美国新闻中文版本篇文章17296字，读完约43分钟
李彬,1965年生,籍贯安徽,号青竹斋主,研究生学历。
系:中国书法家协会理事,中国书协培训中心教授,西藏自治区书协副主席,多所大学书法特聘教授。
1972年始学写毛笔字,以父亲手抄中医典籍和柳公权《玄秘塔》为范本。2005年曾被评为中国书坛首届“百强榜”百强,安徽省“十佳”青年书法家。《书法报》2006年首届“兰亭诸子”获奖书家。20余次参加中国书协等主办的主要展览入展、获奖。
2002年始为中国书协培训中心《书法教育》和研修班学员进行函授教学点评;2006年始为《书法报》及《书法报·书画天地》进行教学点评;2007年始为北京大学第二届书法研究生班助教,2009年始为北京大学书法研究所副研究员,北京大学第三届书法研究生班、第四届书法研究生班、首届书法名师精英班、第二届书法名师精英班授课导师。
曾被《书法报·书画天地》“当代名家”和“人物”专版推介。2019年被《书法报·书画天地》评为书法“七十年七十家”和“草书十二家”并专题推介。
出版有:《李彬书法作品选》、《北京大学书法研究生作品精选集—李彬卷》、《北京大学学者书法作品集—李彬卷》、《荣宝斋书法提名展作品集》、《张学群韦斯琴李彬书法展作品集》等多部书法集。曾在甘肃省美术馆、北京荣宝斋美术馆、西藏自然科学博物馆举办书法展。作品被人民大会堂等海内外多家机构收藏。
Calligraphy Draws the World-li bin
Bing Lin, born in 1965, native of Anhui, is the master of Qingzhuzhai and has a postgraduate degree.
Department: Director of Chinese Calligraphers Association, Professor of Training Center of Chinese Calligraphers Association, Vice Chairman of Tibet Autonomous Region Calligraphers Association, and Distinguished Professor of Calligraphy in many universities.
He began to learn to write calligraphy in 1972, taking his father's handwritten Chinese medicine classics and Liu Gongquan's Xuanmi Tower as models. In 2005, he was named as one of the top 100 young calligraphers in the first "Top 100 List" of Chinese calligraphy circles and one of the "Top Ten" young calligraphers in Anhui Province. "Calligraphy Newspaper" in 2006, the first "Lanting Scholars" award-winning calligrapher. He has participated in major exhibitions sponsored by China Book Association for more than 20 times and won awards.
Since 2002, he has commented on correspondence teaching for the students of Calligraphy Education and Seminar in the Training Center of China Book Association; Since 2006, he has made teaching comments for Calligraphy Newspaper and Calligraphy and Painting World; Since 2007, he has been an assistant professor of the second calligraphy postgraduate class of Peking University, an associate researcher of the Calligraphy Research Institute of Peking University since 2009, and a tutor of the third, fourth, first and second calligraphy elite classes of Peking University.
It has been recommended by the special editions of Calligraphy Newspaper, Painting and Calligraphy World, Contemporary Famous Artists and People. In 2019, it was rated as "70 Calligraphers in 70 Years" and "Twelve Cursive Scripts" by Calligraphy Newspaper Painting and Calligraphy World, and was specially recommended.
He has published many calligraphy collections, such as Selected Works of Bing Lin Calligraphy, Selected Works of Peking University Calligraphy Postgraduates-Li Binjuan, Calligraphy Works of Peking University Scholars-Li Binjuan, Works of Rong Baozhai Calligraphy Nomination Exhibition, Works of Zhang Xuequn Wei Siqin Bing Lin Calligraphy Exhibition, etc. He has held calligraphy exhibitions in Gansu Provincial Art Museum, Beijing Rong Baozhai Art Museum and Tibet Natural Science Museum. His works have been collected by many institutions at home and abroad such as the Great Hall of the People.
