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.

樊钰清艺术简介

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。

圈内评“其作品以气势磅礴、用笔厚重、意蕴深远、富于变化见长,是从丹田生发出来的那一股性情和率真,通过笔尖的舞蹈,流泻出无限真情,充分体现出中华传统文化的风骨精神。从他一幅幅令人难忘、回味无穷的书法作品中,寻觅到了他升华后的人格力量,感受到一种高古典雅的气息。”

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.

清风正气写乾坤——浅谈樊钰清书法艺术

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

樊钰清,集诗书画印于一身,书作以草书见长。在长期的书法实践中汲古融今,不断创新,出新意于法度之中,奇妙理于豪放之外,形成了骨力内蕴、遒劲舒展、率意洒脱的个性书风,已将自己儒雅和高贵的人文气质充分地体现和渗透在他的作品之中,把书法的力与美表现的淋漓尽致,从而使他的作品往往是一气呵成,,气吞万里,酣畅淋漓,别有境界。

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.

综观他的作品,以气势磅礴、用笔厚重、意蕴深远、富于变化见长,是从丹田生发出来的那一股性情和率真,通过笔尖的舞蹈,流泻出无限真情,充分体现出中华传统文化的风骨精神。从他一-幅幅令人难忘、回味无穷的书法作品中,寻觅到了他升华后的人格力量,感受到一种高古典雅的气息,因而不自觉地向超逸的艺术和人生最高境界嘹望。

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.

古道秋月,老树枯藤,先生仍待岁月风雨的洗礼和孤灯静默的守望。在“路漫漫其修远兮”的跋涉中,定然会登临一览众山小的峰巅.....

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.

我的书法之路

My Calligraphy Way

樊钰清

Fan Yu Qing

中国书法是中华传统文化的精髓之一,我从小就喜欢。我十分感激我的小学语文老师以及文联书协的老师,是他们引领我热爱文字和书法,教我看书临贴。

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.

一路走来,径分两脉。首先是师古人,通过临帖向古人学习。我临得比较多的是颜真卿的楷书,王羲之的行草,张旭、怀素、孙过庭和王铎的草书,还有秦汉篆隶碑贴等。我敬畏古人,认为师古是必须的,同时要求自己师古而不泥古,博采而有重点,多看多读而有选择地临,逐步尝试临创合璧。在临摩和创作的过程中,我发现书法的秀美、雄浑、洒脱、严谨,正适合自己的情性追求,于是我就慢慢从小心谨慎到大胆收放。直到花甲之年,手中的笔终于摆脱轻飘而变得稳重起来。不知何时随着自己的气质注入便有了个人的笔墨特性和气韵。师古不泥、灵活变通,使我遇见了最好的自己。

其次是师自然,向自然学习,从自然中悟出最本质最精髓的法则运用到书法中去。我在《谈线条的自由》一文中阐述了自己的理想目标,要在高度自由的状态下顺应自然、会古通今,力求书随时代而质朴永存,实现在传统基础上的升华。也就是说继承传统的目的是为了提高自己的创新能力。有了创新这个理想目标,现实努力才有方向。

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.

我特别喜欢从祖国的名山大川中去领悟《书谱》中一些名句的含义;还喜欢把书法原理与太极原理结合起来。比如“放松入静、心手双畅,无往不收、快慢结合,动静收放、虚实进退,行云流水、一气呵成”等等,努力把太极的气韵功法运用到书法中去。

我是业余书法爱好者,很少参与文艺圈的活动,但我不怕寂寞,不怕孤独。我能在业余爱好的路上走到今天,应感恩父母、感恩老伴、感恩老师、感恩媒体、感恩书协的领导和道友们,谢谢大家对我的支持和认可。

我深知自己的长处与不足,应注意扬长避短、跟上时代的步伐;我深知好艺术来自好心情,只有在最简单最干净最美好的心情下才能出最简单最干净最美好的作品;我深知做人的最高境界是忘我入静,书法的最高境界是抒写性灵。所以我要不断向古今真正懂书法的老师们学习,坚持不懈、自然而然地去书写真性,我会继续努力的。

注:我属牛,与共和国同龄。特以此文献给七十周岁的中华人民共和国及所有共和国的同龄人。

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.

