李永清(1948 )江蘇響水人,現(xiàn)為淮安長江書院院長,中國老年書畫研究會會員,中國書畫家協(xié)會常務(wù)理事,中國楹聯(lián)協(xié)會書法藝術(shù)研究會副秘書長,淮安市老年書畫研究會副會長,世界華人華僑藝術(shù)家聯(lián)合會會員,中國海峽兩岸書畫家協(xié)會會員,北京華夏蘭亭書畫院院士,藝聯(lián)網(wǎng)特聘藝術(shù)家,一級書法師。

Li Yongqing (1948), a native of Xiangshui, Jiangsu Province, is currently the Dean of Huai 'an Changjiang Academy, a member of China Senior Painting and Calligraphy Research Association, an executive director of China Calligraphers Association, deputy secretary-general of Calligraphy Art Research Association of China Couplets Association, vice-president of Huai 'an Senior Painting and Calligraphy Research Association, a member of the World Federation of Chinese Overseas Chinese Artists, a member of Chinese Cross-Strait Calligraphers Association, an academician of Beijing Huaxia Lanting Painting and Calligraphy Institute, a special artist of art networking, and a first-class calligrapher.

李永清作品

自幼酷愛書法,尤熱衷于臨習(xí)懷素《千字文》《自敘帖》、孫過庭《書譜》,筆耕不輟。近年來,積極參加全國書法大賽。2016年,陸續(xù)參加第八屆海峽兩岸書畫藝術(shù)交流展、“革命先行者”紀(jì)念孫中山先生誕辰150周年全國中老年書畫名家作品大展等數(shù)十次。

I loved calligraphy since I was a child, especially studying Huai Su's "Thousand Characters", "Self-Narrative Post" and Sun Guoting's "Shupu". In recent years, he has actively participated in the National Calligraphy Competition. In 2016, he successively participated in the Eighth Cross-Strait Painting and Calligraphy Art Exchange Exhibition and the National Exhibition of Famous Paintings and Calligraphy Works of Middle-aged and Old People in commemoration of the 150th anniversary of Dr. Sun Yat-sen's birth by "revolutionary pioneers" for dozens of times.

李永清先生工作之余長期堅(jiān)持自學(xué),廣涉古代碑帖,精工細(xì)研,善于在實(shí)踐中不斷總結(jié)經(jīng)驗(yàn)。九十年代末,開始著力于帖學(xué)的研究,以二王書風(fēng)為根基,兼攻諸家,尤其在筆法技巧上苦心鉆研,融會貫通,頹筆成冢,頗有所悟。與此同時(shí),將古代書法形式與現(xiàn)代審美觀念巧妙地結(jié)合,漸漸形成自己的獨(dú)特風(fēng)格。

After work, Mr. Li Yongqing insisted on self-study for a long time, extensively involved in ancient inscriptions, studied carefully, and was good at summing up experience in practice. At the end of 1990s, he began to focus on the study of Tiexue, taking the book style of Two Kings as the foundation, and attacking various families at the same time, especially painstakingly studying the brushwork skills. At the same time, the ancient calligraphy forms and modern aesthetic concepts are skillfully combined to gradually form their own unique style.

李永清作品

取法為上師書譜 覺悟書道源藏真

——記著名書法家李永清

Take the method as the master's book spectrum, realize the source of the book and hide the truth

-Remember the famous calligrapher Li Yongqing

如若書法不能深師古風(fēng),難免浮躁,常生新俏之貌,而無質(zhì)樸之實(shí)。書法家李永清先生磨礪書法,深知草書如只重外表,輕內(nèi)涵的,難入真諦!正所謂后生好風(fēng)花,老大即厭之,綺麗風(fēng)花,累其正氣,宋代王禹偁就此亦有過批言,即乘筆多艷冶。書法之所以能夠經(jīng)久不衰,傳承千年,就是因?yàn)槠浔举|(zhì)是經(jīng)得起咀嚼和品味的,而不是僅靠外表來滿足世人的眼睛。

If calligraphy can't learn from the ancient style, it will inevitably be impetuous, and it will always have a new and beautiful appearance, but not a simple reality. Mr. Li Yongqing, a calligrapher, honed his calligraphy, knowing that cursive script, if it only pays attention to appearance but neglects connotation, is difficult to enter the true meaning! As the saying goes, the eldest brother is tired of it, beautiful and beautiful, and tired of its righteousness. Wang Yucheng in the Song Dynasty also criticized this, that is, it is more brilliant to take a pen. The reason why calligraphy can endure for thousands of years is that its essence can stand chewing and taste, rather than satisfying the eyes of the world only by its appearance.

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李永清的書法習(xí)成與創(chuàng)作,都深諳以上書論,所以他執(zhí)著于對歷代賢家名帖的逐一臨習(xí),取法為上,志得上法!他的書法明顯是選擇了一條十分質(zhì)樸師古風(fēng)的道路。琢磨懷素書法的鐵點(diǎn)銀鉤,研習(xí)孫過庭書譜的智巧兼優(yōu)!精研覃思,不遺余力,解鎖書道,必悟正覺!所以先生的書法尤以草書最為得勢!他在行草書上可謂是下了極大的功夫,單從其草書的筆墨意韻上來說,眾幅作品皆有筆短意長之妙,行筆注重簡潔洗練,線條不涉縈繞牽連,不已瀟灑揮霍來顯字勢,而是有節(jié)制,適當(dāng)?shù)倪m用點(diǎn)線。肥瘦相宜,在鋒纖往來之際,寫得相當(dāng)灑脫自如。執(zhí)筆寫萬類之象,同自然之妙有,非力運(yùn)所能成!如此行草,能給觀賞者帶來極強(qiáng)的韻味和視覺空間,既不奢侈,亦不亂雜!