书家的文人情怀与社会担当——李彬捐赠公益展述评
□傅徳锋
2021年,是一个具有重大历史意义的特殊年份,这一年,人们以不同方式热烈庆祝中国共产党建党100周年。8月29日,在西藏拉萨,书法家李彬先生举办了“李彬捐赠西藏美术馆书法作品公益展”,这个展览,一经推出,便引起了书法界乃至全社会的高度关注和一致好评。作为一名共产党员的书法家李彬,怀着一颗炙热的赤诚之心和浓烈的文人情怀以及高度的社会责任感,以这种特殊的形式,为党的生日献上了一份隆重的厚礼。李彬的这个捐赠展,不仅得到了西藏有关方面的高度重视,也赢得了中国书协和广大书法家及书法爱好者的充分认可与赞许。
李彬先生在当代书坛一直很活跃,这个是有目共睹的事实。因为我们年龄相当,他比我稍年长,故而我一般都称他为李彬兄。印象当中,李彬兄的书法奋斗历程经历了三个阶段:一是安徽时期,二是北京时期,三是西藏时期。第一个阶段,在他的老家安徽,那是他成长和求学的阶段,凭借他对书法艺术的真诚热爱,为自己打好了一定的书法基础。第二个阶段,他迁居北京之后,这是他在书法上的重大提升时期,也是一个迅速崛起和不断腾飞的时期。因为首都北京特殊的文化氛围和寻师访友等各种便利条件,使得他在书法学习和研究方面有了质的飞越。在这个阶段,通过努力,不仅他的书法水平在不断提高,而且经过举办个人展览、参加联展、全国展,举办书法讲座等方式,他的个人知名度和在书法界的认可度也发生了重大变化。所以,时至今日,只要提起李彬兄,人们都能耳熟能详,丝毫不会感到陌生。第三阶段,也就是近几年,他又加入到了支援西藏文化事业建设的队伍当中,成为了西藏书法事业的骨干力量和引领者之一,又以一种崭新的姿态投入到了工作生活和艺术创作当中。可以说,这一时期,是他在学有所成之后,立足书法,不断回馈社会的一个特殊时期。他不仅将自己精心创作的100多件书法作品捐赠给西藏美术馆,而且为部队、学校、企业等单位无偿创作了大量的书法作品,将自己的艺术成果与大家共同分享,收获的,不仅仅是书写的快乐,更是体现出了一个优秀书法家和共产党员应有的情怀和担当。
我与李彬兄的交往,可以追溯到十多年以前。那个时候的他,已经迁居北京,在书法上取得了骄人的成绩,引起了书界同仁的广泛关注。我当时就就应约为他写了一篇题为《北漂的勇气和智慧——我看李彬其人其艺》的评论,对他当时的学习、工作、生活状态和书法成绩加以评述。2020年,新冠疫情泛滥,李彬兄认真创作了一批抗疫书法作品发给我看,同时嘱我写点文字,我又欣然写了一篇题为《艺术的提炼和升华——再说李彬其人其书》的文章,将他十年之后的艺术成就给予肯定。这两年,他又出乎意料也是情理之中地在西藏做了这么多有意义的事情,这就再一次引起了我写他的兴趣。
对于李彬兄的书法本身,我已经谈过很多。但在今天这篇文章当中,我忍不住还是要再多说几句。李彬之于书法,是属于全方位切入,各体皆学的类型。这种学书方式,有利有弊,但也关键在于自己志向如何,下功夫如何,才气如何,取舍和互相融合的智慧如何?有的人,即便是专学一体,也未必就能学得好。有的人兼学多体,但效果往往差强人意,乏善可陈。而李彬却能真行草隶篆各体皆学,各体都能达到一种比较理想的程度,这的确是殊为不易的。诸体当中,尤为突出者,当数他的行草书、隶书和楷书(包括小楷和魏楷)。当然,他的篆书写得也是很不错的。
李彬的行草植根于二王,尤其是对王羲之手札、尺牍浸染很深,追求的是一种儒雅清隽,挺健爽朗的艺术境界。事实上,他对除二王以外的自魏晋以降的历代行草书大家的作品都是下过一番深入工夫的,而非囿于某家某帖。但他善于智慧地进行取舍,能够从不同的碑帖当中获取到自己所需要的艺术养料。从他的行草书作品当中,我们不仅能够看到晋唐风韵,也能够看到两宋和元明的一些影子。能够看到二王、颜真卿、怀素、孙过庭,也能够看到黄庭坚、董其昌。但你分明又会感觉到他并没有拘泥于哪一家,而是各取一定比例,融合了自己的理解和审美意趣。兼收并蓄,广取博收,善于领悟,不拘泥于成法,不急功近利。惟其如此,才可能在书法上真正有所建树。李彬学书则大致与此相类。
这次,我从他的许多草书作品当中,又看到了一些新的变化,感觉线条更加凝练、简约,陆机《平复帖》的高古散淡和八大山人的那种冷逸、平和之感,皆流溢于字里行间,文气诗意扑面而来,更加显得耐人寻味。他写的隶书主要取法《张迁碑》和《石门颂》,当中还融合了一些汉简的笔法,注重书写性,体现笔情墨趣。古朴雄浑,静穆中不乏灵动。他写的大篆,这次我看到的相对较多,达到了较高的艺术水准,无论是甲骨还是金文,也无论是小字中堂还是大字对联,皆朴拙自然,舒展大气,拙中带巧,柔中寓刚,一派浑融端和之气,与众多行草作品形成了鲜明的对比,可谓相映成趣。他写的楷书,从蝇头小楷到大字魏楷,皆取法渊源有自,在彰显传统功力的同时,体现自我审美情趣。动静相宜,各显奇妙。
数十年以来,他持之以恒,钟情于此,不落窠臼,勇于探索,不断实现对自我的超越,这正是一个优秀的书家所应该具备的良好素质。
