Liu Dongfu

Liu Dongfu

Liu Dong's father, male, is from Shuangliu County, Chengdu City, Sichuan Province. When he was young, he joined Liu Xiang's shogunate. Later, he served as the general manager of Jichuan communique, the president of Chuankang news agency, the president of the third national calamity magazine, the Secretary General of Chuankang appeasement office, and the director of civil affairs. In 1947, he retired from his post and returned home to make a living. In 1954, he was employed as a librarian of Sichuan Provincial Library of culture and history. In 1955, he joined the national revolution. He has been engaged in the collection and collation of literature and history materials and the creation of poetry, calligraphy and painting for a long time.

Born in a family

Mr. Liu Dongfu was born in a family of poetry and etiquette. His great grandfather, Liu Yuan (named Zhitang), was a famous Confucian scholar; his grandfather, Liu Guiwen (named yunao), was a Jinshi in the late Qing Dynasty; his grandfather, Li Runan (named Xiangshi), was a famous calligrapher and painter; his uncle, Liu Xianxing (named Yubo), was one of the "five elders and seven sages" in Chengdu and a calligrapher; his fourth uncle, Liu Xianxin (named Jianquan), was a famous scholar. Although they are not famous for their calligraphy, their calligraphy studies are quite profound. Beside Xue Tao well in Wangjiang Park, there are steles of poems in the Tang Dynasty. The handwriting is mellow and elegant, which is adorable. Liu Dong's father grew up in a family with a strong traditional cultural atmosphere and was influenced by his predecessors.

Personal resume

Before liberation

Liu Dong's father was born in a scholarly family in Chengdu on December 15, 28, Qing Dynasty. Influenced by his family, he loved poetry, calligraphy and painting since childhood, and received good education, which laid the foundation for the later development of this aspect. In his early years, he joined Shangyou calligraphy school and learned from Liu Xianxin, the fourth uncle of Liu Dongfu, a famous scholar, calligrapher, calligraphy theorist in modern China. When he was young, he joined Liu Xiang's shogunate. Later, as a young talent, Liu Dongfu served as the general manager of Jichuan communique, the president of Chuankang news agency, the president of the three day magazine, the director of the Secretariat of Chuankang appeasement office, and the director of civil affairs department. In 1947, he retired from his post and returned home to make a living with the word "Bi".

After liberation

After 1949, he applied to Sichuan Provincial Museum of literature and history to collect and compile literature and history materials. Zhao Mengfu was the first calligrapher to learn calligraphy. He followed the regular script of Tang Dynasty, Wei Dynasty, stele of Han Dynasty and seal script of Qin Dynasty. He also studied Wang Youjun's and Su Dongpo's cursive script and drew on them extensively. Each body is good, with dignified flowing, vigorous and elegant. His works were selected for the first calligraphy exhibition held in Japan by three generations of China in 50 years. In 1954, he was employed as a librarian of Sichuan literature and History Research Institute. In 1955, he joined the national revolution and was engaged in the collection and collation of literature and history materials and the creation of poetry, calligraphy and painting for a long time. His calligraphy works are included in such large-scale books as "calligraphy in the period of the Republic of China", "calligraphy in the period of China", "dictionary of Chinese calligraphy appreciation", "complete works of modern Chinese art · calligraphy volume" and "calligraphy of modern masters". In 1980, "the first national exhibition of calligraphy and seal cutting" was collected by the Chinese Revolutionary Military Museum and Sichuan Provincial Museum. In 1986, Sichuan Calligraphers Association held an exhibition of Mr. Liu Dongfu's posthumous works in Chengdu. It is also a traditional Chinese painting, often for landscape, bamboo, Magnolia and stone. In depth study of the old style poetry, there are more than 1000 poems.

Noble character

Liu Dongfu became famous for his books in Chongqing and Chengdu when he was young. In 1937, during the drought in Henan Province, Liu Dongfu, as a calligrapher, held a calligraphy charity sale in Chengdu. Mr. Wang finally donated more than 10000 yuan of legal money from the charity sale to the victims. This kind of thing is not only rare in the book industry in old China, but also rare in today's market economy. The evaluation of Liu Dongfu's character, poetry and Book quality is very high. When it comes to Liu Dong's father's character, in addition to the above example, we can see how the famous calligraphers in Sichuan responded to Zhang Jingyue and Zhang Jingyue, who said that he was like a clear-cut man and never cared about personal fame and wealth. " These words are worthy of our memory and vigilance. In the aspect of rewarding the underachievers, they are generous, kind and tireless. Many scholars in the field of books have benefited from him and gained enlightenment from him. They have accomplished their later career and are still moved by his great moral power. In his academic career, especially in calligraphy, Liu Dongfu not only taught by words and deeds, but also worked hard for the correct theory of calligraphy. For example, Liu Dongfu advocated that we should pay attention to tradition, understand the ancients, and carefully read steles and posts. For the turning point in the style of writing, we should be at home, moderate speed, not too slippery. In addition to calligraphy techniques, it also advocates the pursuit of artistry from learning and cultivation, overcoming craftsmanship and vulgarity, especially emphasizing that "there is no medicine for common diseases". In his later years, he felt more and more that "innovation is a trend." His view that "innovation should have a foundation, and achievements can be changed. We can neither talk about innovation nor stick to the established law" is undoubtedly correct.

