At the beginning of the year, Gengzi planned and edited a series of old gentlemen for the "Youth Calligraphy Newspaper", with the general title of "Sunset Lonely Bird", and selected Mr. Ganru's calligraphy work of the same name as the masthead.
Try to avoid over-interpreting the old gentlemen from today's perspective and context, and the role of the editor is to find the appropriate works and words, and then let the reader quietly communicate with the gentlemen in the ashram. Of course, occasionally two or three of their friends will be invited to participate in this kind of communication...
Mr. Luo Jizu inscribed
Zhou Xifei
Zhou Xifei (1928-2009), zirunan, master of Beixing Haitianlu, famous calligrapher and seal engraver. Born in August 1928 in Changchun, he enrolled in the Chinese Department of the private Changchun Grammar School in 1948. He has successively served as a member of the Chinese Calligraphers Association, the honorary chairman of the Jilin Calligraphers Association, the chairman of the Changchun Calligraphers Association, the vice president of the Baishan Printing Society, the president of the Zhongshan Calligraphy and Painting Society, the specially invited librarian of the Jilin Provincial Museum of Culture and History, the vice president of the Beiguo Calligraphy and Painting Society, the visiting professor of the Department of Fine Arts of Northeast Normal University, the consultant of the Jilin Provincial Academy of Calligraphy and Painting, and the honorary director of the Korean Seal Engraving Research Association. Member of the Jilin Provincial Committee of the Chinese People's Political Consultative Conference, member of the Kuomintang Revolutionary Party, senior subtitler of Changchun Film Studio. Won the 9th Changbaishan Literature and Art "Achievement Award".
Coverage
Mr
Mr. Zhou Xifei (excerpt)
Text/Wang Hehe
In 1980, Teacher Zhou was invited by the Changchun Children's Palace to teach calligraphy to children, and now that he wants to come, how helpless it is for everyone to stand on the podium of the Children's Palace and teach the dolls to learn to write! It is also like Shen Congwen, Qi Gong and other scholars once gave lessons to primary school students. At that time, I remembered that Mr. Yongzi had talked about the "Eight Laws of Yongzi", but what I was curious about at that time was not the Eight Laws of Yongzi, but The appearance of Mr. Zhou, who, like Lu Xun, had stubborn hair and grew even more upwards, and a small cloth was pasted on his thin cheeks. These two points make Mr. Zhou's appearance tend to be symbolic, which is different from the mediocre people and appears outstanding.
Mr. pen is very low, as if the tip of the pen is an extended nerve ending, sensitive and changeable, at that time I could not understand what the magic of using the pen, only remember that Mr. always had to bring out the first stroke of the next word after writing a few words, and then go to dip the ink to lick the millimeter and continue to write. It makes people feel that the pulse is coherent and continuous. My mother was deeply impressed by Teacher Zhou's cursive writing, saying that she only saw his wrist flipped, and a cursive was written.
When I was a child, I liked to be innovative, and I used to write cursive on the top of the pipe, which was criticized by my husband. At that time, I practiced the grass and the Qinqin Ritual Monument, and my sister Xi Seal Book and Zhang Ronglong. Teacher Zhou thinks that her sister's pen is solid, and she can kill it and get into the paper. When I was a child, I always met Mr. Zhou when I went to the ancient books bookstore, and he told me that XiCao must learn the "Urgent Chapter", but at that time I had no interest in it and took many detours. He also gave me a copy of the Zheng Wen Gong Monument, which is still on my bookshelf.
Once, Teacher Zhou wrote a lot of big characters in the newspaper and read it on the ground, which was a plaque inscribed for a certain unit. He looked at where the uncoordinated and prepared to adjust and replace, which was really rigorous and meticulous. Many of the plaques he inscribed are still in Changchun, and every time he passes back to his hometown, he can't help but stop and admire. Some people once compared him with Duan Chenggui, saying that the signs written by Duan are profitable, and he writes like a big bone stick that has failed, which is a joke, but the description of the big bone stick is really appropriate.
Middle and high school did not have contact with my husband for a long time, until when I was a sophomore, that winter vacation, I knocked on the door of Teacher Zhou's house with the rice characters and some works I had learned. The first time I went to Mr. Zhou's apartment on Hongqi Street, the entrance was a small hall for eating, and the right hand was Mr. Zhou's study. The sun was shining all over the house, and there was a table by the window, and the gentleman sat in a worn-out and comfortable chair with the bookshelf behind him. How could the bookshelf hold so many books of mr. Sir, and the result was that everywhere in sight were books. What did that say? Xiucai moved all books (lose).
