【世界文联网】观云山书道创始人郭春茂先生书法展有感


 本网讯(陈磊磊 文/韩留来)金秋十月,丹桂飘香。在收获的季节,有幸参观了郭春茂先生在河南省驻马店市的个人书法展览,感觉很是惊奇。

This net news (Chen Lei Lei Wen / Han liulai) autumn October, Danggui fragrance. In the harvest season, I had the honor to visit Mr. Guo Chunmao's personal calligraphy exhibition in Zhumadian City, Henan Province. I was very surprised.


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经人介绍,得知郭春茂先生是广东汕尾人,正值壮年,从小习字,所学必求极致。多年游历,观摩众多名碑帖,参悟书理,得师友指点,知笔势,识锋毫,进而能书,学得万毫齐力,探得锋毫同用,极线之美,知字之所成,知情之所达,因而成书。创办云山书道,学生众多,诸学生感笔法之妙,称之为“云山笔法”。与河南书法界有缘,在驻马店办展,十五天书写六十多幅作品,其中有三十多种字体和形式,二十多种法帖的集字或临作,闻之倍感神奇。

It was introduced that Mr. Guo Chunmao was born in Shanwei, Guangdong Province. He was in his prime of life. When he was young, he learned Chinese characters to the extreme. After many years of traveling, I have seen many stele inscriptions, understood the theory of calligraphy, got the guidance of teachers and friends, knew the style of writing, recognized the sharp point, and then could write, learned ten thousand millionths of strength, explored the beauty of the extreme lines, the beauty of the extreme lines, the formation of the characters, and the realization of the knowledge, thus forming a book. There are a lot of students who found Yunshan calligraphy, and they are called "Yunshan calligraphy". He is closely related to the calligraphy circle in Henan Province. He held an exhibition in Zhumadian. He wrote more than 60 works in 15 days, including more than 30 kinds of fonts and forms, and more than 20 kinds of calligraphy or temporary works.


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展厅里高挂着几十幅书法作品,有甲骨文、大篆、小篆、汉简、汉隶、大楷、小楷;有行书、大草、小草;有印象中从没见过的草篆(郭春茂老师自创书体); 有六尺整张单字的榜书,手臂粗的笔画苍郁灵动,重而不僵,沉而不滞;有手指头大小的行草书和小楷,有字数近千字的作品,有几个字的气象恢宏的大字作品,有古诗,有歇语,有长文,大字小字各自精彩。

In the exhibition hall, there are dozens of calligraphy works, including oracle bone inscriptions, big seal characters, small seal characters, Han bamboo slips, Han Li characters, regular script, and small regular script; there are running script, big grass and small grass; there are some grass seal characters that I have never seen before (Guo Chunmao created calligraphy style by himself); There are six foot whole single character list book, thick arm strokes, heavy but not stiff, heavy but not sluggish; there are finger sized running cursive script and regular script, works with nearly 1000 words, magnificent large character works with a few words, ancient poetry, Xie Yu, long prose, and small and big characters are all wonderful.


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细观之,其中有各种法帖的集字作品和临作,有散氏盘的奇趣妙姿,石鼓文的古朴雄强;有张迁碑,礼器碑,曹全碑等隶书的幽拙古雅,其中张迁碑全文临作,六尺整张的纸面上六百多字,经介绍,得知是几个小时的书写,一气呵成,落笔不见迟疑,用笔苍郁朴拙,方圆并用,应该是历史上有关张迁碑难得的临作佳品。

On a closer look, there are various calligraphic works and temporary works, such as the marvelous and wonderful appearance of Sanshi plate, the ancient simplicity and magnificence of stone drum inscriptions; the quiet and simple elegance of official script such as Zhang Qian's stele, ritual utensil tablet and Cao Quan tablet. Among them, Zhang Qian's full-text temporary work, with more than 600 characters on the whole six feet of paper, has been introduced and learned that it was a few hours of writing, and the writing was done without hesitation It should be a rare temporary masterpiece about Zhang Qian's stele in history.


凝视良久,心中暗想,此作会不会成为传世佳作呢?还有钟繇宣示表精细的表达,金刚经苍劲有力、气势磅礴的书写,石门颂苍郁蜿蜒、细长挺秀,张黑女沉郁温婉、貌奇体端,张猛龙笔力雄奇、古朴俊雅,欧体的端庄肃穆,还有号称楷书里最难写的大字阴符经,飘逸俊朗,有麻姑山仙坛记的大气巍然、虽楷犹如草的挥洒自如。

After staring at it for a long time, I wonder whether this work will become a masterpiece handed down from generation to generation? There are also Zhong Yao's elaborate expression, the vigorous and majestic writing of Vajra Sutra, the gloomy, winding, slender and graceful Ode to Shimen, the melancholy and gentle woman Zhang Hei, the graceful and elegant appearance of Zhang Menglong, the majestic, simple and elegant writing style of Zhang Menglong, and the Yin Fu Scripture, which is the most difficult to write in regular script, is elegant and elegant. It has the Maju mountain immortal altar's atmosphere, though regular as grass I'm free and easy.


