is inscribed on the tombstone of Xu Wuwen on the back hill of Qingcheng Mountain in Chengdu.] This phrase is very accurate and without exaggeration. Mr. Xu believes that although the calligraphy of the poet and calligrapher Mr. Wu Zhangshu did not pretend to be innovative, nor did he deliberately innovate, he really created new. Talented and reserved to make qi; powerful without revealing one's power. It seems bland and charming. [ "Self-innovation when not innovating". Xu Wuwen's Collected Papers, 412 pp. This has reached the realm of natural opportunity and natural realization.
Fourth, the theory of cultivation
Mr. Xu believes that any art that reaches a certain level is the result of cultivation. In the "Calligraphy Course" edited by him, he said that "calligraphy is an art and knowledge of the study of Chinese character writing. Judging from the results of writing, it is art, and from the perspective of how to write the method, requirements, and degree of law, as well as the content, temperament, charm, appreciation, etc., it is a very demanding, involving a very wide range of knowledge, and has a very deep connotation. ["Calligraphy Tutorial", edited by Ouyang Zhongshi and Xu Wuwen, Higher Education Press, June 1994, Preface.] This view, for the first time, explicitly positioned calligraphy and calligraphy in cultivation and learning, revealing the essence of traditional art. To this end, Mr. Xu emphasized four points:
(1) Writing a book before establishing a theory of character: Since neo-Confucianism established a theoretical system in the Song Dynasty, Chinese culture has completely transitioned from the three religions to the era with Confucianism as the mainstream, and the excellent qualities of Confucianism have been further carried forward. The "Theory of Science" that emerged from the influence of acceptance studies emphasized the ideal personality, and the so-called "sage atmosphere", the search for "Kong Yan Le Place", the cultivation of "Magnificent Righteousness", and the great goal of "the unity of heaven and man" were found for the scholars of the modern period. In the treatise on calligraphy, Su Shi, Huang Tingjian, Zhu Xi, Zhu Changwen, Wei Yiwen, Jiang Kui, Xiang Mu, Liu Xizai, etc. all emphasize the significance of personality and character to calligraphy. Books are determined by character. No intellectual, who has been educated in traditional culture, will disagree. Mr. Xu has a very good reputation in the calligraphy community, and even after many years of his death, he still receives unanimous praise from everyone. He taught students to learn art and governance, first of all, to "be frank and honest, to read seriously, and to work diligently." And he particularly emphasized: "First of all, you must be a person of integrity, and then you must be an artist." If a person's character is not good, even if his words are good, they will not be valued by the world, and there are many examples of such people in history. [Chinese Calligraphy, No. 1, 1992, p. 28.] He believes that the writer must first have a sense of responsibility for society, a contribution to society, and an example from the ancient sages, in order to cultivate a noble and detached personality. He collected ancient texts and sentences such as "Learning from The East and the West is only to seek its righteousness, and people do not have more views on the past and the present", "For the benefit of literature to the world, doing things without shame for future generations", "Having talent and knowledge, self-interest and self-interest", etc., wrote and donated to others many times, not just to let people appreciate calligraphy, but to teach and learn to establish oneself. Using calligraphy as a means of cultivation, the purpose is to cultivate emotions and improve oneself. Although it is not like Zhu Xi who put forward the theory of "calligraphy and virtue", it is necessary to emphasize the cultivated nature of calligraphy. Many of his collections, such as "When dealing with the world should know today's events, and when doing things is necessary for youth", "Books are not vulgar things can heal customs, painting fox clouds and smoke also raise the year", "Yuanming does not hear about cars and horses, Zimei long worry temple" and other sentences, all have the effect of inspiring future learning. He often recommended to his students two professors, Xun Yunchang and Qin Xiaokan, who were both respected by teeth and morality, and spoke highly of their character and books. Regarding Mr. Xu's own personality, Mr. Qi Gong lamented in the preface collection: "Ten years later, there are people who feel that the friendship between teachers and friends is nothing less than flesh and blood, and Mr. Yizheng's teaching is deep and far away." Mr. Deze, not to mention ten years, can be said to be a thousand generations of flowers, people are good, immortal.
(2) To learn to cultivate art
The successful calligraphers of all history are highly educated literati and scholars. Mr. Xu believes that as a scholar-type calligrapher, calligraphy works should have the atmosphere of books and gold and stone. He inherited the "morale theory" of Liu Xizai's "Book Outline" that "books are noble and clean and thick", and put forward the "theory of high quality and learning". He wrote in the "Title Yang Shoujing "Learning Books and Sayings": "The origin of heart painting can be psychic, and it is necessary to accumulate wealth at a high level." A hundred posts and a thousand monuments are judged, and each has its own understanding in terms of plain and honest. He believes that the cultivation of the scholar's grandeur and strange qi also depends on the breadth of knowledge and the profundity of cultivation. When explaining the origin of Wei and Jin calligraphy, he said: "The calligraphy of the Jin people rhymes throughout the ages, because these literati are knowledgeable and insightful, and their character is particularly noble, so posterity rarely has its rhyme, because the character has no rhyme." [Notes on the History of Calligraphy, Class Record, 1990.] The verses cited can be found in the 423-page "Collection of Rhymes and Conjunctions" in the Collected Essays of Xu Wuwen. His evaluation of Zhao Xi, Xie Wuliang, Shen Yinmo, Dai Mingxian and other scholars emphasized their outstanding learning. Scholars' books are absolutely angry, and the next pen is self-elegant, and the emotions are self-seeing, which also reflects the "meaning of wind and turmoil" of "uneven and sounding". In the study of Song Dynasty calligraphy, the general public blindly follows the statement of "Song Ren Shangyi", and after years of research and analysis, Mr. Xu put forward the thesis that "'Song Ren Shangyi' cannot fully cover Song Dynasty calligraphy". [ A Study on the History of Calligraphy in the Song Dynasty.] Collected Papers of Xu Wuwen, Cultural Relics Publishing House, 2003, 312 pp. This is the power of knowledge. In 1990, Dao shandong Jining inspected the tomb of Jiaxiang Fan, and its evidence and inferences were the same as the explanation, which made the companions respect Dunsheng. In 1992, Xia Weiping's poem Zhongyun, who donated to study He Shaoji, said: "Learning to seek facts, virtual texts will eventually return to the truth." "After admonishing scholars, they must have the attitude of seeking practical things, and they must also have a sense of social responsibility, which can be described as well-intentioned."
(3) The theory of matching the name with the truth
"Name" and "reality" have always been the issues that writers pay attention to, and the influence of Guan Hu's posthumous influence. Mr. Xu argues that "it deserves its name". Oppose "false name", "floating name", "notoriety". If young people want to make a name for themselves, they must be gentlemen and take advantage of them. He once engraved "This body is temporarily sent to the apartment, often afraid of the name floating" white text printed to encourage himself, but also self-vigilance. After becoming deaf at the age of 30, he was even more unknown (his real name was Yongnian), although he was known as a documentary, he was more clear-sighted, in order to express the aspiration of "Yong Xie Floating Name". In the poem he sent to his friend, he even said: "Nostalgia is paid in a deep cup, and the origin of the world is shallow laughter." It is difficult to get rid of words when the hands are tired, and it is easy to look forward to poetry. "Constantly push yourself to work upwards. In 1991, on the page of my graduation commemorative album, he wrote with the inscription of King Zhongshan: "Entering the moral cultivation and self-improvement unremittingly", and used the title of the book: "Shihong Xueyou has been practicing calligraphy for three years, and now he will serve the people with his art. "It still inspires me. Someone once held a calligraphy contest in his name, but it was actually a profit-making move, and Mr. Li angrily withdrew and published a newspaper to clarify. At that time, many publishing houses wanted to publish works for him, and he said that after sixty, the printing should be engraved and not allowed to be printed for 300 square meters before it was published. However, the situation changed so quickly that none of his collections were published during his lifetime, which is also regrettable, because it was not as convenient for family members and students to collect works as they were when he was there. In the poem on Ma Sulun's calligraphy: "The book is no size elbow hanging in the air, and the golden needle horse stone wong of the world." But to benefit both the body and mind, the name is only the wind in the ear. [After the Selected Books of the Book of Masulhan.] Xu Wuwen's Collected Papers, 427 pp. It praises Mr. Ma's precious spirit of not seeking fame and fortune but benefiting the world of books.
