Zhang Feng
Zhang Feng was born in Zhenyuan, Gansu Province in April 1963. He has devoted himself to the study, research and creation of calligraphy art for many years. He has won awards from Li Duo, Zhang Chuankai, Professors Liu Wenhua, Zhai Wanyi, Hong Houtian and others. Member of the Chinese Calligraphers Association, member of the Regular Script Professional Committee of the Gansu Calligraphers Association, director of the Qingyang Calligraphers Association, and chairman of the Zhenyuan County Calligraphers Association.
Chinese name: Zhang Feng
Nationality: Chinese
Ethnicity: Han
Birthplace: Zhenyuan, Gansu
< p>Date of birth: April 1963Occupation: Calligrapher
Main achievements: calligraphy creation, education, organizational leadership
Representative works: calligraphy works< /p>
Art Introduction
Introduction
Zhang Feng, born in Zhenyuan, Gansu Province in April 1963, is currently a member of the Chinese Calligraphers Association and a calligrapher of Gansu Province. Member of Xiekai Script Professional Committee and Chairman of Zhenyuan County Calligraphers Association.
Artistic Style
Zhang Feng was taught by Li Duo, Zhang Chuankai, Liu Wenhua, Zhai Wanyi, Hong Houtian, etc., and devoted himself to the copying and creation of Wei stele and various calligraphy styles, pursuing Powerful, simple, natural and smart artistic style.
Achievements
His works have participated in many national and provincial exhibitions and won awards.
The works participated in the first "Pu'er Tea Village" Calligraphy Art Festival National Calligraphy Exhibition, the first Western Calligraphy and Seal Cutting Exhibition, the 9th National Calligraphy and Seal Cutting Exhibition, the third Chinese Calligraphy "Lanting Award", Gansu Calligraphy Jinjing Exhibition , the 2008 Chinese Calligraphy Association Calligraphy Training Center Teaching Achievements Exhibition (Honorary Award), the Second Gansu Province Calligraphy Newcomers and New Works Exhibition, the second and third Gansu Calligraphy "Zhang Zhi Award", the 50th Anniversary of the Founding of the People's Republic of China Gansu Calligraphy and Seal Engraving Exhibition, The 4th and 5th Gansu Young and Middle-aged Calligraphy and Seal Engraving Exhibition
Details of admission and awards:
The first "Pu'er Tea Village" Calligraphy Art Festival National Calligraphy Exhibition (sponsored by the Chinese Calligraphy Association). )
The First Western Calligraphy and Seal Cutting Exhibition (sponsored by the Chinese Calligraphy Association)
The Ninth National Calligraphy and Seal Cutting Exhibition (sponsored by the Chinese Calligraphy Association)
The Third China Calligraphy "Lanting Award" (sponsored by the Chinese Calligraphy Association) Gansu Calligraphy Jinjing Exhibition (sponsored by the Chinese Calligraphy Association)
2008 Chinese Calligraphy Association Calligraphy Training Center Teaching Achievements Exhibition (Honorary Award)
The 2nd Gansu Province Calligraphy Newcomers and New Works Exhibition
The 2nd and 3rd Gansu Calligraphy "Zhang Zhi Award"
Gansu Calligraphy and Seal Engraving Exhibition for the 50th Anniversary of the Founding of the People's Republic of China
< p>The first and second temporary exhibitions of Gansu calligraphy (the second award-winning) The fourth and fifth Gansu young and middle-aged calligraphy and seal cutting exhibitions (the fifth award-winning)Du Fu Longyou’s poetic calligraphy and painting exhibition won the calligraphy excellence award< /p>
Art Evaluation
Firstly
It should be admitted that Gansu calligraphy has developed rapidly in recent years, and a large number of new people have emerged, not only adding value to themselves and to their hometown. Guang also adds color to Gansu and the calligraphy world. As a calligrapher born in the 1960s who started late in the 1960s and grew up in Longdong Zhenyuan, which values ????"not hanging couplets to celebrate the New Year". Zhang Feng "speaks" with his own works. In just a few years, he has been frequently included in national exhibitions and even won the "Lanting Award", the highest level of calligraphy in China. This cannot help but arouse our attention and interest in his research.