其实早在十几年前,李彬就已经给自己确立了学书目标和主攻方向,那就是精研行草,旁通篆隶,兼及小楷、榜书。他的才情和刻苦程度以及为人处世能力使得他在十几年前便在书坛脱颖而出,为人们所熟知。后来他的不断沉淀和持之以恒,使得他走过了一个在艺术和人生两方面不断提炼不断升华的过程。我们常说,年轻时用的是加法,希望学到更多的东西,涉及到更多的领域。到了一定年龄,则会转换为使用减法,剔除掉许多表面的、浮华的东西,而更多向精深方面着力。所谓洗尽铅华,始得本来。从目前李彬的这一批新创作的作品来看,很显然比其以前的作品更见成熟和练达,除了更具有技术含量之外,在精神气象上也与以往有所不同。除了继续保持了已有的刚劲、恣肆的特点之外,更加具备了浑融和稳健的气质,这也是随着年龄的增长,由艺术功力的积累和生活的历练所共同促成的。
他的一些作品,写得洋洋洒洒,文气诗意,郁郁芊芊,不激不厉,端和自然。不仅有形式感,有视觉冲击,更重要的是有了使人细细品读的内涵意蕴。所谓“人书俱老”,指的便是人至老境,便不再炫技,精气内敛,不露锋芒。就像一壶老酒,貌似平淡,实则越品其味越醇。一如年轻时看山是山,看水是水;到了中年,看山不是山,看水不是水;而至老年,则看山还是山,看水还是水。年龄、阅历、学识、修养的不同,决定了认识层次和思想境界的高低。我倒不是说,李彬已达“人书俱老”之境,而是说,他在原来的基础上已经有了很大的提升,实现了阶段性的自我超越。这与当今那些惯吃老本,越写越差者可谓迥然有别。
所以,这几年,李彬兄的身上发生了许多变化。这变化,不仅仅是年龄和身份的变化,也不仅仅是工作和生活状态的变化,更不仅仅是书法创作上的变化,而更多是其思想境界的提升,是对时代责任和社会使命感的全新认识和改变。
“但愿苍生俱饱暖,不辞辛苦出山林。”一个从事艺术工作的人,一个书法家,当他将自己的命运紧密地同自己的祖国和人民的共同命运联系到一起的时候,才能算是一个真正的文化人。当自己在社会的关怀下,凭借一技之长改变了自身命运之后,懂得感恩社会、回报社会,这个人,才真正算是挥舞自己的如椽之笔,在神州大地上写出了一个大写的“人”。而李彬恰好以他的实际行动证明了这一点,因此,作为相交多年的同道好友,我不仅要给他点赞叫好,也对他的未来给予更多更高的期待和祝福。
傅德峰时2022年1月30日星期日醉墨先生于古风堂北窗下
Literati Feelings and Social Responsibility of Calligraphers--Review of Bing Lin Donation Public Welfare Exhibition
-Fu Defeng
2021 is a special year with great historical significance. In this year, people warmly celebrate the 100th anniversary of the founding of the Communist Party of China in different ways. On August 29th, in Lhasa, Tibet, calligrapher Bing Lin held the "Public Welfare Exhibition of Calligraphy Works Donated by Bing Lin to Tibet Art Museum". Once this exhibition was launched, it attracted great attention and unanimous praise from calligraphy circles and even the whole society. Bing Lin, a calligrapher who is a Communist Party member, presented a grand gift for the birthday of the Party in this special form with a hot sincere heart, strong literati feelings and a high sense of social responsibility. This donation exhibition in Bing Lin has not only been highly valued by relevant parties in Tibet, but also won full recognition and praise from the Chinese Book Association, calligraphers and calligraphy lovers.
