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[资料]刘正成与中国书法文化的现代传播
[这个贴子最后由书法在线在 2003/05/02 08:46pm 第 5 次编辑]
刘正成和中国书法文化的现代传播
李廷华(中文原稿)
从二十世纪八十年代到现在的二十年，改革开放使得中国社会发生了深刻的变化。在经济建设取得前所未有的成绩的同时，文化建设的成绩也有目共睹。因为国际交流的空前频繁，资讯传播的空前发达，域外人士对中国文化的了解，也较历史上的任何时期都更加明晰和全面。中国文化、中国艺术的魅力也籍着这样的交流而在世界上发生着日益深入的影响。这其中，最具有中国传统文化特色的书法艺术，也在国际文化交流和传播当中发挥着明显作用。长期担任《中国书法》杂志主编的刘正成先生，在长期的文化实践里，以其突出贡献，受到国际书法界的敬重。
向心灵发掘——全方位的文化沉潜和传承
刘正成今年56岁，“文化大革命”开始的时候，他刚刚二十岁。正在四川的一家纺织厂当工人，由于家庭经济的贫苦，他没有能够接受大学教育。他是在艰苦条件下通过自学而进入文化跋涉的长途。他曾经写过为当时政治服务的话剧，和那个时代的很多文学艺术青年不同的是，在搞创作的同时，他还注意到学术；在关心现实的同时，他特别衷情于历史；他最初的读物中间就有一本姚鼐的《古文辞类纂》。“四人帮”的完结，使得中国社会中蕴藏已久的文化批判的能量突然释放，成就了一代的文学艺术家。
从刘正成已经发表并且由四川文艺出版社和青岛出版社两次出版的《地狱变相图》和《刘正成历史小说集》所收八篇小说来看，他在青年时期对中国历史文化的了解是全方面的，从书法家怀素、画家吴道子、音乐家万宝常、戏剧家孔尚任到诗人王安石、苏东坡，以至中国道家文化的始祖庄周，他全写到了。如果说，“新时期”的文学作品在文化批判的激情下普遍表现出对历史文化的幼稚和隔膜，在最初的大声疾呼之后便显得底气不足。刘正成却是一个异秉：因为长期的文化积累和精神积淀，使得他的文学创作虽然没有在大潮初起时冲浪在先，而对以后长期的文化颐养却能够提供源源不断的动力，也为他以后在必须具备中国历史文化的全方面修养的书法运作中提供了厚实基础。中国“新时期”在经历了文学运动之后，全社会的文化发展要向历史寻找资源，应运而生了书法运动。其持续时间之长，参与人群之多，对中国现代社会的文化变衍乃至经济生活发生的影响之深刻，为中国书法历史上从来未见，亦为“新时期”以来文化复兴中最突出的现象，刘正成在其中发挥的作用，实在值得治中国书法史和中国文化史者研究，而刘正成自己的生活经历以及他从文学到书法的变化和融会，也正是研究中国现代文化从文学运动往书法运动转移的线索。已故的原中国书法家协会负责人陆石先生曾经说过：“当时选调刘正成到北京主持《中国书法》杂志的工作，就是考虑到他懂文学，懂编辑工作。”中国书法和文学的关系，应该说是其精神本质的内蕴。刘正成在多年实践中，一直在坚持和提倡这样的书法精神。以后，刘正成在和国际书法界的交流中，也正是借助其文学和学术素养，得以构筑其深入对话的基础。
向世界展示——中国书法学术的世纪辉煌
刘正成到中国书法家协会工作之后，在编辑《中国书法》杂志的同时，联系全国书法界同仁，编辑出版了两卷本的《中国书法鉴赏大词典》，这实际是为以后编辑《中国书法全集》作学术和编辑力量的准备。《中国书法全集》计划出版108卷，从中国上古时期的商周金文书法开始，直至现代于右任、谢无量、高二适等名家。《中国书法全集》是中国书法史上继宋代的《淳化阁》和清代的《三希堂》问世以来第三次大规模书法编辑活动。不同于历史上最负盛名的皇家书法刻石，《中国书法全集》完全依靠的是民间力量，没有要国家出资。其收罗完备远胜前代自不足奇，《中国书法全集》的真正胜过前人之处在于它的学术性。“全集”每卷均由当今对各该卷书法内容最有研究的书法学者担任主编或者撰稿人，不惟对书法家和书法作品的艺术价值和具体内容有详尽评论和考释，使读者可以在欣赏书法作品的同时，得到有关的学术知识，又对书法史上的一些有争议的问题加以揭载，比如，在《中国书法全集——柳公权卷》中，便收录了老一辈书法学者徐邦达先生和中年学者曹宝麟关于柳公权《蒙诏帖》真伪的争论文章。刘正成自己的《锺繇与长沙吴简说》，则对历史上发生过的“兰亭论辩”作出了总结性的论断。读者可以从中发现：中年一代书法理论家的学术修养在某些方面并不比老一代逊色。
1995年底，在北京琉璃厂荣宝斋，五位当今中国学术界久负盛名的学者顾廷龙、季羡林、冯其庸、李学勤、金维诺聚谈《中国书法全集》。老先生们首先肯定的是《中国书法全集》的学术价值。顾廷龙先生将 《中国书法全集》和以前的《淳化阁帖》、《三希堂法帖》比较，认为“全集”远远超过了前人刻帖，是中国有书法史以来最为宏大的一项工程。对二十一世纪世界文化的发展作过前瞻性判断的季羡林先生认为“全集”体现了中华五千年文明史的特点与成就。历史学家李学勤先生则评价“全集”在“史”与“美”方面结合得好是一个特点，他认为日本的《书道全集》错误甚多，而《中国书法全集》在学术的精严方面远胜（刘正成曾经多次谈到，他编辑《全集》吸收了日本中田勇次郎先生的很多经验和教益）。比较美学家金维诺先生说，通行的世界美术史，实际上是西方美术史，西方美术家可以从《中国书法全集》发现一个全新的世界。
在《中国书法全集》的编辑中，刘正成除担任总主编外，还承担了《张旭怀素孙过庭卷》、《苏轼卷》（上下）、《王铎卷》（上下）、《黄道周卷》、《徐渭卷》的分卷主编，是承担任务最多的一位作者。刘正成自己在早年的小说创作中锻炼了生动畅练的文笔，这使得他的行文如梁任公所谓“笔端常带感情” 。中国过去的学术圈和大众文化的睽离，一个原因便是自作高深，故作高深，并不一定是怎样深奥的道理，非得拒读者于千里之外，这也是中国的学术和一般读书人暌违千里的一个原因，是中国社会中知识分子和普通群众难以沟通的一个原因。吴晗、朱东润、谢国榛等著名历史学家和文学家，都曾经在学术性和可读性方面做过成功的尝试，钱钟书先生更是把学问和趣味结合得浑然无间的巨擘。冯其庸先生在荣宝斋评价《中国书法全集》时曾经拿 《苏轼卷》为例说：“这是学术和文学的结合”。 冯其庸先生还说：“这是每个书法爱好者的必读之书，如果认真读完这一百卷的导读、考释文字，那么他的书学水平自然也就可观了。”
