Qianjiang Evening News Hour news trainee reporter Liu Yuhan
"The green mountains are endless, and the green water is long."
Between the mountains and rivers, the "Road of Tang Poetry in Eastern Zhejiang" spreads out from the feet of literati more than 1,000 years ago, stretching for more than 1,000 miles, and circulating more than 1,500 Tang poems, such as endless green mountains and inexhaustible green water.
In 2019, calligrapher Zhao Yanjun embarked on this unique ancient poetry road, took a mountain and water into the ink, and wrote this "Poetry Road Goose Traces - Zhao Yanjun's "Zhejiang Eastern Tang Poetry Road" calligraphy collection in two years.
It was a large book nearly half a meter wide, 30 centimeters long, three fingers thick, and heavy.
The calligraphy "Little White" is difficult: how should I read it?
It is better to ask the creator himself, Zhao Yanjun.
Why write Zhejiang East Poetry Road?
"The Road of Tang Poetry in Eastern Zhejiang" is both familiar and unfamiliar to many people.
We live in the landscape of Zhejiang every day, nourished. However, the long and thick history and culture carried by this landscape may not be able to say it all and clearly.
For example, in eastern Zhejiang, southeastern Zhejiang, east of the Puyang River Basin, north of the Cangshan Mountains to the East China Sea, the area of only 0.13% of the country's projectile land, but it is the birthplace of Chinese landscape poetry, the center of the sinification period of Buddhism, the birthplace of Taoist culture, the gathering place of scholar culture and the holy land of Chinese calligraphy art.
Behind this highly condensed five "earths", there is too much to be included.
Shangyu Chapter - Mengjiao "Sending Xiao Alchemist into siming mountain" sentence 227cm×53cm×2 2019
In 2018, Zhejiang launched the project of reshaping the "Golden Business Card of 'Poetry painting Zhejiang'" and created the construction of four major poetry road cultural belts such as "Zhejiang East Tang Poetry Road, Qiantang River Poetry Road, Oujiang Landscape Poetry Road, and Grand Canal Poetry Road", and promoted the "Action Plan for the Construction of the Great Garden" as a context.
At that time, Zhao Yanjun was immersed in the creation of "Landscape and Water Traces" with the theme of "Beautiful Zhejiang", and this practical theme inspired him. The calligrapher's artistic expression needs coincided with the needs of the times, and he thus began the creation of poetic themes.
He repeatedly read the poems of the Eastern Zhejiang Tang Dynasty and realized the poetic heart of the Literati of the Tang Dynasty in the poems. Then he walked out of the study and searched for the poem.
Let more people know more about Zhejiang culture, which is Zhao Yanjun's original intention to retake the road of Tang poetry and re-read the landscape of eastern Zhejiang.
As the vice chairman of the Zhejiang Provincial Federation of Literary and Art Circles and the chairman of the Zhejiang Calligraphers Association, Zhao Yanjun took the initiative to promote the construction of the poetry road cultural belt, organized calligraphy masters to carry out the theme collection activity of "Zhejiang Eastern Tang Poetry Road", and required calligraphers to enter the landscape, write the landscape, enter the humanities, and write the humanities.
"Starting from Xiling Ancient Ferry on the banks of the Qiantang River, passing through Jinghu Lake, crossing the Cao'e River, tracing the River, going up to the heavens, ascending to the rooftop, and walking along the footsteps of the poets on the main line of the poetry road."
Shengzhou Chapter - Du Fu's "Grand Tour" Sentence 180cm×97cm 2020
On this road, you can enjoy the great rivers and mountains and beautiful scenery of the eastern Zhejiang land.
Starting from Xiaoshan, the Tide of the Qianjiang River "the waves are like the mountains blowing snow"; the Yuezhou Prefecture City Shaoxing, "Mirror Lake Flowing Water Qingbo"; Shangyu Siming Mountain, "Qianxun Straight Split Peak, 100 Feet Of Pouring Spring"; Shengzhou "Shengxi Yunxiu"; Xinchang "Tianmu Lian Tiantian Horizontal"; The end tiantai, "Door label Chicheng Xia, Louqi Cangdao Moon"...
Xinchang Chapter - Li Bai "Sleepwalking in Heaven" 35cm×400cm 2019
This road is far more than the mountains and rivers.
Li Bai, who entered Zhejiang four times, YueZhong three times, and ascended to the rooftop twice, Du Fu, who traveled and lived in seclusion for four years, Lu Zhaolin and Luo Binwang in the Four Masters of the Early Tang Dynasty, He Zhizhang and Cui Zongzhi in the Eight Immortals of drinking, Yuan Shu, Li Shen, and Li Deyu of the Three Juns of the Middle Tang Dynasty, Luo Yin, Luo Ye, and Luo Qi of the Late Tang Dynasty Sanluo...