Li Yongqing's calligraphy study and creation are well versed in the above book theory, so he is obsessed with studying the famous posts of the sages of the past dynasties one by one, taking the law as the best, and aspiring to the law! His calligraphy obviously chose a very simple and ancient way. Thinking about the iron point and silver hook of Huai Su calligraphy, studying the wisdom, ingenuity and superiority of Sun Guoting's book spectrum! If you study hard and spare no effort to unlock the book, you will realize your true sense! Therefore, Mr. Wang's calligraphy is especially popular in cursive script! He has made great efforts in cursive writing. From the perspective of the meaning and rhyme of his cursive writing, all the works have the wonderful idea of short strokes and long strokes. His writing pays attention to conciseness and washing, his lines are not involved in lingering, and he is unrestrained and profligate to show the potential of words, but is temperate and suitable for dotted lines. Fit for fat and thin, writing is quite free and easy in front of fiber. Writing all kinds of images, with the beauty of nature, can not be achieved by force! This kind of grass can bring strong lasting appeal and visual space to viewers, which is neither extravagant nor chaotic!

李永清作品

在整個的創(chuàng)作過程上,先生的筆墨是達(dá)到了揮灑自如的境界,且他能夠充分調(diào)動筆法的方圓頓挫和大小快慢,用的墨的干濕濃淡亦是與筆法進(jìn)行了充分的融合,筆墨合一,點(diǎn)劃妙然。筆里有墨,墨里有筆,寫得飄風(fēng)驟雨驚竦竦,落花飛雪何茫茫!很顯然他在筆墨的表達(dá)上他有著深刻的體悟,把草書本為線條藝術(shù)的內(nèi)涵表達(dá)到無以復(fù)加!行運(yùn)筆墨從大處落筆,于細(xì)節(jié)里收拾,浩莽亦不乏細(xì)膩,絕無江湖見,必寫正宗功!

In the whole creative process, Mr. Wang's pen and ink have reached the level of aplomb, and he can fully mobilize the Fiona Fang frustration and size of the brushwork. The dryness and wetness of the ink used is also fully integrated with the brushwork, and the pen and ink are unified, and the dots and strokes are wonderful. There's ink in the pen, and there's a pen in the ink. It's so shocking when the wind blows and the rain blows. What's wrong with falling flowers and snow? Obviously, he has a profound understanding of the expression of pen and ink, expressing the cursive script as the connotation of line art beyond measure! The pen and ink of the transportation is written from the big place and cleaned up in the details. There is no lack of delicacy in the vastness. There is no river's lake to see, so you must write authentic work!

書論有言,草書除師于古法之外,還需自得之。李永清的草書既有高古的線條,就可以自立面目,于宣紙之上突破諸多束縛,用速度和節(jié)奏的個性變化、字體分離和行間的個性結(jié)構(gòu),使草書泊以個人的抒情意象,是手寫我心的自得之!字形時(shí)低昂迥翔,時(shí)而狂風(fēng)大作,恰似萬馬奔騰般,行文跌宕,動靜交錯,注岸崩崖。另外,他又以當(dāng)代文人的修養(yǎng),在眾幅作品中充盈著書法的現(xiàn)代主義表現(xiàn)精神,有筆墨當(dāng)隨時(shí)代的神采飛揚(yáng),意趣臻美,和諧多趣,觀之波瀾起伏,卻不失井然秩序矣!

There is a saying in the book theory that cursive script needs to be complacent besides learning from the ancient law. Li Yongqing's cursive script, with its ancient lines, can stand on its own feet, break through many constraints on rice paper, and use the personality change of speed and rhythm, the separation of fonts and the personality structure between lines to make the cursive script contain personal lyric images, which is the self-satisfaction of handwriting my heart! When the glyph is low, it is soaring, and sometimes it is violent, just like Wan Ma Benteng. The writing is ups and downs, the movement is staggered, and the bank collapses. In addition, with the cultivation of contemporary literati, his works are filled with the modernist expression spirit of calligraphy, with pen and ink as the spirits of the times, beautiful interest, harmony and multi-interest, ups and downs of views, but without losing order!

李永清作品

取法為上師書譜,覺悟書道源藏真。作為一名書法家,自身一定要具有全面的學(xué)養(yǎng),且唯有德藝雙馨,才能使同樣的書法內(nèi)容,展現(xiàn)出不同的人文意境。李永清先生有學(xué)識過人之修養(yǎng),亦有書性超人之格局,所以草書寫來貴有文化品位!學(xué)養(yǎng)來滋潤筆墨,以人品來升華翰墨。這種創(chuàng)作心態(tài)和學(xué)養(yǎng)意識,值得當(dāng)今眾多習(xí)書者去借鑒和學(xué)習(xí),凡屬賢能,盡皆如是!

Take the method as the master's book spectrum, and realize that the book source hides the truth. As a calligrapher, he must have a comprehensive education, and only by virtue and art can the same calligraphy content show different humanistic artistic conception. Mr. Li Yongqing has the accomplishment of extraordinary knowledge, and also has the pattern of superhuman writing, so grass writing is expensive and has cultural taste! Learn to nourish ink, and sublimate calligraphy with character. This kind of creative mentality and awareness of learning is worth learning from and learning from many book learners today, and all those who are talented are the same!

文/林智賢【科普作家、一級書畫評論家】

Text/Lin Zhixian [popular science writer, first-class painting and calligraphy critic]

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