Zhang Feng is not a celebrity in the calligraphy world. I was not familiar with him at first. I only knew his name (he is a successful calligrapher in the Gansu calligraphy circle after going through many hardships). I only met him by chance not long ago. .
Zhang Feng’s path to learning calligraphy is no different from others. After chatting, we found out that since he stepped into the door of calligraphy in 1996, he has worked hard to carry forward his spirit of perseverance and has written many works in "Zhang Menglong Monument" and "Zhang Xuan's Epitaph". "" Epitaph of the Yuan Family" and other Northern Wei steles, he also studied the official scripts of Yan, Zhao, Su, Huang, Mi, Cai, Wang Duo, Fu Shan, Zheng Banqiao and Qin and Han Dynasties, and drew extensive nutrition from them to participate in China at the beginning of the new century. He studied in training classes organized by the Calligraphy Association in Xi'an, Dingxi, and Beijing. After listening to the teachings of famous teachers in person, he became enlightened and gradually understood a lot of calligraphy principles. He said that Mr. Hong Houtian once gave me a class and thought that I should learn calligraphy. That is to learn the concept, and we must pay attention to the cultivation and improvement of the ability to control the brush and use the brush to express. The core of calligraphy is the quality of the line, followed by the role of the line and the spatial relationship between the line and the line, that is, the straight line with masculine characteristics. and feminine curves, these two lines blend, transform and change with each other. In fact, any calligrapher just completes a process of starting, moving and ending. He believes that in learning calligraphy, in addition to spending time on the stele and writing, the key lies in the word "enlightenment". You must learn to produce "true enlightenment" like the eminent monk chanting Buddha's name. Every stroke, every painting, and every word must be done. Only when you have a plan in mind can you write more ideal works.
Calligraphy, like music, dance, opera, painting and other arts, "the art lies in the soul, not in the hands and eyes." When I read Zhang Feng's calligraphy, I think it has three characteristics: first, elegance and purity, second, freshness, and third, literary style. Elegant and pure, elegant and clean. The brushwork is rich and natural, clean and tidy, without any sloppiness. The brushwork is simple and straightforward yet elegant and leisurely. The layout is random and the relationship between the whole and the parts is handled as well as possible in space, trying to express one's own calligraphy interest. Fresh, clear and novel.
Zhang Feng's calligraphy undoubtedly comes from tradition. It has roots in inheritance but is not based on the past. The calligraphy is similar to the ancient but not ancient. He also focuses on the current aesthetic category and strives to reflect the aesthetic consciousness of the times. Liu Xizai's "Art Introduction" said that "there is no better way to observe a person's calligraphy than to observe his cursive writing." His calligraphy, mainly composed of cursive script and regular script, is considered to be the best, followed by other calligraphy styles. Zhao Meng_ said that "calligraphy changes at any time, and the use of brushes is not easy through the ages." Zhang Feng understood his meaning well, and used both middle and side brushes to achieve the effect of ingenuity and harmony, trying to increase the richness of the brush while improving the quality of the lines. . His brush strokes were occasionally twisted and turned, but he was able to "rescue" and "disaster relief" in a timely manner. He quickly changed his strokes, and his lines became elastic and tough, appearing steep, clear and novel, which also embodies the metaphysical spirit in Eastern philosophy. His regular script is undoubtedly based on the Beibei stele. It is blended with facial expressions and rhyme of willow pen, and contains natural interest. It is like a lotus in a pond after rain. When reading, there is always a fresh air coming towards you. Literary style refers to the book style with a loud and clear sound, especially cursive writing. The lines of the words reveal a quiet and clear "literary heart", like gurgling water, surging and jumping, quite rhythmic
Quiet On a spring night, I browsed, compared and studied Zhang Feng's calligraphy works under the lamp, imagining the scene of him working in the sea of ??ink for more than ten years and singing from his heart on the paper. I occasionally felt poetic and composed a poem "Interpretation of Zhang Feng's Calligraphy" "Xing", Quan squeezed two lines here, gave it to him, and encouraged him:
Leaning against the window in the courtyard, the tree is silent, holding a pen and chanting Zen, the wall is full of surprise.
The ink sea is plowed according to the right way, and I really feel that the paper is blowing and the breeze is blowing.