These literati and inkers visited here, leaving behind not only poems, but also their life experiences, ambitions, ambitions, Zen philosophies, as well as the Tang Dynasty style, Zhejiang style, and the spirit of the literati that has been passed down from generation to generation.
Tiantai - Li Bai"Tiantai Xiaowang" 149cm×48cm 2020
Returning to Hangzhou as a farewell rooftop, Zhao Yanjun took a new understanding of the "Road of Tang Poetry in Eastern Zhejiang", took the green mountains as a stone and the green water as ink, wrote a book, and often splashed ink until the early morning. He wrote nearly a thousand poems of the Eastern Tang Dynasty of Zhejiang, and finally selected 315 exquisite works from them and compiled them into a book.
This "Traces of the Wild Goose on the Poetry Road" is very large and heavy, but it is actually very small and very light, because it is only an index of Zhejiang culture, and we have to glimpse a corner of Zhejiang culture according to Tu Suoji.
315 pen and ink "Zhejiang Eastern Tang Poetry Road", how to read
"Calligraphy is fluid music."
Zhao Yanjun describes his calligraphy creation process in this way, and at the same time gives a synaesthesia interpretation idea for "Xiao Bai" like me.
In his opinion, the most obvious common denominator between calligraphy and music is rhythm. There are many rhythmic elements expressed in calligraphy, especially cursive writing.
"Fast and slow is the most obvious, and fast and slow will lead to changes in wetness. Looking at the dot painting again, the music has a weight, and the writing is also heavy, and the result is a difference in the thickness of the dot painting. The weight is also reflected in the size of the font structure, large beads and small beads falling on the jade plate. The whole work also has a sense of rhythm, coherent, intermittent or seemingly non-stop, which is the embodiment of the musicality of calligraphy. ”
Shangyu - Meng Haoran "Xiaowang in the Boat" 362cm×68cm 2021
With this line of thought, I opened the "Traces of the Wild Goose of the Poetry Road", and I found that this "movement" has an extremely rich musical expression: some are exciting and high-pitched, some are stable and soothing, some are sonorous and powerful, and some are melodious and free.
Such rich changes are related to Zhao Yanjun's breakthrough in calligraphy.
The external manifestation of the breakthrough is the return - return to the second king, return to the Han and Wei, pursue neutralization, and pursue bookish qi.
Zhao Yanjun's cursive writing is based on the "Two Kings", and at the same time systematically combs and studies of Ming and Qing dynasty scholars such as Xu Wei, and now returns to the "Two Kings"; while the Cursive Script takes the Carved Stones of the Moya Cliffs of the Han Dynasty and the Inscriptions of the Northern Wei Dynasty, Epitaphs, and Statues, which have a strong golden stone atmosphere.
Such a return seems to be a return to the original point, but it is actually a spiraling process, as Sun Guoting summed up the process of learning books in the "Book Genealogy":
"Beginners learn the distribution, but seek peace and righteousness; both know the peace and integrity, and pursue the danger; both can be dangerous and return to peace."
Shengzhou Chapter - Li Sheng's "Twenty Poems of xinlou , Dragon Palace Temple" Yang Heng 'Ji Che Gong 》 49cm×47cm 2020
Zhao Yanjun is now working towards "returning to pingzheng", and he has mastered the style of books.
His calligraphy resembles Kai Non-Kai and Seems to be Subordinate, and there are also cursive strokes in it; in his cursive writing, there is also a humble Han Wei Jinshi qi.
Zhao Yanjun wrote the word "change" on the paper and preached: "Only by integrating can we change." ”
This also explains why the works in "Traces of the Wild Goose on the Poetry Road" are so rich.
Yuezhou Chapter - Li Pin "Yue Zhongxing" Sentence 180cm×48cm×2 2020
With the pen ups and downs, rapid and thick as "Xiao Wang in the Boat", bold and free, fun and interesting such as "Twenty Poems of the New Building , Dragon Palace Temple", clumsy and clever, implicitly such as "Yue Zhongxing"...
Among them, one of my personal favorites is Li Bai's "Hengjiang Words". This painting of grass is majestic and majestic, and the brush and ink seem to be able to see the surging tide of the Qiantang River surging in layers, and the agitated emotions of the poet and the author seem to be spewing out of the paper.