1996年，刘正成往日本访问时，拜访了《中国书道全集》的主编中田勇次郎先生。中田勇次郎先生按照日本礼节，打开他寓所的正门，欢迎比他小三十岁的刘正成。刘正成主编的《中国书法全集》，展示了中国书法学术的世纪辉煌，打破了长期以来“书法学术在日本”的神话，也赢得了包括日本在内的世界书法学术界的尊重。刘正成感受到他是因为中国书法学术的发展而受到尊重，他一直认为中田勇次郎先生是他的老师。
时代的造就——国际书法文化交流的积极活动家
刘正成在至今近二十年的书法活动中，通过展览、访问、学术会议、学术对话等多种方式，和国际书法界进行广泛交流。他的出色表现，不仅宣传了中国书法文化，也为改革开放中的中国增添了亮色。以刘正成为主要组织者的“二十世纪中国书法大展”在法国首都巴黎展出时，希拉克总统出席参观，对中国书法表现出的中国传统文化的魅力表现出巨大热情。
刘正成不放过一切宣传中国书法文化的机会，他以其充沛的精力，对中国文化国际传播的积极责任心和谦虚的态度，拜访了很多国家和地区的书法界著名人物。他和日本书法界的接触十分频繁，除了中田勇次朗、梅舒适这样的联系人物，他还和多位日本书法界著名人物进行过学术交流。他在北京的寓所“松竹草堂”也成为日本很多书法家访问中国时乐于造访的地方，在这里，或者挥毫表演，或者品茗论艺，或者对奕棋盘，对中国传统文化兴趣最浓厚的两个国家的艺术家营建起平和的文化气氛。这是鉴真东渡、空海东归以后两国艺术家感情最为融和、学术切磋最为深入的时刻。刘正成为“第三次中日友好书法展览作品集”所写的序言用“传统文化是联系我们的纽带”为题，真实地揭示了中日两国书法家交流的意义。
书法艺术是遍及于世界各地、最能够表现中国文化情结的艺术，有些华人艺术家，多年生活在海外，书法艺术既是他们寄托故国之思的媒介，又成为他们宣传中国文化的事业。刘正成和法国书法家协会主席熊秉明先生、澳门著名书法家梁披云先生、香港著名学者、书法家饶宗颐先生都建立了深厚的友谊。刘正成除了通过《中国书法》等媒体积极宣传他们的学术成果，宣传他们在中外文化交流中对祖国的巨大贡献，还以《中国书法》杂志的名义为饶宗颐先生、熊秉明先生举办了寿辰庆祝活动。中国书法艺术是感情意蕴十分强烈的艺术，为这些多年生活在海外而倾心祖国文化的学术老人祝寿，表现出的是对中国文化的尊重，也是对中国文化的国际交流的真诚奉献。
刘正成属于改革开放的时代，刘正成的作为无愧于他的时代；刘正成属于中国书法事业，刘正成的建树无愧于他的事业；刘正成属于他的热爱中国书法艺术的朋友，刘正成的奉献无愧于他的朋友——遍布在有中国书法之处的年轻的和年长的朋友。
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Mr. Liu Zhengcheng and the Calligraphic Culture in Contemporary China
Li Tinhua
The fundamental changes have taken place in Chinese society within the twenty years after the Chinese Economic Reform and the policy of opening China to the world since the 1980s. On the one hand, consummate achievements have been made during the economic construction of China, and comparable accomplishments in cultural construction ensued on the other. Through various international cultural exchanges held in China and by the means of the sophisticated technology of the Chinese media and information, people outside China have much better access to Chinese culture and better understanding of Chinese arts than ever in the history of China. Through the cultural exchanges, Chinese culture and arts are becoming more popular around the world and, are even penetrating into other cultures. Among the traditional arts of China, calligraphy is more representative of the Chinese tradition than other forms of art, and it plays a special role in the cultural exchanges with other countries as well. Mr. Liu Zhengcheng, the senior editor of the magazine The Chinese Calligraphy, with his outstanding contributions to Chinese calligraphy in his calligraphic career of so many years, enjoys high esteem in the calligraphic societies of the world.
