Zheng, former vice minister of culture, said: It inherited the most exquisite and elegant part of Chinese traditional culture. His research scope is wide and his knowledge is deep, and he is unique in ancient and modern times.
Professor Peking University Ji Xianlin said: In recent years, there have been various masters in China, and the master in Ji Xianlin's mind is Tsung i Jao.
Xu Jialu, a famous linguist, said: What is the culture of China? That's it! Rao Gong is the best example of China's traditional culture in the 20th century. I can say: within 50 years, there will be no second Sect!
Li Xueqin, a professor in Tsinghua University, said: Mr Zong Rao's scholarship is very different from the common customs. For decades, he has written more than 1000 million words, integrating academic culture, ancient and modern Chinese and western cultures, learning from others, and pioneering the atmosphere, and winning consensus and admiration at home and abroad. In 2003, Tsung i Jao's Academic Essays of the Twentieth Century was compiled and published in 20 volumes, which exceeded the imagination of ordinary scholars.
As a scholar, it is unique to get such an evaluation. Even using more languages is redundant, and I don't want to waste my breath discussing Zong I Rao's academic achievements. Here, I just want to talk about Zong Bai Rao's writing and pen and ink feelings, so that we can enter the world of Zong Bai Rao from our daily writing.
There is a source and a way to learn from the past.
Rao's family was the richest man in Chaozhou in modern times. Young Tsung i Jao laid a solid foundation for learning and painting in his library "Xiaotianlou". At an early age, I began to learn the regular script of Ou Yangxun and Yan Zhenqing in the Tang Dynasty and the cursive script of the Song Dynasty. Now, on the wall of his former residence in Chaozhou, there are still couplets written by him 13 years old in European regular script, which are vigorous and powerful, unlike those written by young people. There is still a fan of the book he wrote in his twenties in his pear blossom room, which is also a typical European running script. His early experience in learning books seems to be no different from that of ordinary people, but his talent is very unusual.
At about the age of 10, Tsung i Jao studied painting with his uncle and was inspired by Yang Yan. Yang Yan's father, Yang, is a good friend of Ren Bonian, and there are many works of stone men at home. Zong Rao followed Yang Yan's sketch of Ren Bonian's figures, which laid the foundation for his figure painting. Mr. Yang Yan's own flowers also went offshore to Ren Bonian and Wu Changshuo. The mountains and rivers have a little Fujian style, which was the common style of Chaozhou painters at that time.
There is no doubt that Zong I Rao's road to learning books is no different from others, all of which originated from the works of teenagers and have their own origins. Judging from the profile of Zong Yigao, it seems that Zong Yigao has the guidance of famous teachers in painting, but not in calligraphy. However, the conventional systematic writing laid a solid foundation for his future development, especially in structure, which had a great influence on his future writing. Of course, Zong Yi Rao Xiaozi's works are not only paintings and calligraphy, but also a lot of reading. The wealth of Tian Xiaolou nourished the later masters of Chinese studies and also gave birth to the artist's artistic feelings.
Tsung i Jao has a very high ability to observe and transform the painting and calligraphy art of his predecessors. His calligraphy can catch up with the ancients, and he has great personality. I studied the brushwork of northern monuments such as Zhang Menglong Monument, Longmen Erpin Monument and Huadu Temple Monument in Ou Yangxun in the Tang Dynasty. After reading all the monuments extensively, he occasionally wrote other northern monuments and Tang monuments, all of which are similar in form and spirit and ingenious. He wrote Jin Dongxin's lacquer painting calligraphy and participated in Gui Baozi's calligraphy. The official script of Han bamboo slips is more agile than that of Jin Dongxin. His official script is rooted in the Han stele, and widely participates in the Han mirror stele, brick carving and wooden slips. At the same time, it absorbed the interest of official script in Qing dynasty, which was vigorous and lively. In terms of planting grass, learn from the ancients, from top to bottom, and learn from others. Seal script has widely absorbed the cultivation of ancient Chinese characters and has its own characteristics. In the choice of tools, Zong Geng made good use of the brush and expanded its functions. Calligraphy and painting are correct, and their achievements far exceed those of Mr. Chen Baisha, the founder of Mao Longbi's calligraphy.