Experience of learning books

According to an article written by Liu Qijin, Liu's father studied calligraphy. He was a child in linchi, taking his grandfather Mr. Yun Ao, his grandfather Mr. Li Xiangshi and Zhao Songxue's calligraphy as models. At the age of 14, he entered Shangyou calligraphy school, and under the guidance of his fourth uncle Mr. Jianquan, he changed to study Yan Zhenqing's family temple stele, Zheng daozhao's Zheng Wengong stele and on classics poetry. He went to Chongqing at the age of 24, working in the daytime and staying in linchi at night, with no time for cold or heat. During his ten years in Chongqing, he still studied Zhao Songxue's running regular script and Zheng daozhao's stele, as well as Han Li, Su and Mi running script. At the age of 34, he came back to Chengdu and studied Wang Quanzhi's calligraphy. He worked hard on the preface to the holy religion most. He enlarged his writing by hanging his elbow, which was very effective and praised by his friends. After the founding of the people's Republic of China, he devoted himself to seal script and cursive script, adopting the seal script of the Qin and Han Dynasties and sun Guoting's Shupu. Liu Dong's father has been engaged in linchi for several decades. He seldom breaks off, and sometimes even gets sick. He takes the form of calligraphy as his rest. (see Liu Qijin: "to study cautiously, to establish morality is the most important thing.") his linchi Kung Fu is so deep that it is rare for him to make it. It can be said that Liu Dong's father integrated his life into the art of calligraphy, or he took the art of calligraphy as a form of expression of his life. Liu Dongfu's persistent pursuit of calligraphy can be deeply felt when we watch his works. From this basic feeling, we can appreciate some artistic features of Liu Dongfu's calligraphy.

artistic characteristics

Liu Dong's father is good at both calligraphy and calligraphy, especially at calligraphy and cursive. Representative works include Xingkai Jielu Sunzi mougong, Xiaokai six poems of Chairman Mao, Xingshu Zhuqing yunanhu, xiaoyinjianglou with friends, cursive script dufuguan gongsunniang disciple's sword dance, xizhouqu of Liangwudi, Lin Dongpo Beiyou tie, mibubangtie and some self written poetry notes, such as poems on Chrysanthemum pots given by Xie Li's family and Gengshen's poems On the 12th of the first month, I visited the thatched cottage. Liu Dong's father's writing style is elegant, vigorous and clean. His style is pure and attractive. He started with Zhao Songxue and went directly to the two kings. He also took part in the Wei stele and Su and Mi's brushwork. His book is easy to see lively and lively in its beauty, full of vigor in its soundness. It is outstanding like a gentleman facing the wind, and in a moment it is like a powerful man carrying a tripod. His works of stele, seal script and official script make people feel strongly that there is no word, no pen, no source, no free Dharma, no chapter without personality and spirit. Among them, Li Shu Jie Lin's "stele of Zhang Qian" and Wei stele's "have a strong mind, have no vulgar couplet" all show his outstanding skill and broad mind. During the festival, there are ups and downs of stippling in zhangqianbei, which is suitable for opening and closing. Natural and vivid, pure and lovely. The Wei stele "Dong Lao Shi" and "a well-established mind without vulgar couplet" are deeply impressed by Zheng's stele, but they also find a new way, which is not inferior to the sea masters. The seal script Yunheng jiupai, Langxia Sanwu couplet uses the spirit of stone drum, which can be described as the late, graceful and vigorous writing. In a word, the artistic charm of his stele, seal script and official script, just as his Wei stele couplet says, is mostly skillful because he has a strong mind. His wrist is not vulgar, so he is full of charm and charm. Liu Dongfu's painting of plum is intended to be free from vulgarity and to be proud of frost rather than luxuriant and fragrant. Lao Gan is strong and vigorous. He uses his pen to seek change in Dharma and is full of ease. Orchids and bamboos are graceful, Narcissus is noble and elegant, and elegant. Loose drawing, especially the interesting drawing, even beyond the stroke. He is skillful in painting, spicy and tough, and has a high sense of admiration. Withered wood, bamboo and stone, with Ni Yunlin's brushwork, is broad and concise, showing the image space in the blank for people's reverie. Liu Dong's father's landscape painting pays attention to the frame work on the big situation, regardless of the height, everywhere intentionally. Some landscape works are small in size and big in style. They are flexible and light in use. They are very energetic because they are beautiful in the dark. Liu Dong's father's traditional Chinese paintings are full of literati flavor, and pay great attention to the relationship between writing and meaning, which belongs to the way of concise and spicy. The painting is full of elegance and elegance without weak brushwork, vulgarity and failure. It has practiced his ideal of pursuing high style of calligraphy and painting, and set a benchmark for scholars in the face of malpractice and vulgarity. Taking a comprehensive view of Liu Dongfu's creation, it can be said that poetry, calligraphy and painting were in one, which was undoubtedly excellent at that time.

People's point of view

1. To engage in art is originally a noble hobby. Once it becomes a tool for fame and wealth, art will have no realm and will regress. Innovation is a trend. Calligraphy should also develop and change. But calligraphy is a traditional art, we are based on the development of the ancients, can surpass the ancients, but not unprecedented.

Chinese PinYin : Liu Dong Fu