博览五千年 塑造当代贤——特邀书画家樊钰清

一个时代有一个时代的文艺,一个时代有一个时代的精神。推动文艺创新发展,最根本的是要创作出无愧我们这个伟大民族 、伟大时代的优秀作品 。真正的书画家既是优秀文化的继承者,又是发扬者、开拓者。
An era has an era of literature and art, and an era has an era of spirit. To promote the innovation and development of literature and art, the most fundamental thing is to create excellent works worthy of our great nation and era. Real painters and calligraphers are not only inheritors of excellent culture, but also carriers and pioneers.


A Brief Introduction to Fan Yuqing's Art

樊钰清,号大寒茗庐,笔名岩寒,浙江桐乡人,中共党员,本科学历。桐乡市人民法院退休干部,国家一级书法师。爱好诗书画印、琴剑箫笛。作品显个性风格,有时代精神。多次获全国性书画篆刻奖和优秀论文奖。入选“西泠印社首届国际艺术节首届中国印大展”;入编《中国书法选集》《20世纪世界书法作品鉴赏》《二十世纪中国著名书画家》《当代中国书法名家集》;被授予“世界华人艺术家” “中华传统文化标杆人物”“中国当代书法十大领军人物”等称号;获中外名人名作收藏证、中央电视台《夕阳红》栏目捐助证、嘉兴市红十字会义卖救灾捐助证等。


Fan Yuqing, with the pseudonym of Yanhan, a member of the Communist Party of China, has a bachelor's degree. Tongxiang People's Court retired cadres, state-level calligraphers. Like poetry, calligraphy, painting and printing, piano, sword and flute. The works show individuality and spirit of the times. He has won the National Prize for Calligraphy and Painting Seal Carving and Excellent Thesis for many times. He was selected as the first China Printing Exhibition of the First International Art Festival of Xiling Printing Society, compiled Selected Works of Chinese Calligraphy, Appreciation of World Calligraphy Works in the 20th Century, Famous Calligraphers and Painters in the 20th Century and Famous Calligraphers in Contemporary China, and was awarded "World Chinese Artists", "Chinese Traditional Culture Benchmarkers" and "China Should Be" He has been awarded the title of "Top Ten Leaders of Calligraphy" and other titles, as well as the collection certificate of Chinese and foreign celebrities, the donation certificate of CCTV's "Sunset Red" column, and the donation certificate of Jiaxing Red Cross Society's charity sale for disaster relief, etc.

Inside the circle, "his works, with great momentum, heavy pen, profound implication, rich in change, are the temperament and frankness of Dantiansheng. Through the dance of the tip of the pen, they flow out infinite true feelings, which fully reflects the spirit of the Chinese traditional culture. From his unforgettable and memorable calligraphy works, we can find his personality strength after sublimation and feel a kind of elegant and classical atmosphere.


Qingfeng Zhengqi Writes Qiankun: On Fan Yuqing's Calligraphy Art


Fan Yuqing, a collection of poetry, painting and printing, is good at cursive writing. In the long-term practice of calligraphy, learning from the past and integrating the present, constantly innovating, innovating and innovating in the legal system, the magic lies outside the bold and unconstrained, forming a personality style of calligraphy with inner strength, vigorous stretching and free-flowing, which has fully embodied and penetrated his elegant and noble humanistic temperament into his works and embodied the power and beauty of calligraphy. The incisiveness and vividness of his works, so that his works are often completed in one breath, breath swallowed thousands of miles, sound and incisive, have a different realm.

樊钰清的书法既不同与传统书法的风格,更不趋附当代书坛流行风格,从哪个角度讲,他都以鲜明的艺术性独步中国书坛。书法作品里有画意,有诗情,又有文字的内涵。他分明是在写-种精神,一种文化, 是借助书法来弘扬中华民族博大精深的精神形态,他在向世人倾诉着自己丰富多采的内心世界。

Fan Yuqing's calligraphy is not only different from the traditional style, but also does not tend to adhere to the popular style of contemporary calligraphy. From which point of view, he walks alone in Chinese calligraphy with distinct artistry. Calligraphy works are painted, poetic and literary. He is clearly writing a kind of spirit, a kind of culture, is to use calligraphy to carry forward the broad and profound spiritual form of the Chinese nation, he is telling the world his rich and colorful inner world.


Looking at his works, with great momentum, heavy brush, profound implication and rich in change, Dantiansheng's temperament and frankness, through the dance of the tip of the pen, poured out infinite true feelings, fully embodied the spirit of the Chinese traditional culture. From his unforgettable and memorable calligraphy works, he finds his personality strength after sublimation, feels a kind of elegant and classical atmosphere, and unconsciously looks forward to the highest realm of art and life.


Old road autumn moon, old tree withered vine, Mr. is still waiting for the baptism of years and rain and the silent watch of the lone lamp. During the long journey, we will surely climb to the top of a list of small mountains.