A researcher and first-class writer of Guangdong Academy of Social Sciences said in the article "The Great Master of Talents": "In my opinion, Mr. Wang's entertainment is more interesting than other scholars, but it is different from the fruit, and all roads lead to the same goal. He swam in art. He started at an age when he was not crowned, but he made achievements in a year of understanding life. It has been immersed for a long time, with high achievement, wide subject matter, rich style and meaningful charm. Previously, painters divided Chinese painting into' picture in picture' and' picture in text'. I think Mr. Rao's originality adds another style to Chinese painting, which is called' literati painting', that is, the poet's talent is more academic. " This passage reveals Zong Yi's ways of reading, painting and calligraphy, and gives high praise to his achievements. At the same time, we can also see that Zongyi's paintings and calligraphy belong to the highest realm of unintentional Yoga Yu, which is not comparable to our utilitarian mentality today. This has certain inspiration for the development of contemporary painting and calligraphy. Learn from others' strengths and achieve great success.
No matter in academic history or art history, great scholars or great artists are often learned generalists, and Tsung i Jao is no exception.
Tsung i Jao's calligraphy benefits from his erudition, profundity and versatility in calligraphy and painting.
In learning from the ancients, Zongyi learned from many schools and many teachers. In addition to the above schools, he also used regular script and statues of heming, Zhang Menglong, Xian Baozi and Longmen. Take a simple approach and take part in hasty chapters. Good grass in Tang Dynasty, Huai Su, Songhuanggu and Minangong. Lishu took the path of Zhang Qianbei, ode to Shimen and oblique stone carving, and added the interest of Qing people. Seal script is deeply immersed in the sacred monument. It is in the process of extensive study and accumulation that his writing skills have been tempered and sublimated, his calligraphy vision has been broadened and his calligraphy learning has been enriched. In the process of learning calligraphy, he not only familiarized himself with classics, but also made in-depth research and thinking on traditional calligraphy and its theory in combination with his academic practice and thinking, leaving an incisive theory and providing more nutrition for future generations. Zong Yirao's Ten Essentials of Learning Books puts forward his own views on calligraphy techniques and ways of learning books, which is thought-provoking. Zong I Rao's generosity also benefited from his academic research. He deeply studied the three modern schools of Oracle Bone Inscriptions, Dunhuang studies and bamboo slips and silks, and wrote these ancient characters with strong lines and strong personal temperament by understanding the words and poems on the unearthed antiques such as Oracle Bone Inscriptions, Chu silk, Hou Shu and Liusha bamboo slips. The so-called communication is to get through calligraphy skills, get through calligraphy theory and learn academic theories. Tsung i Jao's writing experience, academic accumulation, and life implication are integrated into his thinking about nature, society, and life, and turned into words in his pen, showing his extraordinary calligraphy realm.
In terms of accessibility, Zong Yirao is unique and has a strong spirit of exploration and innovation. Academically, Zong Yirao, despite many difficulties, can always find new ways to briefly introduce Zong Yi and dare to explore. It is this spirit of exploration and innovation that makes Tsung i Jao make great contributions in many academic fields, and it is this spirit that makes Tsung i Jao's calligraphy and painting unique. It is also such a tenacious spirit that has created a long-lived master of Chinese studies.
Huang Miaozi once praised Rao Gong for "writing very high", and his pen was very bookish. Landscape flowers are unique because of their outstanding talent, lofty spirit and agile brushwork, especially the Buddhist figure Bai Hua, who is as famous as Zhang Daqian. The public nourishes the spirit with righteousness, learns with strangeness, and blends strangeness with Chinese. In academic research, he climbed the ivory tower, making calligraphy and painting a family. Calligraphy and painting complement each other and shine together, so he has the reputation of' outstanding wizard'
Chen Chuanxi praised: "There is a saying in Sion:' A dime contains a hundred books.' At present, only Rao Gongzong is a calligrapher, and the rest call themselves calligraphers, which is also the soap in the real calligraphy world.
Rao Gong, a contemporary Confucian scholar in China, has no poetry in literature, history and philosophy, and the rest in calligraphy. But every time I see its big characters, it's like riding a horde, relying on the desert of Ling, and the rest of the south, hitting three thousand with one water; Small print, on the other hand, is bold and elegant, and you can see its beauty in the vastness. After Jin Dongxin in Qing Dynasty, there were very few capable people. "
The so-called real reputation is perfect for zong yirao. It is no exaggeration to say that Zong Rao is a leading figure in contemporary academic and painting.
Learn to be rich and write temperament.
High mountains and deep seas. With the growth of age, his talent and persistent spirit of exploration made him richer and richer. Since his father Rao E's Chaozhou Literature and Art Annals was compiled in his weak years, he has blossomed a flourishing academic flower in every stage of his life, benefiting future generations. This is not only a miracle of history, but also a miracle of life. Academic nutrition makes its tree of life flourish, fruitful and evergreen. This is a gift from nature to mankind. How can we not sigh the mystery, how can we not admire it and spur ourselves?