Sir carefully read my pro book, so I talked about it from Mi Fu, saying that there are many false marks of Mi Fu, and that the "Mi Fu Shu Han InkBlot" was approved by Xie Zhiliu, and you can see them as the real handwriting of Mi Fu. When it comes to using a pen, pressing and brushing words, what is "eight-sided front", what is "house leakage marks", talking about the need to distinguish between the source and the flow of the study book, and also talking about the difference between the Jin people and the Tang people, and so on. I opened the notes I had taken when I went home that year and remembered them in great detail.
Mr. said that now some people's calligraphy is blindly seeking innovation, want to be different from others, but does not conform to the basic law of beauty and harmony, is a kind of regression, now how many can surpass the ancients? Even the height of the late Qing Dynasty could not be reached. For the stele, it is strange and arbitrary to talk about the odd and the righteous, not to use the pen to chase those spots after the wind and rain. The height of a good work is that it is impossible to find the law, there is no definite law in the horizontal and vertical of "Lan Ting", the horizontal of a word is different from the other horizontal, some people write 顔, no matter what the word, the twist is a way of writing, in fact, the face is a lot of changes.
When it comes to seal carving, my husband wrote me bibliographies such as "Ten Bells Mountain House Seal" and "Explanation of Words". It is said that at that time, he studied Wu Changshuo, and when he was in Wu's seal, he thought that there was an inappropriate stroke and changed it according to his own wishes, and after the cover was covered, he found that the pen was awkward, and he admired the rigor of Wu's structure. He also found out the commonly used prints carved by the two sides of the paper, saying that the "Runan Rike" fangyin liked to deliberately cut it when the line was handed over, showing the taste of gold and stone, but still not very satisfied with his work.
After that, mr. Kang Lizishan, Shen Yinmo, Bai Shuo, Shen Shuo, and others, and asked me to go back and study Shen Shu well. He also said the allusions of Wu Zhen and Sheng Mao. When it comes to the problem of the integration of inscriptions and posts, it depends on who is the mainstay, and the purity of the theology and epigraphy is also possible, but what is wrong with the beauty of the integration of more inscriptions and inscriptions? Then he took the "Private Seal of Runan" that Liu Yanhu had carved for him and said to me, "You see that this has the qi of books and the qi of gold and stone, and you can ask Liu Yanhu more about the seal."
In 2006, Mr. Zhou came to Beijing for the first time to hold a calligraphy exhibition. On the day of the opening ceremony, today's art museum was full of people. The words of many experts at the seminar also caught Mr. Li's thoughts, and he always thought that he had not yet reached the time to hold the exhibition. Someone asked sir, "Who do you think is the best writer in the living book family?" The gentleman smiled and said, "Like swimming, the truly learned scholars sink underneath and don't come out, unlike me who floats up, down, and up again, always floating!" "During the exhibition, my husband saw me and recalled the scene when I stood in a chair and wrote when I was a child. He also talked about Wang Guowei, saying that he clearly understood but always said "I don't know", and also talked about Chen Bailu in "Sunrise", saying that Wen Yiduo commented that this character was "spiritual in the fall". Teacher Zhou also took the time to visit Saben-suke, saying that he wanted to understand Qi Baishi's pen, and Mr. Zhou still had a heart to learn, which made my generation ashamed. ......
opus
Can be like a baby - remembering the teacher Mr. Zhou Xifei (excerpt)
Text/Yuan Wu
It is pleasant to spend time with Mr. Xifei and listen to Sanskrit at all times. When I first graduated from college, I lived alone in changchun, the provincial capital, and Mr. Zhou's home was the place where I often went. At that time, Mr. Zhou's residence was still the dormitory of Changchun Film Studio, and the two-and-a-half-room bungalow was low and narrow. Mr. Zhou's study is three sides of the bookcase, a table by the window, no matter when to go to Mr. Zhou's home, and no matter what guests come to the room, Mr. Zhou always holds a tube of a short brush, practices writing on a random piece of raw paper, and always listens to the guests chatting with a smile. The gentleman also interjected or said something, but the pen in his hand did not stop writing.