(4) Seek books outside the book, and seek the theory of printing outside the book
Mr. Xu emphasized that kung fu outside the word and kung fu outside the indian, although it is the last skill of the small road, it is difficult to become a climate without multi-faceted cultivation. Only by having a considerable understanding of the spirit of Chinese philosophy can we fully appreciate the essence of calligraphy. He emphasized in the history of seal engraving: "Huang Mufu's seal is very simple and looks ancient. The development of the Qing printing edge is related to the development of epigraphy, which absorbs nutrients in many ways, and it is by no means a stone and a carving knife that can make a family. [Notes on the History of Printing, taught in 1990.] Published in Friends of Calligraphy, No. 3, 1993. This has revealed the universal success of art. He commented on the calligraphy of Mr. Yi Junmu, a calligrapher and seal engraver: "His seal book is mellow and elegant, his body is strange and elegant, and his pen is beautiful", which is to promote Mr. Yi's rich education and the promotion of calligraphy and printing. Mr. Xu said in the "Xin Wei Nian Self-Inscribed Manuscript": "It is not a carving insect technique, but a stone and a knife." Rooted in the seal, moisturizing Lai ShiSao. Determined not to follow the customs, the wind can be high. The white head is scrambling to advance, and Hugh bears the burden of this life. The poem is widely quoted as Mr. Xu's interpretation of art. "Zhuangzi Rang Wang" said: "Introspection is not poor in the Tao, and in the face of difficulties without losing its virtue." A gentleman's happiness in poverty and adherence to integrity is the expression of personality independence. The art of making nobility is not learned from the form, it is all flowing out of the personality. As Liu Shi said in the preface to "Xu Wuwen's Collection of Calligraphy": "It is precisely because Mr. Xu is a person who has completely got rid of low-level interests in the pursuit of art and scholarship, and is a person with a high standard, and many scholars and artists of the older generation who are rich in knowledge, exquisite in art, and highly respected in the art forest and academic circles are happy to befriend him and award him." [Preface to Xu Wuwen's Calligraphy Collection, Sichuan Fine Arts Publishing House, April 1996.] From Mr. Xu's friendship with Shen Yinmo, Shi Yancun, Qi Gong, Sha Menghai, Miao Yu, etc., it can be seen that the good atmosphere and social effect of making friends through learning and communicating with each other can be seen.
Fifth, the theory of style
The pursuit of calligraphy style is the pursuit of the personality of the calligrapher. Sir is interested in each genre. He had told his students many times that he should do a good job in the most refined work; he would also attack the most wild one. After fifty years, he began to practice and create the grass. In particular, he was the most diligent in copying the cursive handwriting of Huai Su, Zhang Xu and Huang Gu. His copying is more convenient for the lyrical style of the literati, and pursues the combination of "spirit" and "rhyme". The main embodiment is a few points:
(1) Skinny and hard theosophicalism
Although Du Fu took the lead in summarizing the style of the early Tang Dynasty and put forward the view that "the book is expensive and thin and hard to understand the gods", it is not explained in detail, and posterity mostly thinks from the physical aspects such as the thinness of the lines. Mr. Xu believes that the pen strength is solid, the pen gesture is clear, and the bone rhyme is strong, and he talks about it from the aspect of the book style. "Skinny" is a spiritual realm and a kind of personality charm. He opposed the weakness and tension of the sword, emphasizing a healthy and upward mental state, and the strength of the air. "The correct understanding of the hard word is a solid and strong force of the pen. Not hard and thin and fat and weak in calligraphy with the health of the ills, it goes without saying." [ Du Fu and Calligraphy and Painting. Xu Wuwen's Collected Papers, 40 pp. Mr. Xu believes that the "god" of "the book is thin and hard" is embodied in the glyphs accumulated from the dot paintings, which to a certain extent shows the personality, feelings and temperament of the bookmaker, and produces a sense of beauty to the viewer. When he commented on the "Family Nephew Post", he also agreed with Wang Shu's evaluation: "The posture of this post is fat, the bone rhyme is soft and slow, and it is all tacky, which is for the pseudo-body." [Chinese Calligraphy, No. 8, 1988.] Here is purely from the spiritual temperament of the evaluation, "thin and hard theosophical" is a very high realm. He spoke highly of the Chu Shu of the Early Tang Dynasty: "Compared with the Monument of the Buddha of Yi que, the art of the Meng Master Stele is undoubtedly a great step forward, with a solid and varied pen, the care of light and heavy and virtual reality is also more obvious, the structure is dignified but not stagnant, it can be dense and sparse, and it is indeed one of the ideal models for beginners to learn calligraphy. The ideal here is the realm of "skinny and hard theosophical", and it is also the ancient meaning of the previous works of the Tang and Song Dynasties, the so-called thin and solid, hard and solid characteristics, the pen is tight, the ink color is dry, symbolizing the enterprising spirit of Gao Qingjian.
(2) Not exciting, the wind rules are self-explanatory
The Chong he style of writing since the Second King has influenced literati and scholars. This style of "chonghe" is not synonymous with "moderation" and "peace", but actually contains the principle of contradiction and unity of "harmony without difference, violation without transgression". Wang Xizhi's "Funeral Post" by "Xiong Shuang Xuanju" and also the "Orchid Pavilion Preface" with "Peace of Ambition", but in general, the Book of Wang is a book of everyone who is "thoughtful and deliberative, peaceful in ambition, not agitated, and far away from the wind", and returns to Daya after the frenzy and neglect. In the ancient appreciation criticism, Chong He is a very high quality, but also contains a philosophical connotation, Wang Shu is praised by the kind of scattered, simple, Chong and faint literati temperament, representing the Chinese scholar's way of life, such as Sikong Tu's "Poetry" so-called "in the silence, the magic of the subtle". Mr. Xu greatly appreciated the Inscription of the Sui Dynasty, believing that the "Longzang Temple Stele" and the "Tombstone of Su Xiaoci" were condensed in temperament, simple and far-sighted, and more diverse than the Tang stele. In his early years, he saw shen Yinmo's old man's pro-book: "Unfolding a look, it is Shen Lao's request to write "Lan Ting", which was only recently written, and it is the true god, it is not exciting, but the style is far away. [The Dragon Gate Array, Sichuan People's Publishing House, No. 4, 1982, p. 32.] He expressed his admiration for the spirit of Shen Laoxuewang. When he saw Shen Laolin's rice characters, he said: "It is indeed the calm and painful, dashing and natural meaning of the rice characters, and there is absolutely no oiliness and impetuosity." This is also a recognition of Shen Lao's understanding of the spirit of The Book of Rice. He himself wrote in the middle hall of the Mi Xi Poetry Scroll that Lezhi had memorized for me, and wrote that Mi Fu was thirty-eight years old, which was quite beautiful. In fact, it warns us that the connotation of the Rice Book is characterized by Yan Jian, do not be confused by the appearance of Yu Da, take its thickness and abandon its frivolity to get a glimpse of its mysteries. He praised Zhao Xi's characters as "light does not float, heavy places do not lag", "the law is rigorous and the style is elegant". Mr. Xu's ideal is still the realm of divine character: peaceful and simple, and beautiful and heavenly. He was opposed to both vulgarity and clumsiness, believing that none of this was a natural effect. Too clever for kitsch, too clumsy and uninteresting. He believes that when people learn Han li, they should start from the inscription, "Learning li book first starts with this type of Han stele, which is the right way." But many people's academic results are often written plainly and vulgarly. Some people are not accustomed to it, so they find their own way and blindly pursue the ancient clumsy and sinister. [A Brief Treatise on The Calligraphy of seals.] Xu Wuwen's Collected Papers, 268 pp. These dialectical ideas can only be understood after profound practice. Zhu Xi's treatises have many exquisite treatises, such as the "Seventeen Theses" on "playing with their penmanship, calmly and generously and transcending meteorologically, not bound to the Fa, not seeking the Fa, and the so-called one by one flowing out of one's own mind." [ The Book of Obscurity.] Selected And Continued Editions of Calligraphy Papers of Past Dynasties, Shanghai Calligraphy and Painting Publishing House, June 1993, 144 pp. This realm is the highest realm pursued by Shenpin calligraphy, and the mellow elegance advocated by Mr. Xu has the efforts of the ancient sages to examine them.
