Recommended words: The years are hurried, and behind them are fragments of time of white flowers. Roughly calculated, I have known Lao Feng for more than a decade. This former cadre aiding Tibet may have been living in the snowy plateau for a long time and honing a heroic and persistent life in the vast polar region.
In Jinan, he is a media worker and an elegant literati. Writing poetry, painting, engraving, practicing calligraphy, these amateur pleasures after his retirement, have surfaced, flooded the waves, and become the main business of daily life. With his poems, books, paintings, and prints, he has been alone in the world's painting world and has won rave reviews.
After many years of interaction, I am well aware of Lao Feng's artistic personality. He is low-key and humble in his life, but his artistic expression is wild and broad, and he is not burdened by the reputation of the floating waves. In my opinion, his obsession with art is more like a kind of practice, to get rid of worldly greed, anger, delusion, and slow doubt, to be comforted for halality, for selflessness, for wisdom. Cold and summer, sometimes dawn, sometimes late at night, avoiding the hustle and bustle, Lao Feng was alone in his studio, facing rice paper, or writing or painting, which was completely a kind of "six sutras note me" input. Every time I go to his studio to taste tea, talk, and admire his works with ink fragrance, there is always a joy of "stealing half a day of idleness because of the words of the monks in the bamboo courtyard".
Lao Feng's mentality of engaging in artistic creation is quite resistant to loneliness and quite calm, such as Bai Juyi's "Night Boat Aiding the Piano": the birds and fish do not move, and the moon shines deep in the night river. There is nothing outside the body, only the piano in the boat. The seven strings are beneficial friends, and the two ears are confidants. The mind is quiet and quiet, and there is no ancient or modern in between.
In art, Lao Feng always maintains self-discipline, which belongs to "ringing drums without pounding".
Recommender Liu Yong (Former Director of the Information Office of Jinan Municipal People's Government, Former Secretary-General of Jinan International Cultural Exchange Association)
1
It took a long time to write this article, because Mr. Feng Shaohua's "aura" was too powerful, and he did not know how to write and where to start. Thinking of the Master in the Analects, the Master said to himself: "Speaking but not doing", the present person interprets it as a gentleman who does not move his hands, and really feels that it is a kind of wisdom.
Du Fu has a poem "Accompany Li Beihai to feast on the pavilion", I only remember "The sea right of this pavilion is ancient, jinan famous people". Since ancient times, the celebrities who can be accepted and tolerated by Jinan Province, which is "four sides of lotus flowers and three willows, one city of mountains and half a city lake", presumably are not high-ranking officials and nobles, nor are they rich merchants. There is a label in the "New Sayings of the World": "Celebrities do not need wizards, but they often have nothing to do, drink bitterly, and read "Departures" to call celebrities also." ”
Mr. Feng Shaohua, a northeastern Hanzi who broke into the rivers and lakes, just passed the age of Ear Shun, and privately I have always called him Feng Ye, and the word "Grandfather" sounds smoother than that of teachers, sirs, masters, comrades, and even masters, professors, directors, bureau seats, etc. at the moment. We can call Feng Shaohua a classical poet, a Master of Danqing, a book maker, a printer, a bronze collector, and even a member of so-and-so association, a president of so-and-so, and a so-and-so chairman.
His good friend and novelist Ma Yuan said: "Shaohua really has the pride of being too white." Hao Guiyao, a famous newspaperman, once said: "Poetry and painting can only overflow from the emotional abundance of life, and a northeastern Confucian has found his own way of life and artistic roots in the hometown of Confucius and Meng." So he turned the world into poetry and painting. I like the cross-talk actor Tang Aiguo's evaluation: "Good smoke, good wine, good tea, friends." Good words, good paintings, good poetry, good people. These eight good words are my feelings about Mr. Shaohua. "This is also the same feeling that I feel with my friend, sitting with Mr. Feng like sitting in the spring breeze and smelling Shaole."
