張泗端,號端石,中共黨員,1953年生。當過知青、工人,戎馬半生。畢業於解放軍政治學院,首都師範大學書法研究生課程班。現為國家民族畫院、中國書畫院院聘書法家;中國楹聯學會會員;中國民族建築研究會書會藝術委員會客坐教授。經故宮博物院書畫鑑定專家鑑定的我國當代最具收藏價值藝術家。
Zhang Siduan, Hao Duan Shi, a member of the CPC, was born in 1953. When educated youth, workers, military life. Graduated from the PLA Political College, capital normal university calligraphy graduate course class. Currently, he is engaged as a calligrapher for the National Academy of Ethnic Paintings and the Chinese Academy of Calligraphy and Painting. Member of Chinese Couplets Association; The Art Committee of the national architecture institute of china Book Society met with a visitor and sat down as a professor. The most valuable contemporary artist in our country who has been appraised by experts of calligraphy and painting appraisal in the Palace Museum.
培根鑄魂
書法藝術上,秉承恩師歐陽中石“作字行文,文以載道,以書煥採,切時如需”的書學思想;堅持“重傳統,隨時代,求自我”的書法學習理念,堅持書法的傳統性和民族性,堅持藝術為人民、為時代服務的創作方向。習書半個世紀,創作書法作品三千多幅,數十次參加國際國內書法展賽、活動,2019年 11月在民族文化宮舉辦了“翰墨謳歌中國夢,丹青凝鑄民族魂”個人書法展,有廣泛的社會影響。在儒道釋,詩詞等傳統文化上有所用功。
In the art of calligraphy, the calligraphy thought of mentor Ouyang Zhongshi is followed: "write words and write prose, write articles to convey the truth, refresh and adopt books, and meet the needs of the times". Adhere to the calligraphy learning concept of "valuing tradition, seeking self with the times", adhere to the tradition and nationality of calligraphy, and adhere to the creative direction of art serving the people and the times. After half a century of studying calligraphy, he has created more than 3,000 calligraphic works and participated in dozens of international and domestic calligraphy exhibitions and activities. In November 2019, he held a personal calligraphy exhibition in the National Cultural Palace entitled "Calligraphy Praises the Chinese Dream, Painting Concludes National Soul", which has a wide range of social influence. He has won many honors and titles from the former Ministry of Culture, such as "Outstanding Contribution Award for Literary Creation on the 60th Anniversary of the Founding of the People's Republic of China". He studied hard in traditional culture such as Confucianism, Taoism and Buddhism, poetry and so on.
大道之行,天下為公
擅作楷書、行書、草書、榜書,作品有突出的個人風貌。2009年上海世博會期間,時年90高齡的中國美術家協會前顧問王琦先生撰文,稱書法已達“性道一體,道法自然”之境界。2013年,中國人民對外友好協會成立六十週年之際,歐陽中石、沈鵬、馮遠、言恭達諸先生對其楷書、行書、草書、榜書作出“給人以全新的審美愉悅”的高度評價。
He is good at regular>
榜書精忠報國
歐陽中石、沈鵬、言恭達、馮遠等高度評價張泗端書法
為慶祝中國人民對外友好協會成立六十週年,2013年11月,中國友好藝術交流院編撰《中國風 中國夢---當代友好藝術使者》一書,該書編委歐陽中石、沈鵬、言恭達、馮遠等對入編該書的書法藝術家張泗端的作品作出如下評價:
楷書作品,既有《多寶塔》的端莊謹嚴,又有稜角分明、骨力剛勁的柳書風貌,在顏筋柳骨的圓融中讓人體味到一種全新的審美愉悅。
行書作品,在一派米書特有的駿快飛揚的藝術節律中,以其特有的清爽遒勁,表現的線條是那樣淋漓酣暢,更融入一份《蘭亭序》的清新俊朗,個性十分突出。
Ouyang Zhongshi, Shen Peng, Gongda Yan and Feng Yuan spoke highly of Zhang Siduan's calligraphy In order to celebrate the 60th anniversary of the establishment of the Chinese People's Association for Friendship with Foreign Countries, in November 2013, the Chinese Academy for Friendship and Art compiled a book entitled "Chinese Style, Chinese Dream-Messenger of Contemporary Friendly Art". Editors of the book, including Ouyang Zhongshi, Shen Peng, Gongda Yan and Feng Yuan, made the following comments on the works of Zhang Siduan, a calligraphy artist who was included in the compilation of the book: Regular>
華夏民族風