各种经典和奇趣,每一件作品都透露出书者的不凡功底和对碑帖的深切理解。还有行草类的作品,有王羲之的十七帖、兰亭序和圣教序,孙过庭的书谱,张旭的古诗四首,王宠的送友生游茅山诗等,灵动神游,飘然不俗,起落有度。还有郭春茂老师其他各种字体缤纷多彩,琳琅满目,时而灵动飘逸,时而大气磅礴,细而不虚,重而不滞,静如处子,动如脱兔,时如涓涓细流,时如高山巍峨,有崩云万千、坠石直落者,有和风拂面、俊逸秀美者,不同书风随情而动,难得的是随性挥洒而不逾矩。小小展厅,却是一次书法大餐,观之怦然心动,肃然起敬。

All kinds of classic and interesting, each work reveals the writer's extraordinary skill and deep understanding of the inscription. There are also works of running grass, such as Wang Xizhi's seventeen pieces, Orchid Pavilion preface and holy religion preface, sun Guoting's book notation, Zhang Xu's four ancient poems, Wang Chong's poems of seeing off friends and students on a trip to Maoshan mountain, etc., which are vivid, elegant and graceful. In addition, Mr. Guo Chunmao's other various fonts are colorful and colorful. Sometimes they are flexible and elegant, sometimes majestic, thin but not empty, heavy but not stagnant. They are quiet like virgins, moving like rabbits, sometimes like trickling streams, sometimes like towering mountains, there are thousands of collapsing clouds and falling stones, and there are those who are gentle and elegant. Different book styles move according to the situation, and the rare thing is that they are free to spread without exceeding the rules 。 The small exhibition hall, however, is a calligraphy feast, which is very exciting and respectful.


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纵横屋漏痕,遒丽锥画沙。大小两个展厅,一百多平方米,观之壮丽,思之神奇,一个人的手笔,十五天的书写,六十多幅作品,三十多种字体和形式,如此事件,世上少有。屋漏痕,锥画沙,折叉股,印印泥,各种笔法,各种气势,各种气魄,各种柔美,各种洒脱,无论大字小字,笔无虚发,线无僵板。再细察之,线必极致,雄强灵动秀美自然;字俱有韵,篇皆有神,所谓美不胜收是为此也!

There are leakage marks in the vertical and horizontal rooms, and the beautiful cone painting sand. There are two exhibition halls of more than 100 square meters in size. The view is magnificent and the thinking is magical. One person's handwriting, 15 days' writing, more than 60 pieces of works, and more than 30 kinds of fonts and forms are rare in the world. House leak mark, cone painting sand, folding fork, printing ink, all kinds of strokes, all kinds of momentum, all kinds of spirit, all kinds of soft, all kinds of free and easy, no matter big and small characters, no false hair, no rigid line. On closer inspection, the line must be the acme, strong, flexible, beautiful and natural; the words have rhyme, and all the articles have gods, so the so-called beauty is too much!


整个展览,虽然规模不大,却是精彩纷呈,其中最引人瞩目的是一幅六尺整张的巨大“龙”字,用笔古朴苍郁,体态雍和灵动,以大篆《陋室铭》全文淡墨作底,相映成趣,两边配以“厚德载物,自强不息”两幅大篆作品,苍劲巍然,体现了中国文化龙的精神和德善情操。还有郭老师的石鼓文首篇三条屏,笔墨几近化境,线坚体静,观之气和而神远。最令人惊奇的是郭春茂老师自创的草篆,“长风破浪会有时,直挂云帆济沧海”,篆书草写,静中有动,动中有静,将浓遂枯,带燥方润,笔势挥洒,笔力通达,如果对笔毫的驾驭能力没到通透自如的境界,或者没能做到心手合一是写不出来的。通过郭春茂老师的书法作品,能感受到“法正而情真,韵达而书美”,同时也能感受到郭春茂老师的文采风流,是一个才情横溢的书法家。

Although the exhibition is not large in scale, it is splendid. Among them, the most striking one is a huge "dragon" of six feet in length. The pen is simple and gloomy, and the posture is graceful and flexible. It is based on the full text of the inscription of the humble chamber in the seal script. The two pieces of work of the seal character "carrying things with great virtue and constantly striving for self-improvement" on both sides are vigorous and majestic, reflecting the spirit and virtue of the dragon in Chinese culture Good sentiment. There are three screens in the first chapter of Mr. Guo's stone drum essay. The ink and brush are almost in the state of transformation. The lines are firm and the body is quiet. The view is harmonious and the spirit is far away. What is most amazing is the grass seal script created by Guo Chunmao himself. "There will be times when the wind blows and the waves, and the cloud sails will be straight to the sea." the cursive script of seal script is characterized by movement in stillness and stillness in movement. It will wither when it is thick, and it will be dry and moist. If you can't control the brush freely, or if you can't achieve the unity of mind and hand, you can't write it. Through Mr. Guo Chunmao's calligraphy works, we can feel that "the law is right and the feeling is true, the rhyme is elegant and the calligraphy is beautiful". At the same time, we can also feel his literary talent and elegant demeanor. He is a calligrapher full of talent.