Calligraphy is an art that people love deeply, cannot let go of, and are difficult to let go of. It is also unfathomable and boundless. From ancient times to the present, no one can be perfect and impeccable. In this way, we cannot say that Zhang Feng is a very outstanding calligrapher; however, I sincerely hope that he will become a very outstanding calligrapher. In my opinion, there are still some shortcomings and shortcomings in his works. For example, some lines in the cursive script are not strong enough, especially the way of writing individual strokes. The movement of the strokes seems to be unclear, unstable and the lines are not very clear. Some are weak; some long-hanging writing methods are written too fast, resulting in dry lines, as thin as bamboo slices, and are still tacky. In my opinion, calligraphy pays attention to thickness, but thick and dark writing does not mean thickness. Thickness refers to the antiquity of the method, the broad absorption, and the inclusion of recognized sages and masters’ brushwork and calligraphy aesthetics. I wonder what the majority of book friends think about this? Calligraphy has developed for thousands of years. From a historical perspective, most calligraphers have their golden period of creation around the age of fifty. Zhang Feng has not yet reached the age of knowing his destiny. We believe that he will work hard to make up for his shortcomings and shortcomings. If there are any shortcomings, find your own calligraphy path and achieve greater success.
——In the early morning of the sixth day of the second lunar month of the Xinmao year, in Banhanzhai Dengqiuzi
Second
On the occasion of the reprinting of Mr. Zhang Feng’s calligraphy collection, he asked me Write some words, I will agree without hesitation. When I calmed down and picked up the pen to write, I was afraid to move forward, not knowing what to say.
My acquaintance with Mr. Zhang Feng originated from the "Four Seasons" calligraphy joint exhibition held in 2003 by him, Liu Jinyu, Li Quande, Gou Huifeng and other book friends. At that time, he was invited to write the preface of the book exhibition for them. The book fair was a success, and the foreword I wrote was recognized and praised by everyone for its "realistic portrait".
As a result, I had relatively frequent contacts with Mr. Zhang Feng. When I was bored in my spare time, I went to him to ask for tea, watched him create, and even asked for a painting in exchange for wine. He also wrote some words that I wrote casually without being superficial. Because of Mr. Zhang Feng’s calligraphy, the words I wrote are like new branches sprouting from a willow stump, gaining vitality.
When Mr. Zhang Feng held a personal calligraphy exhibition in 2011, he asked me to write a preface to the exhibition. I improvised the title "Calligraphy Mind" and rolled out the following content like an old stone mill for rice. :
Words are drawn from the heart. The writing is freehand, the heart is free, and the words are beautiful. Mr. Qi Gong once wrote in the preface to Lin Sanzhi's "The Preservation of Poems on the River": "The old man's poems are full of history, and his eyes are filled with mountains and rivers. They are written by a man who has read thousands of books and traveled thousands of miles." , Hao Haoran, just do it casually. There is no intention to carve out the words, but there is joy in it. "The same is true for books. Looking at the masterpieces of ancient and modern calligraphers, their craftsmanship in dotting and cutting are all as good as their own hands.
Zhang Fengjun, who was originally from Jinzhen, was influenced by the traditional culture of Qianfu's hometown. He devoted himself to calligraphy and accumulated a lot of experience. Aspiring to carry forward the good customs of the "hometown of calligraphy", I went to Xi'an, Beijing and other ancient and modern cultural cities to study with teachers. I was taught by famous teachers and received guidance from everyone. I lacked knowledge, so I imitated with my heart and worked hard. Learn by analogy, broaden your horizons, and improve your calligraphy skills. After learning for a long time, the Confucianism and elegance appear spontaneously, and the green, dark and spiritual are combined, making the ink and the pen play together. I have the method of Zhang Heinv, which has the style of the Wei and Jin Dynasties, with softness in the hardness, and wonderful rhyme in bones. With spring in my heart, my writing is swaying. Supplemented by humanistic feelings, it is free and fresh, and the calligraphy is fragrant.
Zhang Feng’s calligraphy, with real cursive and seal script, each has its own face and is auspicious. Write from the heart and freehand, turning the past into the new. Shang Yi is lyrical and elegant in style.
There is a saying, "It is the ancestor of the Qin and Han Dynasties, and the regular script is the Jin and Tang Dynasties." But it is said that calligraphy is the art of expressing one's heart and mind.