(3) Mellow elegance theory
Mr. Xu believes that scholars and scholars should rely on their own cultivation to control emotions, should not pursue wild and grotesque, and should reflect their own temperament. Since the song dynasty became popular, the emphasis on learning and learning has become a common pursuit of scholars. In the text, Mr. Xu praised many scholars and commented on them with the word "mellow". For example, it is said that "the seals made by scholars are more mellow and elegant than those of specialized calligraphers", "the seals of his (Yi Junfu) are mellow and elegant, the body is strange, and the writing is beautiful", "The seals of scholars such as Luo Fuyi and Shang Chengzuo are very mellow and elegant, all because of their profound knowledge." Advocating the mellow elegance of "scholars' book style" is aimed at the chaos, strangeness and wildness of the wind of the times. Modern Liu Junhui said in the preface "Zhou Juwu Yincun": "(Juwu) is the end of the flow of the phi advocate, but the business is attributed to the mellow elegance", "Ju Wu's advocacy of mellow elegance, Gai wants to use the wind of the art tree, yu to support the micro, yu to vibrate the evil, carved insect seal carved yun hu ya!" [Preface to zhou juwu yincun.] Sichuan Fine Arts Publishing House, May 1988. Mr. Zhou has established a mellow and elegant fashion for the entire fashion of the times, and the seal is a new one. Mr. Xu obtained its essence and carried it forward again, expanding it to the style of study, style of writing, style of trees, style of poetry, style of printing and even painting style. Mellow, pure and thick, elegant, pure and positive. The ancients mostly used words such as "quaint", "leisurely", "gentle", "elegant", "beautiful" and so on, which were not as good as the synthesis of "mellow elegance". Mr. Xu believes that mellow elegance should have many characteristics:
First, mellow elegance should oppose sweet customs and have the characteristics of freshness and nature. He said in the "Mountain Residence Poetry Scroll" inscribed on the Zodiac Zhou Kai book: "The large grass is bold, the long scroll is clear and steep, and the pen is vigorous and spicy, there is no sweetness, and it has a deep masculine beauty." He also said that his "book is bizarre and wonderful, and it is dense and smooth." [Calligraphy Tutorial, Higher Education Press, June 1994, 181 pp. Another example is the commentary on Yi Bingshou's book: "He is good at clumsiness, counting white as black, strong pen strength, thin and thin dot painting, strict knots, extraordinary chapters, and forming a clean and elegant style." [A Brief Treatise on The Calligraphy of seals.] Xu Wuwen's Collected Papers, 262 pp. Yi Bing's thin book appearance is practical and clever, and the so-called "qingjun and elegant" style is consistent with Yi Bingshou's own opinion on poetry: "Poetry is only spicy in old age, and books like good wine should not be sweet". Elder Xu commented on Li Yang's ice seal book as "halal and elegant", and also spoke highly of Chen Zizhuang's "simple and lonely" style, and affirmed the pursuit of this village sage.
Second, mellow elegance has the characteristics of being strange. He praised Wang Duo's large grass for its "majestic posture and vigorous vitality", which often won by surprise; the "Zhang Qianbei" of "Strange steep and vigorous"; and believed that HuangshiZhai's qingqiao Xiaokai "turning the board into strange" was a major innovation. On the contrary, Zhou Tianqiu's calligraphy is "steady in writing" and "serene in intention" but "not yet dangerous", which finally makes people feel that "the slight sense of talent is not enough". Because the pursuit of "fun" is the requirement of the mellow style of writing. Therefore, Mr. Xu believes that the "magnificent" Chujian is unforgettable because of its magnificent imagery; the oracle bone's "long history, superb charm" is a typical example of "strange" beauty. Scholars should go to the treasure house of calligraphy to appreciate it. He Shaoji's grass is "majestic and strong, vertical and horizontal", which is naturally a typical example of qi, full of masculinity. He criticized Zhang Yuzhao for "not taking the law extensively and not changing much", and refuted Kang Youwei's excessive praise.
Third, mellow elegance should have the characteristics of "elegance". Advocating "Yayi" is actually advocating "bookish qi", and elegant and Nengyi are the most valuable. He praised Yang Shoujing for his "bookish atmosphere" of "writing yanya and not falling into the world"; he said that the Qing people seal book, of which Qian Jue had the highest achievements, in his later years, he made a seal with his left hand, which was gathered into scattered, avoiding the right and strange, and even had the atmosphere of elegance. This is the requirement to have "rhyme", meaning. To achieve these conditions, it is necessary to have a fresh and elegant chapter, a rigorous and dense knot, a round and mellow pen, and a suitable ink to have everyone's style and is a classic work.
Mr. Xu Wuwen's calligraphic thought is a theoretical crystallization from profound practice. Mr. Li has been a magnificent and extraordinary person in his life, holding the spirit of "people abandoning me to take", pursuing the return of the "college spirit" all his life, and striving to advocate the style of "scholars". If Mr. Shen Yinmo's book theory is a return to the literary style of literati such as "Erwang", then Mr. Xu's book theory is a return to the scholar's style. The spirit of the college is the most ideal goal obtained by modern people in the dialogue of the ancients, and it is also the inevitable destination of modern people after the loss of their own concepts in the blind pursuit of innovation. As Wang Yuanjun said in "The Understanding of Shen Yinmo's Theory of Calligraphy": "We should indeed call for the return of the academic spirit that embodies a rigorous and solid style of study, calm, analytical, judgmental, and rational." Only by carefully thinking about one stroke and one painting, and paying attention to the innovation of Shen Yun on this basis, can we achieve the artistic realm of both form and god. [Studies in Calligraphy, No. 1, 1995, p. 24.] Advocating the spirit of the academy is the consensus of people with people. Many young and middle-aged people who used to take innovation as a fashionable slogan suddenly became introspective when they returned to tradition. Mr. Xu often said that when he was young, he wrote a seal book to confuse "with" and "Xing", and was pointed out by others, deeply feeling that the calligrapher had the social responsibility of writing correctly. Mr. Xu's book theories are simple and unpretentious, never labeling any trademarks such as "ism", "modernity", "so-and-so school", making a rough selection of traditional classic books, consciously advocating "creating fine works and classic works" as his responsibility, combining the ancient spirit with modern consciousness, not seeking speed, but seeking staying power, and knowing the true meaning of "the Tao is lonely". In his works, a fresh and strong, flowing and dashing morale rushes to the face, making the layman self-elegant, and the elegant person self-kissing. In his literary and artistic thought and academic treatises, he has consistently maintained the true disposition of Confucianism, the original intention of Taoism, and the empty color of Buddhism, etc., which are organically combined, showing diverse and unified style characteristics.