参观展览后,难得与郭春茂老师畅谈书法,得知郭老师通过几年的教学相长,在书法上已经有了自成系统的总结,明线,知法,识字,达情,总结出书法学习的四个初级阶段(1.懂线形线质,2.懂笔法,3.有节奏地书写,4.用感情写字),线条的十二美(12美:涩,有力量,摩擦力。苍,苍茫,老辣。郁,沉实,蜿蜒。秀,灵动,秀美。雄,雄壮,大气。强,强壮有力,不柔弱。刚,阳刚,有朝气。健,健实,不虚弱。柔,柔美,多姿。韧,坚韧,有筋,有弹性。润,丰裕,润泽。厚,厚重,博大。)和十六丑(虚,弱,平,滑,飘,浮,松,软,僵,柴,滞,俗,呆,板,肿,薄),阶梯式的教学方式等内容。这些内容新奇而通俗易懂,令人收益非浅。

After visiting the exhibition, it is rare to talk about calligraphy with Mr. Guo Chunmao. After several years of teaching and learning, Mr. Guo has already made a systematic summary of calligraphy. He has summed up four primary stages of calligraphy learning (1. Understanding linear quality; 2. Understanding writing skills; 3. Rhythmic writing; 4. Writing with emotion); and the twelve beauty of lines (12 beauty: astringency, some) Force, friction. Cang, Cang, Lao hot. Melancholy, steady and winding. Show, smart, beautiful. Male, majestic, atmospheric. Strong, strong, strong, not weak. Just, masculine, vigorous. Healthy, healthy, not weak. Soft, soft and beautiful, colorful. Tough, tough, ribbed, elastic. Moist, abundant, moist. Thick, thick, broad.) And sixteen ugliness (empty, weak, flat, slippery, floating, floating, loose, soft, stiff, firewood, stagnant, vulgar, dull, board, swollen, thin), ladder teaching methods and so on. These contents are novel and easy to understand, which makes people gain a lot.


郭春茂老师一直以来致力于书法艺术的探求和普及,以求推广所知所学,主张学书者必先懂锋毫,识得万毫齐力、锋毫同用,以此为基础,然后宜临石鼓文以知线之美,再临张迁碑以知锋毫之所用,进而写行草而入楷,必日有所进,或致能大成,能书百体。郭老师讲述自己的书法,“期想明于今人,益于后人”。能者有责于天下,郭先生的所学所写,相信这是一股清流,必将经久地流淌在中国书坛的大地上。

Mr. Guo Chunmao has always been committed to the exploration and popularization of calligraphy art, in order to promote what he knows and learned. He advocates that those who learn calligraphy must first understand Feng Hao, and then understand the beauty of lines in stone drum inscriptions, and then in Zhang Qian's stele, to know the use of Feng Hao. Then he should write cursive and regular script. He will make progress every day, or achieve great success, and be able to write 100 styles. Mr. Guo tells of his calligraphy, hoping to make it clear to the present and benefit future generations. Mr. Guo's learning and writing, I believe that this is a clear flow, will continue to flow on the land of Chinese calligraphy.


通过这次书展的参观和跟郭春茂老师的交流,惊喜异常,同时也引起我诸多思考。普通人要写好一种字体,已经很是不容易,为什么郭春茂老师能做到百体俱能,并且都能达到相当的高度,自古说,笔法千古不易,究竟指的是什么内容,而在郭春茂老师的书法里能否找到正确的方向呢?郭春茂老师创办的云山书道所要做的事情,将会给大家和后世带来什么影响呢?而我们又要怎样来对待郭春茂老师的书法内容呢?若教临水畔,字字恐成龙。可以预想,凭着郭老师书法的深厚造诣和横溢才情,加上郭老师对书法的孜孜以求,一定会成为一代书家,在书法史上留下重彩浓墨的一笔。

Through the visit to the book fair and the exchange with Mr. Guo Chunmao, I was surprised and thought a lot at the same time. It is not easy for ordinary people to write a good font. Why can Mr. Guo Chunmao be able to do all kinds of writing and reach a certain height? Since ancient times, it has been said that the writing method has never been easy. What is the content? Can we find the right direction in Mr. Guo Chunmao's calligraphy? What will be the impact of the Yunshan Shudao founded by Guo Chunmao on you and later generations? And how do we deal with Guo Chunmao's calligraphy content? If you teach by the riverside, you are afraid of Jackie Chan. It can be expected that, with the profound attainments and brilliant talent of Mr. Guo's calligraphy, as well as his assiduous pursuit of calligraphy, he will surely become a calligrapher of a generation, leaving a heavy color and thick ink in the history of calligraphy.



(检察风云法治新闻网 责编 陈运发)

(Chen Yunfa, editor in charge of the legal news network)


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