A paper of inscription expressing emotion

  An ordinary restaurant in Jinan, with old bricks and old tiles, narrow ladders and low eaves. However, going up the stairs, it is a small house with a small area. Several glass windows divide the inside and outside of the window into two different worlds. The bustling outside the window, the window is full of giant structures and beautiful structures, and a house full of ancient charm. The picture-like black characters are as engraved and engraved on the white paper, and the brushwork is strong and boney, the lines are stretched and the ink is stretched, and the strokes are dry and strong, and the brushwork is strong and strong. It constitutes a world of calligraphy that is forgotten.
  When there was a visitor coming, a quaint old man who was writing at the desk raised his head in response. Happy Spring, this calligrapher who is famous for his superb calligraphy art of gold and stone, is indeed as approachable as rumors and enthusiastically greeted reporters to sit down. Speaking of his own calligraphy art path, Happy Spring opened the conversation box…
  An encounter on the train opened another life
  . At the junior high school stage, Mr. Happy Spring fell in love with calligraphy art under the influence of class teacher Zhuang Xiguang. After graduating from college, he has been working in the party and government organs. Although he is busy, he has never slacked off in the study of calligraphy art. He studied calligraphy and started with Hanli until he met Mr. Jiang Baochang, a professor of literature at Shandong University and a doctoral tutor in 1986.
  In the words of Mr. Happy Spring, the encounter with Mr. Jiang Baochang on the train has made him what he is today.
  In 1986, Mr. Happy Spring went to Beijing to participate in an exhibition of nationwide township and village enterprises. When he returned, he was on the train from Jinan to Rizhao. He unmannedly carefully hooked Hanli copybooks with a ballpoint pen. This move caught the attention of Professor Jiang Baochang and Yin Shilin in the same car, and the two took the initiative to talk. This exchange made them close friends.
  After that, Mr. Xingquan carefully studied “Language Course” and “Golden Research” edited by Professor Jiang, and he became obsessed with this ancient writing. Under the guidance of Professor Jiang, he began to dabble in Oracle and Jinwen. He repeatedly copied various classics of tablet inscriptions, and paid attention to the exploration of the text, traced the origins, injected nutrition into his calligraphy creation, and added connotation.
  Once a person is hooked on something, it is like the Wuling fisherman stepping into the peach blossoms, but the fragrant grass is delicious and colorful. The land is flat and the house is like a house. This is a new landscape. In a sense, the study of the inscriptions has enabled Happy Spring to start another life.
  Learn from everyone, obsessed with Shushan Mohai
  Jinwen is one of the oldest scripts in China, and it is an important tool for ancestors to understand the world and record the world. Because in the era when humans were just enlightened, Jinwen is still describing objects with pictographs At this stage, this kind of text modeling has the nature of pictures. Each text is like an abstract painting, shaped with objects, decent in size and vivid in shape. The ancestors’ simple aesthetics and modeling ability gave them a liberal romantic atmosphere in the inscriptions. This beautiful and free temperament deeply touched the heart of Mr. Happy Spring and made him intoxicated.
  He read a record of “Golden Research” and used it for eight months. Xingquan’s obsession with Jin Wen moved Professor Jiang Baochang. In 2009, under the personal auspices of Professor Jiang Baochang, I was happy to worship Yu Taichang, a master of contemporary gold calligraphy, as his tutor.
  Compared with others, the study of Jinwen is much more difficult. From the practical point of view of the inscription, it can be called death script. Because of the age and the limited number of words in the world, this is a great challenge for learners to remember. Happy Spring has the stubbornness and conscientiousness of the Shandong people in his bones. He has no fear or retreat for this choice that involves the field of ancient philology.
  Everyone who knows him knows that Mr. Kuaiquan always likes to bring a bag with his favorite historiography or calligraphy books. When he has free time, he takes it out to read, and never wastes time. In addition, his dictionary does not leave his hand, and whenever he remembers the structure and meaning of these scripture-like words, he is not happy.
  For more than 40 years, Happy Spring has been painting under the solitary lamp by night, immersed in the dot painting, or following the ancients, or talking with the modern people, and relentlessly trekking in the Mo Shan of the book mountain.