My Calligraphy Way


Fan Yu Qing


Chinese calligraphy is one of the quintessences of Chinese traditional culture, and I have loved it since I was a child. I am very grateful to my primary school language teachers and teachers of the Writing Federation Book Association, who led me to love writing and calligraphy, teaching me to read and paste.



All the way, the path is divided into two veins. First of all, we should learn from the ancients through posting. I see Yan Zhenqing's regular scripts, Wang Xizhi's grass, Zhang Xu, Huai Su, Sun Guoting and Wang Duo's cursive scripts, and Qin and Han Dynasty seal inscriptions. I revere the ancients and think that it is necessary to learn from the ancients. At the same time, I ask myself to learn from the ancients rather than stick to the ancients. In the process of Linmo and creation, I found that the beautiful, vigorous, free and rigorous calligraphy is suitable for my own emotional pursuit, so I slowly from cautious to bold. Until the year of Huajia, the pen in hand finally got rid of the light and became steady. I do not know when with their own temperament injection will have a personal characteristics and charm of pen and ink. I met the best of myself by being flexible and unsophisticated.

Secondly, we should learn from nature and apply the most essential and quintessential principles to calligraphy. In "Talking about the Freedom of Lines", I elaborated my ideal goal. In a highly free state, I should conform to nature, understand the past and the present, strive to keep the book simple and eternal with the times, and realize the sublimation on the traditional basis. That is to say, the purpose of inheriting tradition is to improve one's innovation ability. With the ideal goal of innovation, realistic efforts will have a direction.





I especially like to comprehend the meanings of some famous sentences in Shupu from the famous mountains and rivers of my motherland. I also like to combine the principles of calligraphy with those of Taiji. For example, "relax and quiet, open mind and hands, go all the way, combine speed and slowness, move and quiet, advance and retreat virtual and real, travel through clouds and water, complete at one go" and so on, and strive to apply Taiji's Qiyun Gongfu to calligraphy.

I am an amateur calligrapher and seldom participate in the activities of the literary circle, but I am not afraid of loneliness and loneliness. I can go to this day on the way to my hobbies. I should be grateful to my parents, my wife, my teachers, the media, the leaders and Daoists of Thanksgiving Book Association. Thank you for your support and recognition.

I know my strengths and weaknesses, should pay attention to the strengths and weaknesses, keep pace with the times; I know that good art comes from good mood, only in the simplest, cleanest and best mood can produce the simplest, cleanest and most beautiful works; I know that the highest realm of life is to forget oneself and quiet, and the highest realm of calligraphy is to express oneself. Spirit. So I have to continue to learn from teachers who really understand  calligraphy in ancient and modern times, persevere and naturally write authenticity, and I will continue to work hard.

Note: I am a cattle of the same age as the Republic. This document is hereby given to the people's Republic of China and its peers in all republics aged seventy.


On the Freedom of Lines


Fan Yu Qing


创新和演变延续至今,并将一直延续下去。然而万变不离其宗, 每一阶段创新和演变的主要是形式,作为书法本质的“道法自然”则始终没有变,这一点正是我们在谈线条自由时所要强调的。有人提醒:“现代书法家应从传统的书法规范中有所醒悟,从而去开拓现代化的造型”。笔者理解,也只有在“道法自然”的基础上,对传统书法规范的某些固定模式加以突破才有意义。当然,道法自然绝非是对自然现象的简单模拟。书家所说的“道法”,只是取自然之神韵,把自然万物的精粹升华为艺术表现的手段,使潜在的自然美通过点线的合理组合象征性地表现出来。也就是说,创新所要实现的是将事物内在固有的神韵外化为各种各样、生动活泼的具象形态,因而对传统规范中合乎事物固有神韵的东西是不能轻易丢弃的。古人从昆虫爬行、高峰坠石、逆水行舟、担夫争道等现象中,悟到了书法用笔须把握曲与直、进与退、轻与重、提与按、枯与湿、疾与涩的分寸或辩证关系,并认为此理千古不易。自唐代的张旭怀素到明末清初的王铎,虽各有风格,却不离“晋法”太远,其道理也是这样的。



Speaking of lines, the creation of Chinese characters by the ancients is indispensable. But as a line of calligraphy art, it is the result of the recreation of the ancients on the basis of pictograms. This recreation is carried out in stages, first from pictographs to inscriptions on Oracle bones, then from inscriptions on oracle bones to inscriptions on Zhong Ding, and from inscriptions on Zhong Ding to inscriptions on Da Zhuan, Xiao Zhuan and even Li, Cao, Xing and Kai. The evolution of each stage seems to be repeating the same phenomenon continuously. The free line (attempt, immature) which is initially manifested as a breakthrough in the old form arrives at the freedom of line after self-denial again. This sublimation from free line to free line has been continuing from ancient times to today. It is a process of calligraphy practitioners in a certain historical period moving towards a higher level on the original basis.