作為書體中境界最高的草書,最能表現書者的感情和藝術造詣。草書是一門嚴謹、精微的藝術。書家中凡涉獵草書並有獨特風貌者,無不具有特殊的才能、天分和氣度。觀賞張泗端先生草書,我們感到,是其道德情操、性格氣質、學識修為等諸多修養支撐著他對這門藝術的駕馭。
榜書作品磅礴氣勢,體現出其深沉的功力。榜書豐富了書法的表現力,是書法藝術進入當代以來一個不可或缺的重要表現形式,但這不是一般書家練上三五年就可以寫到此般效果的。
As the cursive>
鐵肩椽筆聯
重傳統隨時代求自我
書法創新簡述:張泗端
書法創新是一篇很大的文章。以一篇短文來闡述,只能提綱挈領。我個人的體會是,要重傳統。這是創新之基。中國的書法是古老的,有三千多年的歷史;中國的書法是特有的,世界上其他民族沒有這門藝術。這就使中國的書法有一個質的規定性:用特有的工具紙墨筆硯,寫中國的漢字。當然,這裡所說的漢字可以是真草隸篆任何一種書體。以漢字為書寫對象的書法,有筆法,字法,章法,墨法這樣至少四個方面的規則。四個方面的規則以外,尚有印法(怎麼欽印),裱法(怎樣裝裱)等法可依。對這些規則的不同把握,形成不同風格、不同品位、不同審美價值取向的書法作品。
Emphasizing Tradition and Seeking Self with Times A Brief Introduction to Calligraphy Innovation: Zhang Siduan Calligraphy innovation is a great article. To elaborate in a short passage, only outline. My personal experience is to attach importance to tradition. This is the foundation of innovation. Chinese calligraphy is ancient and has a history of more than 3,000 years. Chinese calligraphy is unique. Other nations in the world do not have this art. This makes Chinese calligraphy have a qualitative stipulation: write Chinese characters with special tools such as paper, ink, pen and inkstone. Of course, the Chinese characters mentioned here can be any kind of calligraphy style of real Caoli seal>
與時代同步伐,以人民為中心
狹義地說,重傳統,就是要重視這些最基本的在書法技法表現方面、在形式展示方面的傳統。在優秀的書家看來,在他要創作的每幅作品中,幾乎每個漢字都有一個從藝術角度來講的、最佳的表現姿態,這個字,在他心中,當他書寫的時候,一筆下去就能準確地表現出來,這就是工夫,這就是傳統功力。達到和養成這種功力,需要訓練,其中最根本,最重要的繼承方式是臨帖。就技術層面來說,書法家水平的不同,往往就是這樣的功夫的深淺的不同。
In a narrow sense, emphasizing tradition means paying attention to these most basic traditions in calligraphy techniques and forms. In the eyes of an excellent calligrapher, in every work he wants to create, almost every Chinese character has its best performance from an artistic point of view. In his mind, when he writes, the character can be accurately displayed in one stroke. This is the time and this is the traditional skill. To achieve and develop this skill requires training, of which the most fundamental and important way to inherit is to apply. On the technical level, calligraphers with different levels often have different levels of kung fu.
充海養先聯
書法是中國傳統文化的重要載體,書法作為文化,它還有廣義的傳統,或者說,書法作為文化、作為民族精神展示和表達的一種特殊的藝術表現形式,它還包涵著做人的傳統。歷史上,僅就寫字的能力來說,有些人的字有一定藝術表現力,但是,因為人格分裂,道義缺失,我們並不看好他甚至蔑視、鄙視他。所以,做一個書法家,首先是做一個好人。北宋權相蔡京,兇狠奸詐,擅權誤國,民間有"打了桶,潑了菜,便是人間好世界"的歌謠,而以祭侄稿傳世,又義殉蔡州的顏真卿卻留下了"丹心昭日月,浩氣存千秋"的美名。
Calligraphy is an important carrier of Chinese traditional culture. As a culture, calligraphy also has a broad tradition. In other words, calligraphy as a culture, as a special artistic expression of national spirit, also includes the tradition of being a human being. Historically, as far as the ability to write is concerned, some people's words have certain artistic expression. However, due to split personality and lack of morality, we do not value him or even despise him. Therefore, to be a calligrapher is first to be a good person. Northern Song Dynasty's power looks like Cai Jing. He is vicious and treacherous. He is good at power and misses his country. The folk song "If you beat a barrel and pour food, you will be a good world in the world". However, Yan Zhenqing, who handed down his nephew's manuscript and sacrificed his life for Cai Zhou, has left behind the good name of "showing the sun and the moon through his heart, and preserving the vigor for the future".