I think there are two things that are very important for Zong Yirao to make such great achievements in academic and painting. First of all, he has a childlike innocence-a tireless childlike innocence to explore the world. He has stated that the academic road he has been pursuing is actually playing, and the seemingly relaxed and humorous words contain his philosophy and childlike innocence. Without this childlike innocence, there would be no spirit of exploring the world. Without this childlike innocence, there would be no unique art of calligraphy and painting. Another point is his writing experience. The so-called writing feelings means that the leisure of life can be expressed by painting and calligraphy, the vicissitudes of life can be felt by painting and calligraphy, and the hardships of life can be pleasing to the eye by painting and calligraphy.
Zong Yirao's calligraphy has neither the impetuousness of the times nor the weakness of scholars. It can not only achieve the ability to carry a tripod, but also lift heavy objects as easily as possible. This is a very high realm that extraordinary people can observe. Through his calligraphy works, we can imagine an old man who is mentally healthy, gentle and broad-minded, extraordinary and persevering. His calligraphy and calligraphy are integrated, so is Fiona Fang. His freehand brushwork is quick and easy, and his writing style is spiritual, showing strong self-confidence and childlike interest, not for fashion, fame and fortune, but purely for writing. This is the highest level of writing.
Tsung i Jao is "a generation of talents who combine academic and artistic skills at present". His painting and calligraphy art inherited the excellent tradition of China literati painting and calligraphy since Ming and Qing Dynasties, and was full of literati spirit. He is a rare "scholar" painting and calligraphy artist in today's society. His landscape sketches and figures are unique. His traditional Chinese paintings cover landscapes, figures, flowers and birds, imitate traditional painting schools, sketch landscapes from all over the world and have his own creative style. In terms of calligraphy, it is rooted in ancient Chinese characters, and cursive script is integrated into the longitudinal rhyme and interest of various schools in the late Ming Dynasty. The official script is unique, and the real official script is handy, ranging from large-scale nave, screen bar and couplets to small-scale space sketch, with diverse styles, and the warm scroll breath permeates every work, which is a veritable literati painting and calligraphy.
Tsung i Jao is a master of calligraphy and painting, but he didn't pursue techniques as many people do today. He writes and paints with his heart and temperament. He once joked that I was a scholar and later became an artist ... I said that learning is the foundation of art and learning is the material of art. At this point, a painter without learning is not a real painter, and all outstanding painters in history are like this.
Zong Rao's knowledge nourished his achievements in calligraphy and painting, and his words also made him live longer. He is both a practitioner and an advocate of prolonging the life of calligraphy and painting. 1994 When CCTV Channel 4 produced "Illuminating the Whole Paradise-A Glance at China: Calligraphy Art and Health Care in China" at HKU, Tsung i Jao improvised a sentence for Professor Gao: "Look in spring and listen in autumn", and spoke highly of the practice of calligraphy therapy with modern scientific methods and viewpoints.
At the end of August, 2003, Rao Gong suffered a mild stroke, and his right hand was hemiplegic, so he could not write. Dr Zheng Weimin, curator of Rao Yi Academic Museum of HKU, visited him. Zong Rao said to him, "For the people, I will write and draw with my left hand, just like Gao." At that time, Rao Gong had written with his left hand and practiced writing. On February 24th, 2003, at 65438+, Rao Gong came to the Academic Museum, walked into his studio and began to paint. He has painted with his right hand, and soon drew a picture of Lingling Mountain, and the inscription of this picture was added about half a year later. Gong Yao used his left hand first, then his right hand. With tenacious perseverance and persistence, he restored the function of his left hand, wrote his temperament again with clever calligraphy, and spread his life. His feelings about painting and calligraphy and his writing practice have verified the function of painting and calligraphy in prolonging life.
Chen Chuanxi, a famous contemporary critic, once commented: "Since the Qing Dynasty, after Wu Changshuo, Xu Beihong, Yu Youren and Xie Wuliang, I only know that there is Rao Gong, and the rest are not good at pottery." But Wu Shuxiong is vigorous and vigorous, Xu Shu is thick and broad, his books are mellow and simple, and Xie Shu is elegant and fresh, while Rao Gong's books are sparse and clear, and his pen is thick and solid, which is unique today. Its workmanship is clumsy, its beauty lies in life, its strangeness lies in astringency, its superiority lies in precision and restraint, its writing has the power of nailing, its ink has the generosity of pouring iron, its strength is great and heavy, and it flies into the sky. As for the gods, their intentions come naturally, and Gu Fei's book has three flavors, and he can't make this. "
This comment will make many people uncomfortable, but we have to admit that calligraphers will not be respected and admired by the world without the support of knowledge and personality.
Zong Yirao is a master of calligraphy that people admire and admire.