Therefore, if you want to reach a higher level, achieve the great cause of calligraphy, make your works pass on for a long time, and truly become a wordless poem, a dance without lines, a painting without pictures, and a silent joy, you must have a calligraphy mind and a contemporary mind. What Cao Shenglin Sanzhi said about the realm: "Write to the deepest part of the soul, and I don't know that there is me and no one."
With the perspective of Guan Zui, doing it with strength is the preface.
In 2012, Mr. Zhang Feng was elected as the chairman of the Calligraphers Association in Zhenyuan, the hometown of Chinese calligraphy. Together with his colleagues, he dedicated his talents to the inheritance and prosperity of the art of calligraphy.
The gossip I am talking about today may be far from the original intention of Mr. Zhang Feng who asked me to write the article. However, if we look closely at the history of Chinese calligraphy, we can see that the best calligraphy works contain some ordinary and subtle words. , some are even written prescriptions.
In a word, it is still true. Write yourself and have your own face.
——2013.6.22 Shenwancang at 2 a.m.
Third
When the gongs and drums of the Xinmao Year have not gone far, the fireworks of the Lantern Festival have not yet gone. After leaving, Zhang Feng has already started preparations for his calligraphy exhibition and editing of his portfolio. As a mentor and friend who have been together for many years, while I express my concern and enthusiastic support, it is also my duty to be hired as a writer!
In the early 1990s, Zhang Feng, who had worked hard in the business world for many years, respected his father’s orders and solemnly worshiped me as his teacher to learn calligraphy. At the same time, he entered the calligraphy circle of Zhenyuan and maintained a relationship with me for twenty years. Deep friendship between mentor and friend for many years. In the first ten years, he was busy and working for life, but he never gave up his calligraphy complex for a moment. He regarded calligraphy practice as part of his spare time, and often had close contacts and pen meetings with young talents in the Zhenyuan calligraphy circles such as Zheng Moquan and Chen Bo. His long-term exposure, encouragement and encouragement strengthened his belief in hard study and laid the foundation for his future. His emotional foundation became a professional calligrapher.
In 2003, Zhang Feng, Liu Jinyu and other three like-minded book friends held the "Four Seasons" calligraphy joint exhibition in Zhenyuan County, which received unanimous praise from people from all walks of life and injected inspiration into his calligraphy creations. Passion and energy. Later, in his forties, Zhang Feng, whose life track had stabilized, traveled to Lanzhou, Xi'an, Yinchuan, Guangzhou, and several times to Beijing to pay homage to famous teachers and attend national exhibitions, determined to make a splash in calligraphy. . Through observing the National Exhibition, Zhang Feng found the formal feeling and main direction of calligraphy creation; through training from famous professors and the Chinese Calligraphy Association Training Center, he improved his calligraphy copying and creation skills. With almost obsessive persistence and perseverance, he tenaciously copied and created, and achieved achievements that attracted the attention of his colleagues and all walks of life. His Wei-style regular script, which is skillful and rich in technique and has flexible and varied strokes, has been exhibited in large-scale exhibitions such as the "Ninth National Calligraphy and Seal Engraving Exhibition", "Chinese Calligraphy and Seal Engraving Exhibition" and the "First and Second Western Calligraphy and Seal Engraving Exhibition". Today, Zhang Feng, who is less than half a century old, is devoting himself wholeheartedly to the study and creation of calligraphy art, living a life of a professional calligrapher persistently and fulfillingly. The busy folk entertainment and the market operation of his works ensured his abundant economic income; the professional creation of works and children's calligraphy training established an ideal platform for him to embody the value of life. Zhang Feng, who has become famous in calligraphy, is not complacent or proud, but still studies hard. He deeply understands that the profound art of Chinese calligraphy is a comprehensive reflection of a calligrapher’s life trajectory, experience and education; he deeply understands that proficient writing skills are not the only criterion for measuring calligraphers, and every calligrapher who has left a name in history Everyone is a rich scholar, a poet, a scholar, and a historian. What they write is the expression of rich personal cultivation and emotion, rather than the display of pure skills. Therefore, he began to go to Beijing again and continued his studies in the studio of Hong Houtian's calligraphy instructor. He started from seal script, official script and other calligraphy styles, and absorbed nutrients from the history of Chinese calligraphy for more than three thousand years; he also studied Tang poetry, Song lyrics, ancient Chinese Acquiring knowledge from Chinese and foreign art history enriched his knowledge and cultivation. Zhang Feng cannot be underestimated from now on. I wish Zhang Feng will make further progress, perfect his calligraphy skills and achieve greater success!