Mr. Xu's calligraphy, like his calligraphy, is a portrayal of his own personality. It pursues a high degree of unity between pure self-personality and cultural tradition, shows a long historical and cultural origin in the simple heart, and transforms it into a direct enjoyment and transcendence of individual life with its spiritual products. These require high-level understanding of "transcendence", "awakening", and "harmony" in order to be neighbors with the ancients and achieve spiritual harmony with the ancient sages in the depth of time. To this day, Mr. Xu's writings have been tested by time, and they are still new day by day, shining brightly and dazzlingly - this proves the notarization of time and the charm of personality.
Dissolve the ancient casting today, thick accumulation and thin hair
——A brief discussion on Mr. Xu Wuwen's art of seal writing
Su Dachun
A mature calligrapher not only draws nourishment such as pen, ink, and chapter techniques in traditional calligraphy, but also pays more attention to the cultivation of multi-faceted disciplines; such as ideas, morality, literature, philology, aesthetic education, creative thought and aesthetics, all of which have inspired later scholars. Mr. Xu Wuwen is a mature calligrapher. Today, we study his calligraphy in order to gain such enlightenment.
Mr. Xu Wuwen's seal book is mainly manifested in the oracle bone, the Zhongshan King's instrument and the small seal. His seal writing is characterized by an elegant, rustic, elegant, natural, and subtle style. Whether it is oracle bones, Zhongshan Wang Instrument Characters, or Small Seals, although the time span of these three seal books is large and the style of writing is different, it shows a scholarly style in his pen, and can touch the heart of every scholar and applaud it. I think that in addition to his decades-long practice of seal books, it is more important to learn wealth and have a profound understanding and unique insight into seal books. He studied seal calligraphy and benefited from the teachings of his father, Mr. Xu Yisheng (Hong Mu Weng), as a teenager. From an early age, his father "returned to his mother's class, read for seven years and became familiar with four books, poems, zuo zhuan, and ancient texts, and beside them were gold stones and seal carvings." Use oil-paper hooks to imitate Qin Hanwa as a book." And "engineering archaeology, good poetry". (Mr. Xu Yisheng's epitaph) there is a volume of "Hongdi Old Man's Amusement and Treasures" that has been handed down. Born in such a family, under the guidance of his father, he did not follow the old path of the Ming and Qing dynasties, but "began by learning the Duoshan Stele and the Han Seal, and then studied the Liyang Ice Seal Method for a long time." He can write two inches of jade seals with his elbows hanging, and write two or three hundred words in one breath without stopping." (Calligraphy, No. 4, 1988) It can be seen that Mr. Huang had a profound skill in seal calligraphy when he was young. Starting from the Qin and Han seals, it is already high and ancient, which can be described as "taking the law from the top", but Mr. Is not satisfied with all the achievements, and has extensively absorbed the Yin Zhou Jia jin characters, "YouXi Set warring states Zhongshan King Instrument Characters for The Union", (Calligraphy, 1988.4 Issue) carefully pondered, forming his own style of books.
1. Subtle, gentle oracle bone calligraphy
Mr. Xu Wuwen has always maintained a serious attitude in learning oracle bone calligraphy. First examine the accuracy of the text, and then carefully observe and speculate. According to the excavated oracle bones, there are knife carvings and some unexscribed handwriting of Zhushu and ink books to carefully analyze the various lines and methods of closing pens of the ancients. He said: "Judging from the inkblots of the Yin people, the line of pens is very natural, and it is done with a pen, unlike the seal book writing in later generations, starting from the end of the Tibetan front, but the pen edge is revealed, forming two pointed and thick strokes in the middle." And summed up that "the uniqueness of oracle bone calligraphy in art, one is the strong pictographic of the form, the second is the re-structure and chapter, which has more flexibility than the calligraphy of later generations, and the third is that the writing and engraving are closely integrated, affecting each other, and the origin of pen writing and knife engraving is very ancient" ("Yin Xuan Oracle Bone Calligraphy Selection" Preface). Therefore, when she studied oracle bone calligraphy, she never drew gourds in the same way, but after she had a deep understanding of oracle bones, she went to rough and refined, retained its pictogram in glyphs, retained its flexible artistry in structure and chapters, and dropped too many knife marks with a pen to retain its simplicity. Therefore, when writing the oracle bone, he discarded the pen with the two tips of the oracle bone, and mixed the penmanship of the later golden text, starting the pen to hide the front, the line pen center, the sharp edge and the back edge to close the pen at the same time, turning the upper and round and using it together. This fully reflects Mr. Xu's artistic boldness and rich knowledge. The oracle bone lines expressed in his pen do not have a thick form in the middle of the two ends, but the lines are both gentle and strong, without losing the ancient meaning, in the glyph structure, although he narrows the gap between the size of the oracle bone, according to the shape of the word, both go with the flow, but also mix their own imagery, so that it achieves a harmonious and simple artistic effect. For example, "archaeology multi-guan Shang Yi Zhou Ding, travel to the famous mountains and rivers" written, the old, exhausted, calendar, guan, Yi characters, in the oracle bone strokes are quite complex, while the ancient, many, famous, mountain, large, Sichuan and other characters but the strokes are relatively small, in order to make the whole pair of couplets coordinated, so in the writing, intentionally the strokes of the word compression, and the strokes less words and appropriate expansion, strokes between the collocation, jagged. More is not bloated, less is not lonely, and the entire character posture tends to be elongated, thus achieving a harmonious unified posture. Show your own style and artistic realm. This is the subtle, implicit style of elegance. The expression of his style is difficult to achieve without his profound learning and in-depth study of ancient characters and persistent pursuit of calligraphy.
Mr. Xu Wuwen not only has an in-depth study of oracle bone calligraphy, but also has a very strict interpretation and examination of words, and never randomly pieces together and arbitrarily passes fake oracle bones. He also often collects oracle bone characters as a joint calligraphy creation. However, the oracle bone can interpret only about a thousand words, and the collection of oracle bone writing is a form of expression that everyone is happy to use in the creation of calligraphy, which requires the author to have a considerable literary level and ability to examine in order to do this. Mr. Xu Wuwen said in the preface to his compilation of "Selected Oracle Bone Calligraphy of Yin Ruins": "When collecting, it should be limited to the writing that has been recognized as interpretation, and it is not appropriate to use homophone books to see and pass, and it is not appropriate to use the side to piece together the "new" oracle bones. He also said: The calligrapher has only the obligation to write correctly and well, and does not have the right to write wrong words and to make words at will. It points out the direction for us to learn ancient scripts such as oracle bones. The study of oracle bones is not only limited to calligraphers, but also literature and philology, which is also the obligation of a calligrapher. It also fully shows that Mr. Xu Wuwen has a serious and serious attitude towards the study of ancient scripts such as oracle bones, and has the dual demeanor of a scholar and a scholar.