2
It is said that three years ago, Liu Yong, a veteran cadre who had stepped down from Waixuankou, was invited to Japan to see eye diseases, and as a souvenir he once brought me a calligraphy work, as soon as the rice paper was opened, the characters were steady and rhythmic, and I looked closely at the wind and bone of a bit of chapter grass, the so-called "approaching the pool, considering reason, teaching things, gaining the heart, understanding the elephant, and then entering the wonderful realm of cursive writing." The work is also accompanied by a pamphlet promoting the author, which reads: "Feng Shaohua, the word is not yet, the number Hongyi, Dongshan Daoist, Crab Weng." Originally from Liaoning, his ancestral home is Penglai, where he learns to read and govern, and his youth learns poetry and painting at middle age. I worked in Tibet for thirteen years..." It is no secret that I was studying "Bone Dong" for writing a thesis at that time, judging the fonts, styles, chapters, layouts, postures, and strokes of various calligraphers. I left a pamphlet for kindness, and the work was given to an old Japanese monk who was very happy with the abbot of the Temple of the Yellow Barberry Sect, and after mounting it, he hung it in his abbot. This white-bearded old abbot is also a rare calligrapher in western Japan, who has written a lifetime of writing, is well-informed, and has a very high realm. I remember his evaluation of Mr. Feng's calligraphy: "It can be seen that this person has carefully studied Sun Guoting's calligraphy. "In Japan, only those who are familiar with Sun's theory are qualified to write cursive. Sure enough, as he expected, Mr. Feng Shaohua later had a poem as evidence, "Linsun Guoting Book Genealogy has a nostalgia":
"Study books into the Jin and Tang Dynasties, seals are subordinate to grass chapters." After Zhong Zhang Xi was sacrificed, he passed through the court and discussed the chief. To find the secret of the grass, the book is hidden. When the ancients were not obedient, the present is not the same as the evils. Six articles are rotten in the heart, and Linchi does not wander. After the seventeen posts, Han Wei spied on Zhong Zhang. Drunk and drunk. The same return to HuaiHuan theory, ten thousand special cuts. Thirty years later, the stele is half a bed. Traveling to the eye, high and wide, high and wide. Calligraphy from the avenue, heaven and earth Ren Hongxiang. ”
Why did I leave the brochure, because there are dozens of original engraved works by the author on it, which at first glance make my eyes light up. Those seal carvings, the layout, shape and line are really full, broad, round, quiet, both the atmosphere of the Yangyang Han family, but also with a beautiful and mysterious extraterritorial charm, I think, maybe it is related to his thirteen years of aiding Tibet.
After half a year, I took a cold breath to return to China, and at the recommendation of Mr. Liu Yong, I went down to visit Mr. Feng Shaohua in Jinan, and his studio was in a residential area on Jianxing Road, which was a few small high-rise buildings full of green vines. It is worth mentioning that on that occasion, Mr. Feng gave me a copy of his own compilation of "Stone Carvings of Tibet", which was as heavy as a brick, and Mr. Wang Yao, a famous Tibetologist and professor at the Central University for Nationalities, called it: "a book that breaks the world.". This 400-page work contains more than 500 photographs and more than 700 rubbings of Tibetan magna stone carvings, and these precious statues provide us with a unique perspective on the colorful Tibetan Buddhist shapes and vivid folk stone carvings. The communities of stones infused with buddha-nature and earthly breath are almost all over Tibet, at the foot of the mountain, under the stone cliffs, next to the main road, in the ancient village mouths, in the dry riverbeds, around the Gelugpa temples, you can see countless piles of magna, those magna stone carvings quietly waiting for the years of the snowy realm, hundreds of years, hundreds of years, some even more than a thousand years.
I brought "Tibetan Ma Ne Stone Carvings" back to Japan and donated it to the Institute of Oriental Culture of Dongya University, which attracted a lot of praise. This book filled me with affection and joy at the secular nature of Tibetan Buddhism (the hidden Dharmakaya). Mr. Feng Shaohua wrote in the book: "The stone carvings are like a shadow of Tibetan Buddhism thrown into the folk, serving Buddhism and showing the infinite charm of Buddhist art to the public. Since the tibetan king Songtsen Gampo advocated Buddhism, the magna stone carvings have accompanied the rise and fall of Buddhism in Tibetan areas and have come all the way to today, in the long history of more than 1,300 years, the statue-making movement in various parts of Tibetan areas has been continuous, and the mountain of magna stone carvings has attracted more and more people's attention, and its historical and artistic value has also increased day by day. ”
Compared with the tall cliff carvings, solemn cave statues, and colorful murals, the chaotic piles of magna may seem too small and shabby, insignificant, they often belong to a stone that comes by hand, and are not known by unknown folk stone carving artists, perhaps carelessly sketching out the great achievers of ancient India, His Holiness Amit, Vajrapani, Lion Roar Guanyin, Auspicious Tara, Six-Character Mantra, and even weasels, rabbits, goldfinches, snakes, Gesang flowers, yaks, smoking old people, and so on, thousands of themes. Almost covered the entire snowy plateau. In the thirteen years of aiding Tibet, Mr. Feng Shaohua's footprints have almost traveled all over Tibetan areas, inspecting and collecting countless "personality specimens" carved in the magna stone. As soon as I see these free and spontaneous lines, I can't help but think of the simplicity and liveliness of the Neolithic tools of Yongsan culture, and the inadvertent spots left on the earthen tools of the Japanese Jomon era, which are the clear fingerprints of the ancient tribal potters.