It is obvious to all that Mr. Bing Lin has been very active in contemporary book circles. Because we are about the same age and he is a little older than me, I usually call him Lin Binxiong. In my impression, Li Binxiong's calligraphy struggle has gone through three stages: Anhui period, Beijing period and Tibet period. The first stage, in Anhui, his hometown, was the stage of his growth and study. With his sincere love for calligraphy art, he laid a certain calligraphy foundation for himself. The second stage, after he moved to Beijing, was a period of great promotion in calligraphy, and it was also a period of rapid rise and continuous soaring. Because of the special cultural atmosphere in Beijing, the capital, and various convenient conditions such as finding teachers and visiting friends, he made a qualitative leap in calligraphy study and research. At this stage, through hard work, not only his calligraphy level is constantly improving, but also his personal popularity and recognition in calligraphy circles have undergone major changes by holding personal exhibitions, participating in joint exhibitions, national exhibitions and holding calligraphy lectures. Therefore, today, as long as Lin Binxiong is mentioned, people are familiar with it and will not feel strange at all. In the third stage, that is, in recent years, he joined the team supporting the construction of Tibetan cultural undertakings, became one of the backbone forces and leaders of Tibetan calligraphy undertakings, and devoted himself to working life and artistic creation with a brand-new attitude. It can be said that this period is a special period in which he is based on calligraphy and constantly gives back to the society after learning something. He not only donated more than 100 calligraphy works carefully created by himself to Tibet Art Museum, Moreover, he created a large number of calligraphy works for troops, schools, enterprises and other units free of charge, and shared his artistic achievements with everyone. What he gained was not only the happiness of writing, but also the feelings and responsibilities that an excellent calligrapher and Communist Party member should have.
My association with Brother Lin can be traced back to more than ten years ago. At that time, he had moved to Beijing and made remarkable achievements in calligraphy, which attracted wide attention from colleagues in the calligraphy field. At that time, I should have written a commentary for him entitled "Courage and Wisdom of Drifting North-My View on Bing Lin's Art", commenting on his study, work, living conditions and calligraphy achievements at that time. In 2020, when COVID-19 pandemic flooded, Lin Binxiong carefully created a batch of anti-epidemic calligraphy works and sent them to me for reading. At the same time, he told me to write some words. I gladly wrote an article entitled "Refinement and Sublimation of Art-Let's Say Lin Bin's Book", affirming his artistic achievements ten years later. In the past two years, he has done so many meaningful things unexpectedly and reasonably in Tibet, which once again aroused my interest in writing about him.
I have talked a lot about Lin Binxiong's calligraphy itself. But in today's article, I can't help but say a few more words. Lin Binzhi's calligraphy belongs to the type of all-round cut-in and all-style learning. This way of learning books has advantages and disadvantages, but the key lies in their own aspirations, efforts, talents, and wisdom of trade-offs and mutual integration. Some people, even if they are specialized in learning, may not be able to learn well. Some people learn more than one body, but the effect is often unsatisfactory. However, Bing Lin can really learn all the styles of Cao Li Zhuan, and all the styles can reach an ideal level, which is really not easy. Among the various styles, the most outstanding ones are his cursive script, official script and regular script (including lower case and Wei Kai). Of course, his seal script is also very good.
Bing Lin's cursive writing is rooted in the two kings, especially deeply influenced by Wang Xizhi's letters and letters, and pursues an artistic realm of elegance, clarity, health and hearty. As a matter of fact, he has made some in-depth efforts on the works of all the cursive scripts since Wei and Jin Dynasties except the two kings, instead of being confined to a certain post. However, he is good at making trade-offs intelligently, and can get the artistic nourishment he needs from different inscriptions. From his cursive works, we can not only see the charm of Jin and Tang Dynasties, but also see some shadows of Song and Yuan and Ming Dynasties. You can see two kings, Yan Zhenqing, Huai Su and Sun Guoting, as well as Huang Tingjian and Dong Qichang. However, you will clearly feel that he does not stick to any one, but takes a certain proportion of each one, which combines his own understanding and aesthetic interest. Be eclectic, learn from others, be good at understanding, and not stick to the law. Not eager for quick success and instant benefit. Only in this way can we really make achievements in calligraphy. Bing Lin's books are roughly similar to this.