Second, the elegant and vigorous calligraphy of the Zhongshan King.jpg
Some people say that Xu Wuwen's Zhongshan WangQi calligraphy is "the only one in the country, there is no other branch". When you think about it, this is not an exaggeration. Indeed, from the national competitions and exhibitions, it is not yet clear that there is any company that has such a degree of dedication and special love as Mr. Xu. Mr. Xu Wuwen not only wrote the Zhongshan King Instrument Characters for a long time, but also set dozens of pairs of paintings, which in itself is a very difficult thing for the Zhongshan King Instrument Characters with few words. He has a profound understanding and a rich understanding of Zhongshan Wang calligraphy, believing that Zhongshan Wang's character structure is rigorous, the pen is strong, the style is elegant, and it has a strong decorative nature. This kind of decoration appears to be magnificent, without any sense of worldliness or delicacy, but with the meaning of elegance and luxury. For example, "Long years of diligent study do not know old age, Jia You will be appreciated by the mountains." From this self-written joint, we can see that Mr. Xu Wuwen's chapter treatment is that the words with many strokes lean the center of gravity upwards as much as possible, and tighten the left and right to form a rectangular shape. Such as long, years, diligence, learning, no, old, jia, travel, get and other words. Structurally, try to be roughly uniform and equal, reasonable occupancy, tightly closed, and staggered between strokes. Such as long, know, jia, day, travel, mountain, get, reward and other words. With the pen, to shunfeng to close the pen mainly, occasionally use the Tibetan front, the center of the pen, the trend out of the pen, the line is slightly thicker than the beginning and end, the contrast is small, just like the steel bar at both ends of the sharpened like, very strong and powerful, so that the pen is exhausted and the temperament is long, full of charm, both dashing and vigorous. It fully shows the artistic charm of zhongshan king instrument characters.
Why can Mr. Xu Wuwen express the calligraphy art of Zhongshan Wang so vividly? I think this is inseparable from his decades of research on literature and philology, the artistic analysis of the aesthetic vision of calligraphy, and the meticulous study of Zhongshan Wang's calligraphy. He was able to fully apply his own rich knowledge to swing his pen, so that the calligraphy of zhongshan wangqi characters reached a state of transformation. Without his profound academic cultivation and decades of tireless artistic pursuit, it would be difficult to achieve. Throughout the ages, all accomplished calligraphers have had a deep sense of knowledge. They are not simply writing for the sake of writing, but because of the continuous enrichment and precipitation of all aspects of knowledge, out of the continuous desire for the beauty of words, the elegance of injecting new life into words, and the pursuit of an art form. They are not simply "writing", but writing the heart, writing freehand, writing the emotions and "images" to be expressed in the heart. Mr. Xu Wuwen's calligraphy is to write the heart, write love, write freehand, and write the "elephant" in the heart.
Third, clean and elegant small seal calligraphy
Mr. Xu Wuwen's small seal gives people the first impression of a "well-dressed" and "personable" gentleman, who is both "approachable" and natural and generous, without any sense of carving. However, when you taste it carefully, there is also an elegant, peaceful, and simple atmosphere of Confucianism. He writes small seals, often in the center of the pen, starting with the pen to hide the front, and returning to the front to close the pen. The lines have a soft and rigid feel, and they are very clean and clean. Never drag mud with water, "casually" engaged. As the saying goes, "Words have no work of a hundred days", as long as you are willing to work hard, you will be able to write well, and what can really become elegant art and form a unique style is not something that ordinary people can do. This requires a comprehensive reflection of a person's cultural literacy and aesthetic taste. Mr. Xu Wuwen can obtain such an elegant atmosphere in calligraphy, and there is a literary style, which to a large extent reflects his profound knowledge and attachment to the ancient and unusual aesthetic ability. In the handling of knots, he pays great attention to the organic combination of symmetry and staggering. There is no surprising pen at a glance, "the appearance is flat", and I feel that it means endlessly in retrospect. You chew carefully, and his purified lines are like elastic steel bars, full of strength at all times. The denseness, opening and closing, looseness, and dispersion of his knots are just right. The trajectory of the line proposal is full of rhythmic, fast and slow forms of movement, which is both lively and lively, but also has the solemn atmosphere of the temple and the wonderful state of returning to the basics. It creates a touching momentum that is both elegant and iron-clad, leaving a deep impression on the viewer.
Mr. Lu Xun said that the painter's creation, "expressively a painting, a statue, is actually the expression of his thoughts and personality." We not only like to enjoy it, but also to be moved and have a spiritual impact." (The Complete Works of Lu Xun, vol. 1, p. 404) Isn't Mr. Xu Wuwen's seal book an expression of his thoughts and personality? His lines are clean and well-structured, and he never invents Chinese characters, but has a basis. He re-created the beauty of the Chinese character ontology, making it conform to people's aesthetic emotions, in order to aesthetically educate the people. He never frightens others with eccentricity, but infects others with peace and elegance, so that you slowly feel awe after watching.
He wrote seal books, often using pig bristles as the main pen, and used ink to grind ink. The lines are firm and subtle, gentle, and the ink color is full and rich, rich and light. When creating, the rules are well understood in the chest, thick and thin hair, so the atmosphere is vivid, the pen is exhausted and the spirit is still there. The characteristics of his seal book are mainly manifested in the following aspects, one is the beauty of the line, whether it is written in oracle bones, Zhongshan King Instrument, or small seals, its lines are strong and powerful, the rhythm is clear, not stagnant, clean and clean. The second is the beauty of the knot. In the shape of knots, we follow the rules of Chinese characters and recreate beauty. When writing, it pays great attention to symmetry, density and consistency, and the combination of virtual and real is brilliant. The third is the beauty of the rules. The overall chapter is very particular about the layout. Fully expressed his spirit, emotion and momentum. Like the deployment of the army, the number and the widow are formed, the head and tail are penetrated, and they reflect each other, and there is an overall beauty. Fourth, the beauty of style. His style of writing mainly shows a sense of elegance. Not biased, not radical, not conservative, but peaceful, elegant, elegant and popular appreciation. Fifth, charm. In the form of calligraphy expression, he injected a large amount of his own ideological temperament and the aesthetic taste of Chinese character calligraphy, so that calligraphy really entered the art level, so that the viewer had a pleasing enjoyment, and there was a delicious wine belly, an indescribable magical realm.