Xiaoshan - Li Bai", "Hengjiang Words", 180cm×97cm, 2020
Excerpted from Bai Juyi's "Answer to Weizhi on the Table", the couplet "Don't say a word and a water, you are the same as a thousand miles" I also like it, but I express another emotion. The upper link is broken, it seems to have restraint, and the lower link is connected, and it seems that there is a mood of continuous rise. In the smooth and subtle tone, the poet's parting feelings with his friends are secretly gushing, and it is difficult to receive.
Zhejiang East Chapter - Bai Juyi "Answering Weizhi on the Seat" Sentence 159cm×42cm×2 2019
Between the ink marks on the pages, a symphony is sometimes played, and sometimes a guqin song is heard.
To write about Zhejiang East, do you have to re-take the road of poetry?
not necessarily.
According to Zhao Yanjun's words, it has nothing to do with the writing itself, and the calligrapher can still create calligraphy with the theme of poetry in the bookstore.
But he revisited the poetic path—"I want to feel the poet's creative emotions." He said.
This poetic path is also a spiritual path of "return".
How to say?
Eastern Zhejiang is the birthplace of landscape poetry, and landscape poetry is the poem written by the literati through the landscape and water, generating poetry. Compared with the ancients, our current life is far from landscape poetry. In such an environment, writing landscape poetry needs to return to the landscape and return to the heart of poetry.
"The East China Sea crosses Qin, and the Xiling goes around the Platform." Stepping on the footprints of the poets, Zhao Yanjun also set off from the south bank of the Qiantang River.
Xiaoshan Chapter - Meng Haoran "Early Hair Yuputan" 95cm×35cm 2020
Not far from Xiling Gudu is Yupu, which is also the starting point of the Tang Poetry Road in Zhejiang. Standing next to the "Yupu" stone stele, in front of you is the turquoise Puyang River, and Meng Haoran once looked at each other a thousand years ago.
In Meng Haoran's eyes, the early morning fishing pool was full of fireworks: "Dongxu's early light, Nagisa's birds have been frightened." Lying on the yupu mouth, the radial sound is dark. The river is endless, and the poet's lofty and open mind also flows down.
Ascending along the Cao'e River, Zhao Yanjun came to the birthplace of Yue kiln celadon porcelain, Shangyu Xiaoxian Altar. Nowadays, only the ruins are left here, but the tortoise Meng's poem "The nine autumn winds dew more and more kilns open, and win the green color of a thousand peaks" allows Zhao Yanjun to still imagine the scene of the kiln fire a thousand years ago in the lake and mountains.
Shangyu Chapter - Tortoise Meng "Secret Color Yue Instrument" 138cm×48cm 2020
All the way to the rooftop, the end of the "Zhejiang Eastern Tang Poetry Road", the destination that countless poets yearn for.
Zhao Yanjun ascended to the rooftop, saw Chicheng Qixia, Shuangjian Huilan, Huading Xiushi, Qiongtai Moon Night, felt the ancient, qing, strange, and humorous nature of the rooftop, and only then did he know why Meng Haoran was already on the rooftop in Cao'eJiang- "Ask me how appropriate it is today, the rooftop visits the stone bridge"; why Li Bai "the dragon tower phoenix que refuses to stay, soaring straight to the rooftop."
On this road, the heart of poetry is restored, and the heart of books is also restored.
On this road, Li Bai traced the traces of Xie Lingyun, and he entered Yuezhong three times and never forgot this landscape throughout his life.
On this road, there are also Lanting pavilions, there are also "two kings", Zhao Yanjun Suoshi traces, is not it in harmony with the restoration of his calligraphy art; walking through the Maolin Xiuzhu of Huiji, is not it another form of "feet on Xie Gong's shoes"?
Therefore, Zhao Yanjun said that taking this "road of Eastern Zhejiang Tang poetry" is the integration of poetry, calligraphy and heart.
Tiantai Chapter - Li Bai "Qiongtai" sentence 363cm×105cm 2020
This journey of Tang poetry in eastern Zhejiang gave Zhao Yanjun a deeper understanding of Zhejiang's culture and Zhejiang's folk customs. Through poetry and poetry, he constantly feels the beauty of Zhejiang, and then writes down and conveys this beauty to more people.
As the poem says: "The green mountains are endless, and the green waters are long." ”
"Zhejiang Eastern Tang Poetry Road" is just the beginning, in the near future, Zhao Yanjun will continue to set foot on qiantangjiang poetry road, Oujiang landscape and water poetry road and Grand Canal poetry road; his understanding of Zhejiang's humanistic spirit and innovation in calligraphy art expression will always be on the road.
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