七律,再宣誓
要隨時代。這是創新之的。唐代書法家、書法理論家孫過庭的《書譜》有一段話:"質以代興,妍因俗易,馳鶩沿革,物理常然。"簡而言之,就是筆墨當隨時代。我們處在實現偉大民族復興的中國夢這樣一個重要歷史時期,講創新,就是要在繼承書法傳統的基礎上,在藝術上有新意,內容上日日新。圍繞實現中國夢的所思、所想,所感、所悟來創新。近幾年,我創作的一些書法作品,如榜書"實幹興邦"、草書"岳陽樓記名句"、行楷對聯"壯志凌雲中國夢,宵衣旰食公僕心","無畏官清緣祿減,不難民靜愛山高"、"充海闊天高之量,養先憂後樂之心"等作品,都是創作反映時代需要的作品的嘗試。
To keep pace with the times. This is innovative. There is a passage in Sun Guoting's Book of Calligraphy, a calligrapher and calligraphy theorist of the Tang Dynasty: "Quality is a substitute for prosperity, beauty is a result of vulgarity, evolution is a pursuit, and physics is Chang Ran." In short, ink should follow the times. We are in such an important historical period as the realization of the Chinese dream of the great national rejuvenation. When we talk about innovation, we should inherit the calligraphy tradition and be innovative in art and new in content day by day. Innovation revolves around the thoughts, thoughts, feelings and realization of the Chinese dream. In recent years, some calligraphy works that I have created, such as the placard "strengthening the nation through hard work", the cursive "Yueyang building famous sentences", the running>
毛澤東七律
要求自我。這是創新之魂。我的老師歐陽中石先生對合格的書法作品的基本要求是"來有所出,去見其才"。這裡的"來有所出,是傳統,"去見其才",就是書法家個人的風格。可以說,沒有風格,便沒有藝術,沒有個性,也沒有藝術。基於這樣的認識,多年來,我通過臨帖,創作,否定,再臨帖,再創作,再否定,這樣一個循環往復的過程,使書法作品有了些個人面貌。受到社會的關注和專家的好評。上海世博會期間,時年90高齡的中國美術家協會顧問王琦老前輩,對我的書法作品給予了"以達性道一體,道法自然"的評價。去年末,歐陽中石、沈鵬、馮遠、言恭達諸先生又對我的書法作品進行了集體評議,對我的書法作品在繼承、創新上給予了充分肯定,藝術前輩的鼓勵,增強了我進行書法創新探索的信心。
Ask yourself. This is the soul of innovation. My teacher Mr. Ouyang Zhongshi's basic requirement for a qualified calligraphy work is "to be creative and to meet his talents". The "coming and going is a tradition" and "seeing talent" here is the calligrapher's personal style. It can be said that without style, there is no art, no personality, and no art. Based on this understanding, over the years, I have given calligraphy some personal features through a cyclic process of posting, creation, negation, posting, re-creation, and negation. It has received the attention of the society and the favorable comments of experts. During the Shanghai World Expo, Wang Qi, a 90-year-old consultant of the Chinese Artists Association, gave my calligraphy works an evaluation of "integrating nature with Taoism, and following the natural law". At the end of last year, Mr. Ouyang Zhongshi, Mr. Shen Peng, Mr. Feng Yuan and Mr. Gongda Yan made collective comments on my calligraphy works, giving full recognition to my calligraphy works in terms of inheritance and innovation. The encouragement of art predecessors has strengthened my confidence in carrying out calligraphy innovation exploration.
李白望月有懷
張道涻詠梅
草書易經句
張泗端書法
行書濟南詩詞各一
杜甫春夜喜雨
小篆杜甫絕句
小篆張籍宿江店
秋天詩四首
成都詩四屏
楷書《文天祥《正氣歌》
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