——Gou Yiqian in the Pianyan Hall on the 18th day of the first lunar month of Xin Maochun
Fourth
Mr. Zhang Feng and I became acquainted with calligraphy in the 1990s. In April 2007, he entered the short-term training class of the Chinese Calligraphy Association’s calligraphy training center in Xi’an, where he was also a student of teacher Hong Houtian. In the same year, he was taught by Lin Xiu, Bai Xu, and Qi Zuosheng in the short-term training class of the Gansu Dingxi Training Base of the Education Committee of the Chinese Calligraphy Association. , Zhai Wanyi and other teachers. That year, Zhang Feng's works were exhibited in the first Western China Calligraphy Exhibition, and three months later, they were exhibited in the 9th National Exhibition. In 2008, Zhang Feng was awarded the Annual Teaching Achievement Honor Award of the Chinese Calligraphy Association’s Calligraphy Training Center. I have always been with him and know how he embarked on the path of calligraphy.
Mr. Zhang Feng was born in 1963 in Zhenyuan County, a high plateau on the Loess River in eastern Longxi. He is neither a scholarly family nor a noble family, he is just an ordinary employee of a paper mill in a small county. His experience in studying calligraphy is the same as his writing, which is simple and simple. In the late 1980s, because he had to ask people to write Spring Festival couplets for the New Year, he decided to learn calligraphy and write Spring Festival couplets for his family and neighbors during the New Year. He wrote randomly and scratched, and then under the guidance of the local calligraphers of the previous generation, he wrote Ouyang Xun, Liu Gongquan and other Tang Kaifa calligraphy.
After becoming slightly interested, I began to write the Northern Wei Dynasty's "Zhang Menglong Stele" in 1996. Later, I wrote Zhang Xuan's epitaph, Yuan's epitaph, and Mi Fu's running script, etc. Gradually, I became interested, fond, and passionate about calligraphy. Day after day, year after year, I never stop visiting the pond.
What really led Zhang Feng to the path of calligraphy art was the professional and systematic training provided by the Chinese Calligraphy Association’s Calligraphy Training Center at the beginning of this century. During this period, he went to Beijing many times to listen to the teachings of teachers such as Liu Wenhua, Hong Houtian, and Zhai Wanyi, and he gradually became better and "got what he felt in his heart and what he knew in his hands." Teacher Liu Wenhua asked him to change his mind and concepts to correct his previous blind, scattered and disordered learning state. It made him understand the principle of "digging holes all over the place, it is better to dig wells on the spot", and he began to specialize in "Zhang Menglong Monument" until he entered the provincial exhibition many times. Teacher Hong Houtian made him realize: "When learning calligraphy, we must pay attention to the cultivation of two abilities. The first is the ability to control the brush; the second is the ability to express with the brush. The core of calligraphy is the quality of the lines, and the second is the role of the lines and the processing of the spatial relationship between the lines, which are actually two types of lines. Curved lines with masculine characteristics and straight lines with feminine characteristics blend, transform and change with each other.” Teacher Zhai Wanyi pointed out many times that he should "not repeat mistakes diligently, but analyze and use his brain to know and correct mistakes." Under the guidance of his teacher, his calligraphy lines changed from thin and slippery to twisted, thick, dignified and full of changes. In terms of spatial processing, the relationship between the local and the whole can be handled harmoniously. His calligraphy works have rich brush skills, random structural forms and changing natural features during the creation process, and have distinctive personality characteristics.