谈线条的自由

On the Freedom of Lines

樊钰清

Fan Yu Qing

说起线条,自然离不开古人对汉字的创造。但作为书法艺术的线条,则是古人在象形图画的基础上进行再创造的结果。这种再创造是分阶段进行的,先从象形图画到甲骨文,再从甲骨文到钟鼎铭文,又从钟鼎铭文到大篆、小篆乃至隶、草、行、楷。每一阶段的演变仿佛在不断重复着同一种现象——初始表现为对旧形式有所突破的自由线条(尝试、不成熟)经再一次自我否定便到达了线条自由。这种从自由线条到线条自由的升华,从古到今,一直在延续着,它是一定历史时期的书法实践者在原有基础上向更高境界迈进的过程。

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。

道法自然万古不变,而追求线条形态的生动则贵在通变。这种在不变中求变的创作理念,要求书法实践者必须处理好遵守法度与自由发展这两者的关系。首先,笔者认为法度与道法自然仍是有区别的。书法的法度是人类在长期的书法实践活动中,对道法自然的经验总结或界定。然而,这种总结或界定究竟在多大程度上符合道法自然本身的要求则仍然是一个谜。因此,只能说法度是经过千百年来人们在实践中反复验证,基本上或大致上接近自然天

性的一个界定,它不是绝对的、百分之百精确的,故而,对法度的理解不能神秘化以至于僵化。再一个是通变也必须符合自然天性,它只能是在道法自然的总体要求下,对原有法度不够精确的部分加以修正,通变者可以自我否定,但不能否定天性。

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.

法度对自然界而言,指的是维护生态平衡的某种界定。比如动物保护区的网架便是一例。从本质上讲,这个网架对动物的充分自由仍有一定的限制,但它毕竟不同于“兽笼子”。区别就在于它能营造一个比较适合动物天性的活动空间,动物在这个范围内是相对安全、相对自由的。而“兽笼子”则不行,动物被关在里面,生命自由受到极度限制,其天性也就很难发挥了。笔者想借此予以说明的,乃是自己对书法法度的理解大致也是如此。书法法度本身不应是兽笼子。书法线条如没有一定的法度便会失去质的规定,就连这一特有的民族文化瑰宝能否继续存在都将成为问题,更谈不上自由发展了。但如果对书法线条的法度理解的太死,甚至视为“兽笼子”的话,那就势必严重限制书法实践者的活动,使其在内部失去自我萌发的强大动力,在外部则形不成百家争鸣的勃勃生机,这将是十分可悲的,也是十分危险的。

总之,书法线条既离不开法度,也离不开主体的自由。书法注重内在率真,而不在乎外界誉毁的本质要求,有助于人感悟内心的自由。书法实践者只有在高度自由的状态下顺应自然、会古通今,努力做到书随时代而质朴永存,才有可能实现从自由线条到线条自由的飞跃。

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.

以下是樊老师作品请赏析:

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

作品一

作品二

作品三

作品四

作品五

作品六

作品七

作品八

作品九

作品十

作品十一

作品十二

作品十三

作品十四

作品十五《篆刻·象外之意》

作品十六

步王维竹里馆

Buwang Weizhuli Pavilion

文/樊钰清

Wen/Fan Yuqing

久在琴声里,清心化长啸。

Long in the sound of the piano, Qingxinhua long whistle

天音人不知,明镜谁来照?

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

注:反问句所表达的意思是好声音要广大知音者来欣赏的。

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

五绝·有感习主席敬民篇用典

Wujue Youganxizhuxijingminpianyongdian

文/樊钰清

Wen/Fan Yuqing

水丰鱼自乐,简政用清官。

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

得失人心事,敬民天下安。

Respect the people and the world.

五律·落叶

Five Laws and Falling Leave

文/樊钰清

Wen/Fan Yuqing

山中蓬朴响,衰叶已通秋。

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

落落临溪堰,遥遥竞自由。

Falling on the riverbank, competing for freedom from afar

明知终搁岸,此去不回头。

Knowing the end of the shore, do not go back

但遂泥心愿,护花争一流。

But then muddy wishes, flower protection for first-class

七律·秋园

Qilu. Autumn Garden.

文/樊钰清

Wen/Fan Yuqing

风推云雾盖秋荼,隐隐遥看近却无。

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

残暑煌煌炎未退,暮蝉炯炯老还呜。

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

利奇马踏荷池乱,北斗星移柳岸殊。

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

一架悬瓢同采摘,瓜藤至死不分株。

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

七绝·复兴梦

Seven Absolute Dreams of Renaissanc

文/樊钰清

Wen/Fan Yuqing

合众聚焦真气升,千年华夏已飞腾。

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

同祈圆我复兴梦,不忘初心事业恒。

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


0 条评论

目前没有人发表评论

发表评论

◎欢迎参与讨论,请在这里发表您的看法、交流您的观点。

分享:

支付宝

微信