The article was published in the seventh issue of Sichuan Calligraphy in 1996
Zhang Kun provides works and textual content
An outline of Mr. Xu Wuwen's oracle bone research and calligraphy artistic achievements
Hu Changchun Wang Chengjiang
(1) The oracle bone script is a script on turtle shells and animal bones left over from the Shang and Zhou dynasties in China, which has a history of more than 3,000 years, and is the oldest systematic mature script in China, and is known as one of the four major discoveries of the twentieth century. The discovery of Oracle is an epoch-making event in the cultural history of China and even the world. As a cultural reaction, since the twentieth century, the study of oracle bone has become a specialized oracle bone, and has continued to develop into a multidisciplinary comprehensive research, becoming an international "prominent science" that affects many countries, and has made great achievements that have attracted worldwide attention. However, for the study of Oracle's art, due to the historical fractures of the past thousand years, the instability of Chinese society in the twentieth century, and major changes in the cultural field, the evolutionary history of Oracle calligraphy is extremely tortuous, difficult, complex and changeable. (2) In order to give new life to the ancient oracle bone calligraphy under the new historical situation, several generations of oracle bone calligraphers have braved hardships and faced difficulties, and have made positive and great contributions to this end, and Mr. Xu Wuwen is also his witness and important participant. Mr. Xu Wuwen is a well-known scholar-type calligrapher, seal engraver, and paleographer of contemporary times, and his research on oracle bones is also careful and in-depth, and he is deeply familiar with the ancient law of oracle bone artistic creation, which is a successful example of both academic research and artistic creation of oracle bones in contemporary times. The in-depth study of the artistic creation of oracle bones and calligraphy has important practical guiding significance in contemporary oracle bone research and calligraphy creation practice. I. Academic Background and Artistic Thought Xu Wuwen (1931-1993), formerly known as Yongnian, was a chinese poet. Room number Shou Mo Ju, Candle Room, Singer Ode Room, etc. After the age of thirty, due to ear disease, he did not know a word. He graduated from the Department of Chinese of Sichuan University in 1954, and was transferred to Southwest Normal University in 1955 as a professor of the Department of Chinese and the director of the Classical Literature Research Office, and also served as a master tutor for the tang and Song dynasties, calligraphy and seal engraving. He died in Chongqing on June 21, 1993 at the age of 62 due to illness. Before his death, he was a member of the Chinese Writers Association, a director of the China Book Association, a member of the seal engraving review committee of the China Book Association, a member of the Xiling Printing Society, a vice chairman of the Sichuan Book Association, a vice president of the Sichuan Calligraphy Society, a librarian of the Sichuan Provincial Research Museum of Literature and History, a standing committee member of the Sichuan Provincial Federation of Literature and Literature, and an honorary president of the Chongqing Printing Society. He participated in a large number of compilations of the "List of Ancient Chinese Characters and Glyphs," and was one of the editorial board members of the "Han Dynasty Dictionary of Chinese Classics," "The List of Seals of the Qin, Han, and Jin Dynasties," the "Jia Jin Seal Li Da Zidian," the "Selected Oracle Bone Calligraphy of Yin Xu," and the "Dongpo Anthology." Mr. Xu Wuwen was born in a family of scholars, and his moral articles are all taught by the court, so his art can create the realm of the ancients. As Mr. Zhou Xuanbai said in his epitaph, "Erudite and versatile, although inheriting family learning, he benefits from many teachers." Calligraphy such as Shen Yinmo, Pan Boying, seal carvings such as Fang Jiekan, Zhou Juwu, Yi Jun room, or day and night, or hear the Tao back and forth, are all respectful and respectful, so they can become deep; After visiting the mountains and rivers and visiting the monuments, they have received the help of nature, so they can become great. There is inheritance and then there is creation, and there is practice and then there is communication. (1) Mr. Xu Wuwen also had many contacts with celebrities such as Mr. Shi Jiecun, Mr. Rong Geng, Mr. Qi Gong, Mr. Shang Chengzuo, Mr. Sha Menghai, Mr. Guo Shaoyu, Mr. Xie Zhiliu, Mr. Wu Zhangshu, and Mr. Ma Guoquan. His writings are abundant, and he is good at calligraphy, as Mr. Qi Gong said in the preface to his collection of papers, "His writings are very rich, and he is particularly accomplished in the examination of ancient texts." He wrote a book, ancient, seal, kai, and xing, and was not refined. (2) His writing style is clear and beautiful, and his style is profound and elegant. The small seal of iron wire and the inscription of the King of Zhongshan are particularly exquisite and unique. Seal engraving "elegant and plain, strive to print from the book, choose the layout of the word, extremely intentional management, quasi-ancient seal, Han seal and Ming and Qing Dynasty printing school and other styles, all have their own styles, never bend the customs, graceful and elegant, outstanding everyone." (3) What Mr. Xu Wuwen practices is the integration of art and taoism, and the concept of dual advancement of art and taoism. He paid attention to the cultivation of moral character and the cultivation of the inherent personality of the art, and he warned the students with his wisdom and practice: "There is morality, learning, and superiority in Linchi Kung Fu, and all three have the hope of becoming a family." Now there are calligraphers everywhere, how many will there be? When you are young, you are determined to be high, persevere, and over time, you will naturally have success. (4) This is Mr. Wuwen's admonition in the 1990s, and the profound reflection on the cultural connotations of calligraphy in the contemporary book world after twenty years of popularity in the exhibition genre has further confirmed Mr. Xu's torch-like gaze. Mr. Wuwen also said, "Temperament is high and low, and there are customs and elegance, which depends on character and learning, not only on words." "Character is very important and will be reflected in the words." Master Hongyi is like this, only calligraphy, there are many people who are deeper than his kung fu, but his character is high, and it is reflected in the words, forming his own unique style." (5) This artistic concept of "emphasizing morality", "emphasizing learning" and "emphasizing technique" is pointing out the direction for the cultivation of contemporary Chinese calligraphy talents. In addition, Mr. Xu Wuwen also advocates the practice of calligraphy art of natural innovation, believing that innovation is first of all to go deep into tradition, "to write the works that have always been recognized as definitive, and then to discover the similarities and differences between them." Painting can come from nature, and calligraphy must come from tradition." He further believes that "innovation is to write exemplary works." (1) II. Mr. Xu Wuwen's Oracle Bone Research (1) Mr. Xu Wuwen's Research on Oracle Bone Science Mr. Xu Wuwen is a famous scholar who has read poetry since childhood. He has a very different understanding of the nature of calligraphy and the spirit of calligraphy, as he said: "To learn more about all kinds of knowledge related to calligraphy and seal carving, China's unique calligraphy and seal carving is brewed in the entire cultural and historical environment for thousands of years, just like Luzhou special songs must come out of the old cellar." To learn all these things, we must accumulate them for a long time, otherwise we will end up becoming a writer." (2) Therefore, he took the path of learning for art advocated by Mr. Li Keyan of "using the greatest skill to enter and the greatest courage to fight out". He used his greatest efforts to go deep into the Chinese tradition, "burning anointing oil to carry on the sun, and constantly going to the poor years." Therefore, Mr. Xu Wuwen's research on oracle bones does not only stop at the artistic level, his study and research of ancient characters such as oracle bones is cross-cutting, and his academic research and artistic creation have gradually entered a better state before his death. 