Mr. Zhou is a diligent and knowledgeable teacher. He believed in learning to cultivate the arts. He has extensive knowledge of philosophy, literature, and archaeology. We will feel his blog knowledge in our ordinary interactions with him, and accumulate our knowledge in a subtle way. The first time I visited Mr. Zhou's house, I saw that the room was full of books, which made me dizzy. It was the middle of the 1980s, and book publishing was far less abundant than it is today, and the Zhou family's collection of books was mostly purchased before the Cultural Revolution, and the books they collected were not only numerous, but also varied. In addition to the inscriptions and inscriptions, cultural relics and classics, there are a large number of philosophical and literary books. I remember once when I was rubbing rice at Mr. Zhou's house, Mr. Zhou talked about literature during the banquet, first talking about Remak's "No War on the Western Front" and then about Xiao Hong's "Biography of Hulan River" and the author's life anecdotes. Speaking of excitement, Mr. Zhou was able to repeat the chapters and paragraphs in the novel. The paraphrasing is vivid and engaging.
Mr. Zhou's personality is peaceful and natural, but he is not indifferent to his calligraphy art, always changing and never satisfied! Many years ago, students and friends persuaded Mr. Zhou to hold a solo exhibition and publish a collection of books and methods. But he always used these words to seriously refuse. I remember enjoying Mr. Zhou's neat and firm folio in the first exhibition, "The sea is the dragon world, the cloud is the crane hometown". I have never seen such a pen like a knife, an ancient and strange book, both rigorous and unrestrained. I was amazed and remembered. Later, I became friends with Mr. Zhou, and whenever I asked for words, I proposed to write the couplet of "The sea is the dragon world, and the cloud is the crane's hometown" in the letter. However, the more mr. Li's letters were written, the more casual they were, and the letters he wrote were vivid and strange, and the spirit was ethereal, and the neat and handsome letters like knife carvings were never written again. Therefore, in the twenty years of getting along, this couplet has asked me for several pictures, and the style of the gentleman's book has changed several times. Once, Mr. Li actually used a forked pen to draw an arc like "the sea is the dragon world, and the cloud is the crane's hometown." This is a kind of book style that Mr. Zhou wrote during that time in order to break through himself, in such a style that I still can't understand. Thinking about the powerful and heavenly bone-opening couplet engraved in my mind, and looking at the circle of snake-like couplets in front of me, I think Mr. Zhou is playing with cold humor.
Mr. Zhou always shows a love of licking calves for us junior students. We also always gathered in groups at his house, rubbing rice and wine from time to time. Mr. Zhou does not drink alcohol, and every time he has a banquet, he will always serve with a drink to the end. Although he is not good at wine, he likes to watch us fight wine and make mistakes on the wine table. At this time, the gentleman always squinted his eyes and laughed like a spectator, laughing and enjoying it. Sometimes we would be so drunk that we couldn't go home and sleep in all corners of the room for the night. When I woke up in the morning, I found that there were drunk people on the bed, sofa, and floor of the Zhou family, and those who woke up quietly left with their heads in pain. After a few days of pause, another round of gatherings resumed. Mr. Zhou in life is often calm and elegant, cheerful and not ostentatious, rigorous and humorous, and easy-going with the spirit of wisdom.
……
August 12, 2009, Beijing
Talk about calligraphy
Text/Zhou Xifei
A reporter once asked: What is better than character (calligraphy). Yu answered: This question is very big to talk about, but there is one point that can be verified. Whoever writes with a pen and a belly, do not believe him when he says that the heavens are coming. The great scholars of the ancient world have not yet used the pen belly to write.
Shortcuts and tricks don't exist, but there are methods. Anyone who has made a promise and how long he has been in charge of the education and protection of the Church is a deception with ulterior motives.
At present, there are many opinions, and there is no consensus. In terms of writing alone, there are various arguments of being realistic, holding on to falsehood, clinging to high, and holding low. If each of them holds the view of the portal and does not conform to himself, he is said to be "wild fox Zen". Different writing methods in history also have representative figures, Wang Xianzhi's persistence, Su Dongpo's persistence and "single hook" (nowadays people hold pens, and there is a theory that "writing is expensive and light"), and He Shaoji's wrists have also become a generation of people. In fact, it is normal for people to have different physiological characteristics, different angles of understanding, and different methods of writing. As long as it can be wielded freely, the pen is strong, and the quality of the line can be regarded as correct.
The root of the technique in calligraphy is "lifting the press", which has different styles and cares about use; The root of the technique in seal engraving is "punching, cutting", and the others are used.