Innovation and evolution continue to this day, and will continue. Nevertheless, change is inseparable from its tenet. The main innovation and evolution in each stage is the form. As the essence of calligraphy, "Taoism follows nature" remains unchanged, which is what we want to emphasize when we talk about the freedom of lines. It was reminded that "modern calligraphers should awaken from the traditional calligraphic norms, so as to develop modern models". The author understands that it is meaningful to break through some fixed models of traditional calligraphy norms on the basis of "Taoism follows nature". Of course, Taoism is by no means a simple simulation of natural phenomena. What calligraphers call "Dao Fa" is only to take the charm of nature and sublimate the essence of nature into a means of artistic expression, so that the potential natural beauty can be symbolically expressed through the rational combination of points and lines. That is to say, what innovation wants to achieve is to externalize the inherent charm of things into various vivid and vivid concrete forms. Therefore, what conforms to the inherent charm of things in traditional norms can not be easily discarded. From the phenomena of insect crawling, falling rocks at peak, sailing against the water, and struggling for Tao, the ancients realized that calligraphy should grasp the dialectical relationship between tune and straightness, advance and retreat, light and heavy, lift and press, withered and wet, disease and astringency, and believed that this principle was not easy for a long time. From Zhang Xuhuai Su in Tang Dynasty to Wang Duo in late Ming and early Qing Dynasty, although they had their own styles, they were not far away from Jinfa, and the reason was the same.

Taoism and law are unchanged from time to time, while the pursuit of vivid line form lies in flexibility. This creative idea of seeking change in constant requires calligraphy practitioners to deal with the relationship between observance of law and free development. First of all, the author believes that there are still differences between law and Taoism. The degree of calligraphy is a summary or definition of the natural experience of Taoism in the long-term practice of calligraphy. However, it is still a mystery to what extent this summary or definition meets the requirements of Taoist law itself. Therefore, it can only be said that degree, which has been repeatedly verified in practice for thousands of years, is basically or roughly close to nature.

The definition of sex is not absolute and 100% accurate, so the understanding of law can not be mysterious or rigid. Another is that accommodation must also conform to the natural nature. It can only correct the inaccurate part of the original law under the overall requirements of Taoist law and nature. The accommodator can negate himself, but can not deny nature.



For nature, legal system refers to a definition of maintaining ecological balance. For example, the shelf of animal reserves is an example. Essentially, the lattice still has some restrictions on the full freedom of animals, but it is different from "animal cage". The difference is that it can create a more suitable activity space for animal nature, animals in this range are relatively safe and relatively free. But "animal cage" is not good. Animals are kept in it, and the freedom of life is extremely limited, so it is difficult to exert their nature. I would like to take this opportunity to explain that my understanding of the calligraphy system is roughly the same. Calligraphy itself should not be an animal cage. Calligraphy lines will lose their quality if they do not have a certain legal system, even if this unique national cultural treasure can continue to exist will become a problem, let alone the free development. However, if the understanding of calligraphy lines is too dead, or even regarded as "animal cage", it will seriously restrict the activities of calligraphy practitioners, and make them lose the strong motivation of self-germination in the interior, while in the exterior, it will not be the vigor of a hundred schools of thought contending, which will be very sad and very dangerous.

In short, calligraphy lines can not be separated from the law, but also from the freedom of the subject. Calligraphy pays attention to the inherent frankness, but does not care about the essential requirements of external reputations, which helps people to perceive inner freedom. Calligraphy practitioners can make a leap from free line to free line only when they conform to nature, understand the past and understand the present in a highly free state, and strive to keep the book simple and eternal with the times.


The following are Mr. Fan's works. Please appreciate them.


















Buwang Weizhuli Pavilion


Wen/Fan Yuqing


Long in the sound of the piano, Qingxinhua long whistle


Tianyin people do not know, who will shine in the mirror


Note: The rhetorical question means that the good voice should be appreciated by the broad masses ...


Wujue Youganxizhuxijingminpianyongdian


Wen/Fan Yuqing


Shui Feng Yu enjoys himself and simplifies his administration with a clean and honest official


Respect the people and the world.


Five Laws and Falling Leave


Wen/Fan Yuqing


The hills are full of rustle, and the decaying leaves are in autumn


Falling on the riverbank, competing for freedom from afar


Knowing the end of the shore, do not go back


But then muddy wishes, flower protection for first-class


Qilu. Autumn Garden.


Wen/Fan Yuqing


Wind pushes clouds and mists to cover autumn tea, but there is nothing close to it


The summer is still glorious, and the cicadas are still sobbing


Lichma treads the lotus pool in disorder, and the Big Dipper moves to the Willow Bank


A suspension ladle was picked together, and the vines did not ramet until death


Seven Absolute Dreams of Renaissanc


Wen/Fan Yuqing


The gathering of people to focus on Zhenqi Rising, thousands of years of China has soared


Let's pray for the fulfillment of my dream of rejuvenation and never forget my original intention ...

0 条评论