  No matter how busy the work is, he will squeeze out time and practice his handwriting. Even when he sleeps and walks, he is full of structure, shape and rules of words.
  Confucius said that those who know are worse than those who are happy. The ancients also said that they are not tired. This is an accurate description of the true scholar.
  Constantly exploring, the tradition of focusing on culture and arts
  has an old saying, “Shi Gu is not ancient”, “Shi Gu” is very important, all kinds of calligraphy styles are already complete, and future generations are not muddy after Shigu. It demonstrates the millennium inheritance of calligraphy culture, making calligraphy renew the new life of the era.
  Mr. Happy Spring understands the meaning of this sentence, so in his pen, Zhong Dingwen uses the pen to be smooth, the lines are round, and the rules are unique. The oracle bone writing he wrote focused on the ingenuity of the stroke and the shape of the word size and shape, with a dignified attitude and rich texture. Detailed description of Mr. Happy Spring’s gold calligraphy, whether it is the layout of its length, the arrangement between the lines in the words, whether it is the pursuit of artistic conception, or the emotional catharsis, will give people a vigorous and vigorous spur and guidance. It’s no wonder that his calligraphy was praised by the industry as: “The pen is like a sharp knife, and the paper has a clang.”
  At present, Mr. Happy Quan is already a member of the Chinese Calligraphers Association, a member of the China Lists Association, and the International Calligraphy and Painting Research Institute of the Ministry of Culture. Researcher at the base, member of China Oracle Bone Calligraphy Art Research Association, senior academician of Shandong Xizhi Calligraphy and Painting Academy, member of the Bureau of Rizhao Calligraphy Association, deputy director of the Education Committee.
  His lettering works were included in the second international exhibition and the eighth national modern lettering art exhibition held in Shanghai. His calligraphy works were selected for the 10th National Exhibition (Shanghai), and he was invited to Anyang, Henan Province to perform for the ninth batch of peacekeepers in South Sudan.
  Today’s inscription research is a mission for Mr. Xingquan. In the world, there were cuneiform scripts pioneered by the Sumerians, the holy scriptures of Egypt, and the Chinese scripts of China. The first two no longer exist. Only the Chinese script has a long history and continues to flourish. Happy Spring remembers what Professor Jiang Baochang once said: “As long as the culture of a nation is not destroyed, this nation will never be invincible.”
  Therefore, in order to continue to carry forward this culture, he spent nearly two years writing the full text of the “Sunzi Art of War” with more than 6,000 words. He wrote “The Analects of Confucius” which represented the Confucian ideology and culture. He engaged in exhibitions, published calligraphy works, and promoted the inscriptions in various forms. For what he has done, Mr. Happy Spring said that he hopes to use the day as a starting point and continue to explore, and strive to do his meager effort to spread the traditional Chinese culture.
  Personal profile:
  Happy Spring, born in Nanhu Town, Donggang District, Rizhao City, Shandong Province in 1955. Graduated from Liaocheng University (formerly Liaocheng Teachers College) in 1984.
  He began to learn calligraphy from the middle school when he was deeply influenced by his teacher Mr. Zhuang Xiguang. For more than 40 years, he has spent time in his spare time with a book as a companion, diligently practicing. In college, I especially like history and ancient Chinese literature. I was a linguistics student in Shandong Province.
  In 1986, he was a member of Rizhao Youth Book Association. In the middle school years, starting from practicing Lishu, gradually developed a strong interest in traditional culture. In recent years, he has devoted himself to ancient studies and literary research, pursued the roots, studied the writing of oracle bone inscriptions, and Zhong Dingwen. His philology has won the influence of Professor Jiang Baochang, an expert in ancient philology in Shandong University.
  Now he is the deputy secretary-general of the Chinese Cultural Management Society, a member of the China Book Association, a research institute of the China International Painting and Calligraphy Art Research Institute affiliated to the Ministry of Culture, a senior academician of the Shandong Xizhi Calligraphy and Painting Academy, a member of the Chinese Oracle Bone Calligraphy Art Research Association, and a member of the Chinese Calligraphers Association .