To learn cursive writing, it is advisable to start with the "Zhiyong Thousand Character Text", which was the standard word of Mengtong at that time, and it was not a rule to blindly make sexual artistic creation. In the hereditary "Zhiyong Thousand Character Text", it is good to engrave the inscription, and the inkblot is presented by the Tang people, and the pen is weak and insufficient.
"Pen breaking" is to see nothing in the way. Chinese painting pays attention to the so-called "counting white when black". Qi Baishi paints shrimp and crabs and swimming fish, and does not paint water but seems to have water; Chinese painters rarely paint flowers and birds, even the roots and soil are expressed, most of them are folded branches. Therefore, this "meaning" can also be understood as the part that represents the relationship between strokes, which is invisible. Some people say: If you want to write a good book, you should first learn to write well. There is some truth to this statement.
Before Qin Lisi, the seal book did not form a unified standard for both oracle bones and golden texts. Looking closely at its structural form, there is no fundamental difference between the oracle bone and the golden text, but because the golden text is cast through the model mold, the form of the oracle bone strokes presented by the "zhongfeng and sharp ends (uncut oracle bone handwriting)" is dissolved.
Li Si's "Tarzan Carved Stone" is standardized and uniform, has no temperament to speak of, and is not suitable for study.
There are single-stroke double hooks, white sand withdrawals, spoon books, and ignorant journalists hype up as surprise. At best, they belong to those with special skills, far from art.
Shanghai HuWen Sui Lin Yang Ning style can be chaotic, and the self-transport work has no self (style), the key is in the book outside the work.
Whether it is a stele or a post, it is inappropriate to write it brightly and smoothly. There is a feeling of hairy astringency is right, everyone looks at the "Boyuan Post", "Duck Head Pill Post" and other authentic works, it is not like those double hook ink fillers like the edges are neat and less changeable.
Sun Boxiang made books, blindly emphasizing "solidity", but lacked vigor and taste. Huang Binhong, Pan Tianshou are all generations of everyone, Pan Zuoshu can be described as painstaking management, people sigh its height, but after all, see the traces of business; Yellow, on the other hand, is naturally occurring and does not leave a trace. Huang Binhong is a real master. (Xing Jun)
Excerpt from Zhonghua Bookstore's "Tan Yi Collection, Selected Calligraphy and Painting Art of Librarians of the National Museum of Literature and History"
Qing Jin Fang Gang, Jian Gu is spicy
——Zhou Xifei's teacher Trivia and his seal carving
Text/ Liu Yanhu
One day of leisure, I read Hu Lancheng said: "This time I accidentally read Lin Yutang's "Biography of Su Dongpo", only to feel that people really can't write objects higher than himself, Su Shi and Wang Anshi are political enemies, and the demeanor of the two when they met was very good. Lin Yutang helped Su Dongpo himself to hate Wang Anshi, even more than the parties, Su and Wang had mutual respect, and Lin Yutang wrote Wang Anshi so boring... "After reading it, I was shocked at first. As shallow as me, and safely measuring the height and depth of the teacher's mountains and seas. I had no choice but to tell me some of the bits and pieces I had gained from following the teacher over the years, and I couldn't erase them. Perhaps for those who want to understand the former teachers and their skills to provide a little reference.
He was a man of high morals, and of course he was a very sensitive man, a man of great care. Such a person, who fell into the water and soil of the northeast, was in opposition to a group of people around him who were somewhat rough, some rough, somewhat rude, and somewhat vulgar. He exclaimed to me several times, "Who surrounds whom?" "If the difficulty of the family and the country is a kind of unkindness in heaven and earth, and its pain is obvious, then his struggle against the world around him is like being trapped in a quagmire, with nowhere to exert strength, and it is difficult to get rid of." That injury inevitably leads to mental and physical exhaustion, which is an internal wound. What's more, the sentient beings around him were all his relatives. The greatness of the art of the former teacher is also highlighted at this time. As a result, we see the Qinggang, Gaogu, Jinba, Raw, Scrambling, And Stubborn Wind and Frost expressed in his calligraphic seal engraving works, and we also see the slightly compact structure contained in the Shuyang gestures in his calligraphy works. For example, in his book of his later years, the thin and strong dot paintings revealed a little inadequacy, the long dot paintings were sometimes curved, he could no longer stand for a long time to make a huge book, he was not willing to sit down, and the low paper was idle. His works are not so laid-back, his works are by no means an after-dinner pastime, not so elegant, but they are absolutely unconventional. Beining said that Teacher Xi Fei used pen and ink, knife and stone to open up a world that he could control slightly, his own world, where he could sing and cry freely. In order to fight against the Mandate of Heaven, it is detached from the world.