In summary, Zhang Feng studied calligraphy in three stages: first, he initially aimed to write Spring Festival couplets, which lasted for more than ten years from 1987 to the end of the last century; second, he studied calligraphy for life, and gradually became a master of calligraphy under the guidance of famous teachers. After entering a good state, calligraphy became an important part of his life; thirdly, Zhang Feng regarded Lanting's participation in the exhibition as a new starting point for learning, positioning his ambition in life for calligraphy, and decided to enroll in the tutor's studio of the Chinese Calligraphy Association's Calligraphy Training Center in 2010. , it is commendable to strive for calligraphy as the ultimate ambition in life. However, the road of calligraphy is getting more and more difficult, and we are looking forward to it
Finally, I would like to conclude with the teacher’s words: “Calligraphy is the power of life, rotation, rhythm, order, and the high degree of cohesion and rationality. Melting."; "Calligraphy, use life to feel", "The wind blows, calligraphy is inside."
——Zhang Weixin
Art Theory
Unveiling the mystery of seal script
In the dead of night, make a pot of hot tea and sit down As I sat there, I became more and more confused when faced with some small results. The joy and pain of studying began to surge in my heart, making me unable to calm down.
After entering Hong Houtian’s studio, the teacher’s first class was on seal script. He talked about the emergence, completion, prosperity and perfection of seal script, as well as the life, social and historical reasons for the emergence of seal script. It explains the ancient ancestors' reverence and understanding of nature in a profound and detailed way, which is enlightening. The emergence and development of pictographs, simple carving tools and random carving environment have given oracle bone inscriptions an unconscious, simple and primitive natural aesthetic feature.
In slave society, with the development of productivity, bronze appeared, and the cast characters on metal vessels became real record-keeping texts, such as the large bowl inscriptions and the Sanshi Pan inscriptions. The style of writing appeared rational, strict and solemn. , the luxurious decoration of the sacred nobles sacrificed by the emperor made the bronze inscriptions restrained from a lot of barbarism and randomness in terms of oracle bones. The prosperous slave society made bronze inscriptions temporarily unheard of.
After Qin unified China, it established a feudal dynasty, the social and political systems were improved, and the formation of centralized power made writing call for a new historical style. After injecting social factors, standard, normative, practical and rigorous seal script appeared. At the same time, the earliest writing tool, the brush, appeared, which made seal script have the characteristics of square font, tight top and loose bottom, uniform stroke thickness, round head and round tail. It was called "Yujin" or Qin Xiaozhuan by later generations.
I think the texture of the lines formed by the strokes of any seal script is changeable, or thick, or rough, or light, or flexible, or clumsy, or strong, etc., which has a profound impact on all calligraphy styles. And it is irreplaceable. As a calligrapher, you need to have a deep understanding. The knife marks on oracle bones, the casting meaning of bronze inscriptions, and the bone techniques of small seal scripts can all be injected into calligraphy styles such as official script, regular script, and running cursive. Without the meaning of seal script, the lines are weak and incomplete, not lingering, weak and boneless, lacking gold and stone, and excessive and dry. Neither heavy nor stable, unclear but not cold, even if the calligraphy styles of later generations are widely understood, they all understand the meaning of seal characters. They directly predate the Qin Dynasty and are passed down to later generations, such as Deng Shiru, Wu Rangzhi, Qi Baishi, Wu Changshuo, etc. From the lines of seal script, I read the characteristics of lines such as graceful, smooth, elastic, feminine, honest, strong, and masculine. From all the classic calligraphy styles since the Han and Wei dynasties, we can see that Chinese calligraphy is actually two lines of yin and yang, namely the small seal script and the large seal script, which blend, transform and change with each other. Contradictions arise and are resolved, and finally achieve perfect opposition and unity.
When we understand the life, social and historical process of the origin, development and perfection of seal script, we will know the original origin. As the originator of all calligraphy styles, its importance to calligraphy is immeasurable, and calligraphy practitioners should not take it carelessly.
——Zhang Feng and Xin Maochun under the Jingxinzhai lamp
Art activities
In May 2011, the "Exhibition of Inheriting Classic Zhang Feng's Calligraphy Works" was held in Zhenyuan The more than 90 calligraphy works on display this time are masterpieces created by Mr. Zhang Feng over a period of three years. They are a full display of his overall level and strength, and provide a learning and communication platform for calligraphy enthusiasts.
Appreciation of works
All pictures in this entry are Zhang Feng’s calligraphy works, please click to enlarge and enjoy. To appreciate Zhang Feng’s more exciting works, please click on the album below.