This time, I saw some new changes from many of his cursive works, and felt that the lines were more concise and simple. The high ancient and light of Lu Ji's Ping Fu Tie and the cold and peaceful feeling of Badashan people all overflowed between the lines, and the poetic style came to me, which was even more intriguing. His official script is mainly based on Zhang Qianbei and Ode to Shimen, which also combines some brushwork of Chinese bamboo slips, paying attention to writing and reflecting the interest of writing. Simple and vigorous, there is no lack of agility in silence. I have seen a lot of the big seal script written by him this time, which has reached a high artistic level. Whether it is Oracle bones or inscriptions on bronze, or whether it is small-print nave or large-character couplets, it is simple and natural, stretching the atmosphere, clever in clumsiness, soft in rigidity, and a school of muddy and harmonious, which is in sharp contrast with many cursive works. His regular script, from lower case to big character Wei Kai, has its own origin, which not only shows traditional skills, but also reflects self-aesthetic taste. Motion and static are suitable, and each is wonderful.
For decades, he has persevered, loved it, did not fall into the stereotype, dared to explore, and constantly surpassed himself, which is the good quality that an excellent calligrapher should possess.
In fact, as early as more than ten years ago, Bing Lin had already set himself the goal and main direction of learning books, that is, studying cursive, bypassing seal script, and covering lower case and second book. His talent, hard work and ability to deal with people made him stand out in the book world more than ten years ago and become well known to people. Later, his constant precipitation and perseverance made him go through a process of continuous refinement and sublimation in art and life. We often say that when we were young, we used addition, hoping to learn more things and involve more fields. When you reach a certain age, you will switch to subtraction, eliminate many superficial and flashy things, and focus more on profound aspects. The so-called wash away the lead, the original. Judging from this batch of newly created works in Bing Lin, it is obvious that they are more mature and sophisticated than their previous works. Besides being more technical, they are also different from the past in spirit and weather. In addition to continuing to maintain the existing vigorous and unrestrained characteristics, it has a muddy and steady temperament, which is also contributed by the accumulation of artistic skills and life experience with the increase of age.
Some of his works are voluminous, poetic, gloomy and Sandy, not exciting, and natural. There is not only a sense of form, but also a visual impact. More importantly, there is a connotation that makes people read it carefully. The so-called "all people and books are old" means that when people reach the old age, they will no longer show off their skills, be restrained and show no edge. Just like a pot of old wine, it seems dull, but in fact, the more it tastes, the more mellow it tastes. Just as when you were young, you saw mountains as mountains and water as water; In middle age, seeing mountains is not mountains, and seeing water is not water; In old age, we look at mountains or mountains and water or water. Different ages, experiences, knowledge and self-cultivation determine the level of cognition and ideological realm. I'm not saying that Bing Lin has reached the state of "all people and books are old", but that he has made great progress on the original basis and achieved self-transcendence in stages. This is quite different from those who are used to eating old books and writing worse and worse.
Therefore, many changes have taken place in Lin Binxiong in recent years. This change is not only the change of age and identity, but also the change of working and living conditions, not only the change of calligraphy creation, but also the promotion of its ideological realm, and a brand-new understanding and change of the responsibility of the times and the sense of social mission.
"I hope that all the people are warm and take pains to get out of the mountains." A person engaged in artistic work and a calligrapher can be regarded as a true cultural person when he closely links his own destiny with the common destiny of his motherland and people. When he changed his own destiny with his skill under the care of the society, and knew how to be grateful to the society and repay the society, this person could really be regarded as waving his own pen like a rafter and writing a capital "person" on the land of China. Bing Lin just proved this point with his practical actions. Therefore, as a fellow friend who has met for many years, I should not only praise him, but also give him more and higher expectations and blessings for his future.
Fu Defeng, Sunday, January 30, 2022, Mr. Zui Mo was under the north window of Gufeng Hall