1. Tsukiji "Shuowen", immersed in oracle bones, and participated in the compilation of the "Hanyu Da Zidian" In 1964, Mr. Xu Wuwen began to study philology, and successively compiled, copied, and proofread "Wenzi Mengqiu", "Oracle Bone Compilation", "Shuowen Jiezi" and so on. Especially during the Cultural Revolution, China's literati and cultural heritage were severely damaged and damaged. When others were busy with struggle, he was able to settle down in loneliness, and Bu Juzhong County hand-copied more than 200,000 words of the "Oracle Bone Compilation"; Burying his head in four parts, repeatedly proofreading the "Sayings" seven times with a fly-headed Xiao Kai, clearly entering the Path with a clear heart, and being happy to forget his worries. (3) In 1976, Mr. Xu Wuwen participated in the compilation of the Hanyu Da Zidian, which was uniformly planned by the State Publishing Administration, approved by Comrades Zhou Enlai and Deng Xiaoping, and edited by Mr. Xu Zhongshu, and mainly undertook the collation and editing of glyphs. The compilation of this dictionary begins with the collection of data, and it is necessary to "make use of the new materials unearthed or discovered after liberation as much as possible, and at the same time, to make active use of the materials that have been passed down from generation to generation as much as possible." To this end, he collected the scripts from the Yin Dynasty to the Warring States, and specifically organized and compiled the work of the "Chinese Ancient Character Glyph Table"; He also collected and sorted out the written materials from Qin to Wei and Jin, and compiled the "Extant List of Stone Inscriptions of the Seals of the Qin, Han, Wei, and Jin Dynasties," which was later written in the book, and the "List of Seals of the Qin, Han, and Jin Dynasties, and The List of Seals of the Qin, Han, and Jin Dynasties, which was later written, was its continuation. The Hanyu Da Zidian is a very arduous cultural project, which lasted for ten years from the beginning of preparation to the publication of the first volume in 1986, which was difficult and could not be explained by those who did not experience it. The requirements of the Hanyu Da Zidian are extremely rigorous, and they must "reflect the development of Chinese character shapes, sounds, and meanings as historically and correctly as possible." In terms of glyphs, it should include representative oracle bones, gold scripts, small seals, and lishu forms that can reflect the evolution of the form under the single word entry of the script, and explain them concisely. Through the search and analysis of the shape of the characters, he had an objective and in-depth understanding of the laws of the evolution of the forms of Chinese characters, came up with new and valuable academic achievements, and wrote the article "The Theory of the Small Seal for the Warring States Characters", which was unanimously praised by colleagues in the academic circles. This laid a solid foundation for his later academic research. (1) After the publication of the Qin, Han, Wei, and Jin Seal glyphs in 1985, the breadth of its material collection and the accuracy of the glyph interpretation reached the landmark height of an era and was widely recognized by the academic community. In 1986, Qiu Xigui xiansheng published "< Qin, Han, Wei, Jin, Seal Glyph Table >Reading Afterword", which was first included in Mr. Qiu's "Collection of Treatises on Ancient Characters" and later included in the third volume of "Qiu Xigui's Academic Anthology", just as Mr. Qiu said: "The value and benefits of this book, the preface to the beginning of the book have been well explained", mr. Qiu also said, "Regarding the value of the "Glyph Table", we should also say a few words. The Glyph Table is a collection of rich information. Among them, the glyphs on the Qin and Western Han Dynasties discovered since the 1970s are new materials that have never been included in similar reference books, which are particularly worthy of attention. The style of the whole book is also quite perfect. For those who study Chinese characters, this is a very important and useful tool book. Its value is in no way diminished by the fact that we point out some of its shortcomings. (2) 2. Compilation of the "Jia Jin Seal Li Da ZiDian" and "Selected Oracle Bone Calligraphy methods of Yin Ruins" After the founding of New China, due to the unprecedented achievements in the archaeological cause, China's underground materials have been continuously discovered. On the one hand, there are the continuous excavations of Chinese character materials before the Yin Dynasty; On the other hand, a large number of books and bamboo books appeared. Mr. Xu Wuwen had a view that at that time, "in the glyph dictionary seen, there were many characters for a certain type of artifacts, and fewer for various types; There are more pre-Qin characters compiled, and less attention is paid to the later Qin and Han dynasties; According to the order of the times, all kinds of artifacts and scripts were collected, newly excavated materials in the past forty years were selected, and the research results of contemporary philology were widely absorbed. For example, the famous scholar Zhao Ping'an often quoted glyphs (1) in the Jiajin Seal Li Da Zidian when examining the evolution of ancient characters, and students Huang Renzhong, Guo Qiang, Xu Li, Zhang Yinong, Wang Jun, Liu Shi, Fu Zhou, Chen Aimin, Li Tong, Miao Yongshu, Su Dachun, Li Weipeng, Chen Shu, Gong Wen, Wei Yuan, Cao Jian, Chen Longhai, Fang Xiao, Cheng Mingzhen, Qiu Shihong, Chen Daoyi, Hu Changchun, and so on It is also a must-have for desks. Since about the 1920s, oracle bone writers and calligraphers have written oracle bone in different forms of calligraphy. By the early 1980s, with China's reform and opening up, Oracle was also accepted on a larger scale and at more levels, and an unprecedented development situation appeared, and more calligraphy and seal engraving enthusiasts participated in the study and creation of Oracle. In 1992, Mr. Xu Wuwen decided to edit a popular oracle bone calligraphy tool book in view of the fact that the vast number of calligraphy enthusiasts could not read the "Oracle Bone Collection" because it was not only huge, expensive, and professional. He selected a hundred oracle bone rubbings from various works, and compiled the "Selected Oracle Bone Calligraphy of Yin Ruins" in chronological order. In order to facilitate the use of oracle bone calligraphy enthusiasts, the book is accompanied by a brief list of oracle bone characters compiled according to the "Oracle Bone Dictionary" edited by Mr. Xu Zhongshu, which includes 1071 oracle bone words. At the end of the book, 101 pairs of jilian are attached, of which the first 60 pairs are selected from Luo Zhenyu's "Jiyin Xu Characters Yang Lian", and the last 41 pairs are written by Mr. Xu himself, ranging from four-character lian to eight-character lian, and the words are beautiful. The preface to the book is written, which makes a simple historical review and artistic analysis of the study of oracle bones, which has an important guiding role for beginners to oracle bone calligraphy. It provides an important academic guarantee for the calligraphy community to create the art of oracle bone calligraphy. (2) Mr. Xu Wuwen's artistic research on Oracle 1. Research on the artistic characteristics of Oracle Mr. Xu Wuwen has in-depth research on the artistic characteristics of Oracle. As far as the content of the Oracle is concerned, he believes that its content provides us with rich information on all aspects of social life in the Yin Dynasty, and it is a valuable document. As far as its writing itself is concerned, it can enable us to have a more scientific and comprehensive understanding of the development of Chinese characters, and by comparing them with the Shuowen Jiezi, it can also help us to clarify the meaning of many Chinese characters, and thus help us to interpret the ancient books of the pre-Qin Dynasty. But "when Chinese characters were created as a means of communication, they also brought the art of calligraphy." The creation of Chinese characters fully expresses the wisdom of the ancient people of our country and reflects the unique way of Chinese understanding the objective world, and the writing not only has the communicative role of recording language, but also has the aesthetic function of art." (2) To this end, he conducted an in-depth analysis of the Oracle from an artistic point of view. (1) Pictography of the body Mr. Xu Wuwen believes that the oracle bone has its own unique book body beauty, compared with the later book body, the oracle bone pictogram is stronger. Since the oracle bone is not far from the original text, the glyph retains more pictorial meaning. He said: "The pictographic characters and the yiyi characters in the oracle bones are all images that are summarized and refined with vivid and flexible lines after repeated observation and analysis of objective things. The pictographic nature of the oracle bone is naturally expressed by the ancestors in the long life, which shows the wisdom and simplicity of the ancestors; In terms of the evolution of Chinese characters, it is not repeatable." Many single hieroglyphs, such as the whole and part of man, animals and plants, celestial geography, and man-made artifacts, are all painted as Xu Shen said, "painted as its things, and bent with the body," and they all highlight the characteristics of a certain object, such as horses, cattle, sheep, deer, dogs, tigers, leopards, etc., which are all four-legged animals. Such as the ferocity of the tiger, the death of the dragon, the beauty of the phoenix, the tameness of the sheep, and so on. Although some can mean words, although it is more difficult to create than single characters, the depiction is still concise and vivid, making people know at a glance. For example, the word "struggle" refers to two people scratching at each other, the word "milk" means a mother holding a child to breastfeed, the word "圉" means a person kneeling in prison with handcuffs, the word "Xing" refers to a four-handed lifting device, the word "art" means a person squatting on the ground and planting plants, and the word "shooting" means putting an arrow on a bow. (1) (2) Engraving and Writing Mr. Xu Wuwen believes that in ancient times, art that was simply for appreciation was only a minority, more art was combined with practical goods, and oracle bone calligraphy was accompanied by religious divination. As for the engravers of the oracle bones, Mr. Xu Wuwen believes that they were the virtuous people who were engaged in divination around King Yin, who were both witches and historians, as well as experts and high-level intellectuals at that time; For the engraving materials of the oracle bone, they are all scraped and rectified to make it smooth and shiny, and after the engraving, they are often decorated with cinnabar or black ink on the words to make the text clear and beautiful. For the engraving and writing of oracle bones, Mr. Xu Wuwen has made a careful study, and he believes that the writing and engraving are closely integrated and influence each other; And the vast majority of them are carved, and only a few are ink books or Zhu books. For Yin Ren's inkblots, he believes that "the line of pen is very natural, and it is done with a pen, unlike the later seal books that start and stop the Tibetan front, but the pen edge is revealed, forming a thin head and tail tip and thick stroke in the middle." (2) This rapid and concise Yin ren penmanship was used until the Hou Ma MengShu of the Spring and Autumn Period, and was called the "Book of Kedou" by the ancients. How to engrave oracle bones? Mr. Xu Wuwen also made a detailed analysis. "The Yin people used bronze carving knives, and their length and size were roughly the same as those of today's seal carving knives. To borrow the terminology of seal engraving, the knife method of Yin ren's engraving is a punching knife, the carved strokes are smooth and neat, and the words are not stagnant and hairy. The bones of the tortoise shells are harder than the ordinary stone printing materials, and the techniques of the virgins are mostly skilled, and they do have a skillful force on their hands, and they can carve out lines that are either rigid or soft and with brushwork at will. "Carvers have higher brush writing skills first. For oracle bones, is it written first and then engraved or directly engraved? He believes that there are both, and that the latter is more than the former. Some words with a diameter of more than one centimeter are mostly written first and then engraved, and also modified with a compound knife, and the difference in square and round strokes also appears in the starting pen, showing the writing effect of the brush. As for the large number of small characters, they are basically engraved in a straight line, and some of them do not follow the general stroke order, but first engrave a word or even a paragraph of a number of words in one go, and then engrave horizontal paintings and oblique pens. (3) Structure and Chapter Method For the structure and chapter method of the oracle bone, Mr. Xu Wuwen believes that the shape of the oracle bone has not yet been fixed, and there are often several or even dozens of ways to write a word, so its structure and chapter method have more spiritual activity than that of later calligraphy. As far as the structure is concerned, no matter how many strokes the font is, the length of the shape, the position of the structure, etc. are quite arbitrary. From the perspective of calligraphy, this freely changing feature can make its knots richer and more creative, giving the oracle a colorful appearance and a real taste. However, the contractor will not be hasty because of this, but will try his best to carefully construct according to the requirements of beauty, and the composition of the whole, no matter how the parts are displaced or exchanged, can be coherently coordinated with each other to ensure that the center of gravity is stable and harmonious. In terms of rules and regulations, Xu Wuwen praised Mr. Deng Yijing's statement that "oracle bone writing ... If the hanging needle is hanging from the pen, the horizontal and vertical twists and turns are arranged compactly, the four-square triangle is coordinated, the blank space is densely harmonized, and so on, it can give a paragraph of beauty to the whole text, this beauty can not come from the artistic conception, and it can be known for the careful compilation of the writers at that time. (1) (4) Artistic style Mr. Xu Wuwen believes that for some oracle bone rubbings with more words, not only dotted paintings, structures, and chapters have the elements of calligraphy, but also have a certain artistic style. He admired Mr. Guo Moruo's statement in the "Preface to yin qizhi". "The beauty of the inscription on the turtle bone, the essence of its inscription and the beauty of the words, have fascinated future generations for thousands of years. The style of writing varies from person to person, and it is similar to the world of Wuding, and the words are more powerful; The life of Emperor Yi, Wen Xian is beautiful. Thin pieces of square inches, engraved dozens of words; The strong one is so big that it can be transported to inches. And the line is dense, the structure of the word, the ring is taken care of, and it is orderly. There are those who are sloppy and anxious, mostly found in the world of Xin Xin and Kang Ding, but although they are sloppy and colorful, they are also their own. "It is enough to know that the surviving deeds are actually a generation of law books, and the one who has the deeds of the books is Yan Liuye, the king of yin shi." (2) It is regarded as a fine theory. 2. Artistic creation with Oracle as the content material and form carrier At the same time as Mr. Xu Wuwen's research on Oracle, he was also attracted by the artistic charm of Oracle. As he said in the "Preface to the Selected Oracle Bone Calligraphy of Yin Ruins", "People are interested in oracle bone calligraphy, which naturally contains a sense of national pride that cherishes the most ancient script in our country, and at the same time may also feel fresh because they are accustomed to reading the more regular seal books after the Qin and Han Dynasties, and once they see the oracle bones that are relatively free to write and carve, they feel fresh, but in the final analysis, it is because of the artistic charm of the oracle bones themselves." Because Xu Wuwen has an in-depth study of the oracle bone, he has carefully analyzed and carefully pondered the order of the oracle bone strokes and the knife method, so he is well aware of the internal laws of the oracle bone. Mr. Xu Wuwen is good at oracle bones and likes to collect oracle bones for joint creation, such as he attached 41 self-written couplets after "Selected Oracle Bone Calligraphy of Yin Ruins", and the words are beautiful. It is indeed not easy to gather so many excellent couplets in a limited number of texts, and this also fully demonstrates his skill and level in literature and philology. His artistic creation of the oracle bone is mainly reflected in the two aspects of calligraphy and seal engraving. (1) Creation of Oracle Bone Calligraphy Mr. Xu Wuwen's calligraphy creation of Oracle bone is based on the in-depth copying of Oracle rubbings. He is extremely serious about the imitation study of oracle bone rubbings, and first selects the oracle bone "Fa Ti" that is convenient for copying and learning in the huge group of oracle bone rubbings, interprets and examines them, seriously analyzes the changes in their pointillists, glyph structures, chapter layouts, and so on, and then sinks down to carry out copying and learning. When copying, he never drew gourds in the same way, but after a deep understanding of the oracle bones, he went to rough and refined, retained its pictogram in the glyphs, retained its flexible artistry in the structure and chapter, and dropped too many knife pokes on the pen to leave its simplicity. Then appropriately incorporate the penmanship of jinwen, start the pen to hide the front, line the pen in the center, use both the sharp end and the back front to close the pen, and use the square and the circle on the turn, and use both squares and circles. Its lines are gentle and robust, without losing their rustic meaning. (1) We can see this in his copying of oracle bones in 1976 and 1977. (Excerpt)
(1) (2) Hu Changchun Professor of School of Fine Arts, Southwest University Doctoral Supervisor of Calligraphy, Interdisciplinary Discipline of Chinese Character and Calligraphy and Painting Art, Doctoral Program Leader. Wang Chengjiang, Master of Calligraphy Creation and Theoretical Research, School of Fine Arts, Southwest University.
Portrait sketch of Xu Li (Xu Wuwen's eldest son) Xu Zhiteng wrote in Chengdu on October 9, 2019
The above unexplanned pictures and text materials are provided by Xu Li
Please pay attention to the seal book of Mr. Xu Wuwen that will be launched in the next issue of this platform, and now push some of his student reminiscence articles