3
Mr. Feng said that he "learned poetry at the age of fifty-three and learned to paint at the age of fifty-six", because he had the skills laid by the practice of characters and the rule of seals that he began to write when he was a teenager, and now that he has just passed the age of ear shun, he has already walked alone in the world with poetry, books, paintings and prints. A fan of Mr. Feng once wrote: Looking at the painting of Crab Weng, I am convinced that Shiraishi has reached his boundary, but the soul of Chinese painting is still there; Reading the poems of Crab Weng, Ning ZhiTao qian, although ancient, still has a pastoral style. Feng Shaohua, who came from a college Chinese department, the poems that can enter his eyes must be ancient poetry, he writes ancient styles, absolute sentences, rhythmic poems, five words, seven words, such as practicing mixed yuan tai chi, Dantian power, weight lifting. During the epidemic last year, he compiled the works accumulated over the years into a book, totaling 936 poems, published in a collection, entitled "Drunken Moon And Lost Flowers". Since then, the enthusiasm for creation has been even more unstoppable, and WeChat's circle of friends has released new works every one or two days, which has caused a piece of praise. His drunkenness and fascination with poetry is permeated with the Suzi spirit of "drunkenness and boldness are still open, sideburns are slightly frosted, and why bother", try to see one of his seven poems:
The old but the east mountain is arbitrary, and the Road to Pengshan is vast.
Three springs are drunk before the hops, and there is no poetry and no food for a day.
By the way, archaic poetry seems to have reached the end of its rope in contemporary times, and not many people like to read it, and even fewer people can write, because the ancients have pushed it to the extreme. My old friend Jiang Huixian once said: When writing ancient texts, we must look at the current materials, intentions, and wording of the situation, but poetry is difficult in style, and the style depends on the integration of many factors such as the poet's own bosom, cultivation, instrumental knowledge, and experience. When he was ninety years old, he also called for the modernization and improvement of ancient poetry, and he advocated the popularization of the vernacular within the framework of the old grammar, the vernacular, the one and two voices of Mandarin (including local dialects) to the flat sound, the three voices and four sounds to the voice, he divided all the words of the same vowel into one rhyme part, and summarized more than sixty rhymes.
After all, "poets, chanters temperament also." Reading Feng Shaohua's poems, it is good to see the true nature, listening to him talk about Sikong Tu's Twenty-Four Poems and Yan Yu's Canglang Poems, I know that he has worked ancient poetry, and his poems are permeated with a school of pastoral pastoral songs and the imagery of the clear wind and bright moon, both the southern kingdom of Chu Ci and the northern mountains of Hanle Province. In order not to dazzle people's eyes, he hid the kung fu of writing poetry and deliberately removed the Qibao Terrace, which was not fragmented. Just like when we read the sketches of the Ming and Qing dynasty literati, they are gentle and meticulous, they are high-minded and closely related to the language rules, and sometimes they feel that the travel of the text is super easy and fascinating, and it is impossible to forget.
Feng Shaohua has been brilliant and sensitive since childhood, famous in the township, writing poetry may also be a child skill practiced in his early years, and art is the same after all. Throughout history, how many literati and inkers are not qinqi calligraphy and painting, bow horse poetry wine can afford to put down. Mr. Feng is full of artistic temperament, the bones of the gentleman, really like a living in the contemporary ancient sage, otherwise why only with a copy of the "Mustard Garden Painting Spectrum" to study alone, let the sun and moon mountains, flowers, birds, insects and fish jump on the paper, to his middle age to bring countless fun, but also benefit a lot, it is said that his works in the calligraphy and painting network for many years of sales, collectors have spread throughout the country twenty-nine provinces. Why do the public like his paintings? I think his paintings came into being at the right time, in line with the times and in line with the hearts of the world, materialistic desires, fast food culture prevailing at the moment, our hearts need poetry and painting to soothe. Feng Shaohua has been a private Tang Dynasty poet Wang Wei since he was a teenager, so his work is "the poetry of taste, and there are paintings in the poem; Observe the painting of Jie, there is poetry in the painting" poetry painting as one.