Back to the point, let's talk about the seal carving of the former teacher. The first marks he left were the Linhan works collected in the appendix, which the teacher himself had put on a rough-edged paper album nailed by hand. His entry was based on the Han seal, and it can be seen that his temporary work has been very active, at least in the performance of the sword technique, he has his own ideas. After that, he studied Zhao Zhiqian, Huang Shiling, and Chen Shizeng. Zhao Zhiqian entered from Zhejiang and returned to Han, which can be said to be the path of the former teacher. I said that the initiative of its Linhan lies in this, there are Zhejiang school of shibu knife imitation, but not the Zhejiang school of cutting knives, but also different from the Ming and Qing dynasties of imitation of Qin and Han. Huang Shiling was able to transform the circle of the Jijin script into the square of the Han seal, which provided a mirror for Teacher XiFei in bridging the distinction between the ancient seal and the Han seal. Chen Shizeng's good is between Wu Changshuo and Qi Baishi, and there is a valuable level and deep stability. Teacher Xi Fei did not start with the famous Wu and Qi, but took the path from Chen, which is really profound. It is easy to learn Wu Xueqi and its skin, as evidenced by the large number of Wu and Qi disciples who have many supporters and few exaltations.
His chapters and calligraphy are still mostly Based on Chinese seals, Qing Jin Fang Gang, Jian Gu and Spicy. On the surface, there is not much cleverness to borrow, but this is the most difficult situation, the most obvious. The same is true of his ancient seal. His earliest creations were "Boyhood" and other seals, which were published in the Jilin Daily at the time, and the rough stone may no longer be there. His name print "Zhou Xifei" is probably also a work of the same period. Then there are the works that participated in the first Sino-Japanese calligraphy and seal engraving exchange exhibition, such as "Lishui", "Non-attack", "Exit", "Floating Boat Canghai", "Lima Kunlun", "Yugong Moving Mountain", "Hechangtang" and so on, which are works in the late 1970s and early 1980s, which have gradually shown his unique personal style. His most works were completed in the 1990s, and "Xi Ti Ruoxuan" can be seen as his works in his later years, during this period there are "Afterlife", "Fu Ten", "As Desired", "Zhonghai", "I Can't Write", Zhu Wen's "Hai Tianlu" and so on. The teacher did not make many marks anymore, he was limited by his eyesight, and he could play the knife under the extremely clear noon sun. The clear daylight coupled with the stretching mood, the so-called veterans of the predecessors multiplied by the happiness is how difficult it is to achieve. Many of his works do not retain the edges and chronology, and I can only provide such a very thick line about the evolution of his seal engraving style.
The teacher's seal engraving, like his calligraphy, can be summarized by Du Shi's "skinny and hard theosophical". And the kind of clear and deep thread he carved was of course inseparable from his old and unique sword technique. The carving knife he used was also very distinctive, larger than the carving knife of Qi Baishi that I saw at the Beijing Painting Institute, and also larger than the "Great Wu Changshuo" I saw in Duoyunxuan, it was a self-made white steel carving knife, the body of the knife was almost a little and a half centimeters square, and the blade was sharp. Bai Wenyin, one of the "Haitianlu" he used often, fortunately retained a passage of saying: "Sit idly and carve stones with a knife, and look at it as slightly like a Qianshan person." "Good one" carved stone with a knife! His knife technique is neither cutting nor punching, nor is it a cloak, nor is it even the interpretation of the smug "carving" word of the old man of Baishi, but a "cutting" word, just like the peasant brothers cutting the autumn harvest with a sickle, there is a heavy weight in Changda, and a kind of ups and downs. He did not use a cutting knife and could return to the original intention of "astringent knife imitation" developed by those Zhejiang sect founders to save the slippery and greasy medicine, and he did not use the word "carving" but had the big knife of the old man of Baishi profound, giant blade skyscraper. He never "copied, did, cut", which can reveal the true face of his iron pen career. He used a carving knife as large as Xu Xu, which could be huge and meticulous, and he was full of pain, relying on his knife to use the blade, just as his pen was as expensive as his pen.
The light is faint in the morning of the first day of the winter month
Yanhu lake in the south window of Anchanglu