Admiring Mr. Feng's paintings, I can vaguely see a shadow of the "Southern Painting Movement" in modern Japan. The Japanese "Southern Painting Movement" that began in the eighteenth century was deeply influenced by the Chinese Song and Yuan painting styles, especially Chinese literati paintings were very popular with Japanese painters at that time. Oda Haixian, Chi Daya, Xie Wucun, watanabe Huashan are all outstanding, and the popularity of literati painting continued until the Meiji era, such as Tomioka Tetsusai, Hashimoto Sekiyuki and China's Wu Changshuo, Zhang Daqian, Liu Haisu and so on maintained very good personal relations. However, by the late Meiji Restoration, Japanese literati painting or ink painting was no longer the mainstream, and the "ink-based" literati freehand painting gradually declined. At that time, the entire Japanese painting world had turned collectively, turning its eyes to the West, fanatically studying oil painting, introducing realism, and attaching importance to shape, line, and color.
Ink painting has always been "based on lightness", which rejects the excessive use of color, believing that "simplicity and the world can not compete with beauty." "I was once very interested in how Japanese painters could "compromise" the art of Painting between The East and the West. The "hazy body" of Yokoyama Daikan is a very successful artistic expression, and Hekawa Yudo, Kokura Yukai, Kobayashi Koji, Yamamoto Yorihito, etc. are representatives of the outstanding painters of that era, who collectively completed the transformation from tradition to modernity. Later, there were painters such as Higashiyama Kuiyi, Hirayama Ikuo, Kayama Youzo, Sugiyama Ning, etc., who were familiar with the art fields of Eastern and Western china and were the most representative Japanese painters of the contemporary era, such as Higashiyama Kuiyi's rock paintings that completely surpassed the realism of oil painting and had both oriental artistic beauty. Feng Shaohua's literati paintings are praised for painting cats and crabs, cats have demon, squeamish, rich and noble, outsiders jokingly call him Elvis Presley, he is tacky, not subject, but he calls himself Crab Man, because he likes crabs' clumsiness, domineering, arrogance and heroic shortness of breath.
4
Mr. Feng Shaohua, is the standard literary youth in the 1980s, published a large number of poems, essays, novels when he was a student, volunteered to aid Tibet as soon as he graduated from college, went to the western region with romance and dreams, lived for thirteen years, worked as a teacher, reporter, editor, returned to Jinan in 1997 to engage in media work, until retirement, he turned poetry and painting into a serious business, and enjoyed it. He made friends of the three religions and nine streams as a member of the Wen Hui, the so-called "the seat is often full, the wine in the cup is not empty" The so-called "talking and laughing has a great Confucianism, and there is no white Ding" Of course, there is also the so-called "Qu finally no one is seen, and there are several peaks and greens on the river", and there is the so-called "I don't know how to take the moon to return, and the falling moon is full of rivers and trees." ”
Although he has passed the "year of returning", Mr. Feng Shaohua still has a long hair, does not lose the old style of Wenqing, still maintains a smart and well-proportioned figure, not fat, not thin, not greasy, a pair of bright eyes, two rows of good teeth, fair skin like a woman, laughter, angry like a lan. Drink tea with him, drink alcohol, talk about art, whenever we talk about happiness, he will light a cigarette and smoke a few sips, see him radiant, trance makes people think of the famous passage in Zhuangzi's "Getaway": "There are gods and people living in the mountain of The Dragon Gu Shooting..."
Last month, in the middle of the night, I sent a poem I wrote to Mr. Feng on WeChat, with a p.s.
Feng Ye demon cat Banqiao bamboo, snow a stupid bird Jin Nongshu.
The painting world has a lot of rivers and lakes, whose pen and ink out of the wind bone.
After a while, Mr. Feng replied: "Take time to drink, I need to tell you about the rules." ”
(The author, Senji, is a resident of Yamaguchi Prefecture, Japan, and is currently an external professor at the School of Foreign Chinese at Qilu University of Technology.) )