An Inquiry to Human Soul – An Approach to Calligraphic Art as a Heritage of Chinese Tradition
Liu Zhengcheng, at his age of 56 now, was only 20 years old when the “Great Proletarian Cultural Revolution” took place in 1966. He was a worker in a spinning mill of Sichuan Province during then, who had no chance to go to college as a result of the poverty of his family. He struggled to his success in calligraphic art and the promotion of Chinese traditional cultural through a long and hard journey of his self-education. He used to write scripts for political plays during the “Cultural Revolution,” but what made him different from many other young writers of the time was his emphasis on intellectualism in dramaturgy other than sheer on political orientations which was dominant during that time. Mr. Liu showed special interests in historical themes in his realistic writings. Among his earliest readings, Yao Nai’ s Guwen Cilei Zuan (lexicography of classical Chinese) was one of his favorites. After the down of the “Gang of Four,” Liu Zhengcheng became one of the important contemporary artists of China and his artistic talents were revealed and released from the political repressions.
In Mr. Liu’s publications, Diyu Bianxiangtu(metamorphosis in the Hell) published twice respectively by Sichuan Wenyi Chubanshe and Qingdao Chubanshe and Liu Zhengcheng Lishi Xiaoshuoji (the collection of Liu Zhengcheng’ s historical novellas) demonstrate his broad knowledge of Chinese history and traditional culture during his young age, which cover the biographies of Huai Su, the ancient calligrapher, Wu Daozi, the painter, Wan Baochang, the musician, Kong Shangren, the dramatist, and Wang Anshi, the famous ancient literatus, even Zhuang Zhou, the founder of Daoism.
Generally speaking, the literature of the “New Era” shows its naivety and ignorance toward Chinese history and traditional culture even though it advocated the cultural criticism against Chinese traditions. However, Liu Zhengcheng was an exception among his contemporaries. With his solid knowledge and profound understanding of Chinese culture that had become the strong basis for his upcoming accomplishments in his literary creations, Liu Zhengcheng had continually perfected his calligraphy and enriched his artistic talents. After the literary movements of the “New Era,” the cultural trends in China turned into the historical approaches to literature, and at the same time, the rise of Chinese calligraphy ensued. The new trend of calligraphy had attracted so many people and had been continuing for a long time, which fundamentally shaped the cultural landscape of the “New Era” in China. It was another cultural resurrection of China after the movement of the “New Era,” and Liu Zhengcheng played an important role in the resurrection. It is very instructive to study the phenomenon of Liu Zhengcheng, whose own career highlighted the current shift from literature to calligraphy in China. Mr. Lu Shi, the former executive of the Chinese Calligraphic Society, ever mentioned: “it was for the consideration of Liu Zhengcheng’ s talents in literature and compilation that we selected him to take charge of the magazine The Chinese Calligraphy.” In fact, Chinese calligraphy is the essence of literary imaginations. Mr. Liu advocated this calligraphic spirit in his long-lasting literary practices. Thereafter, he continued his dialogues with his international calligraphic fellows on the basis of his deep literary and academic understandings.
A Monumental Achievement of the Centuries in Chinese Calligraphy
During his chairing the Society of Chinese Calligraphers, Mr. Liu Zhengcheng continued the publications of the magazine The Chinese Calligraphy. Soon afterward, he worked closely with his fellow calligraphers all over China in the compilation of the two-volume The Cyclopedia of Chinese Calligraphy, which was actually a preparation for a much more ambitious project of publishing a one-hundred-and-eight volume complete cyclopedia of Chinese calligraphy. This far-reaching project covers the masterpieces of Chinese calligraphy from the works of ancient dynasties of Shang and Zhou, to the contemporary masterworks by Yu Yuoren, Xie Wuliang and Gao Ershi. The Complete Cyclopedia of Chinese Calligraphy is the third largest project in the calligraphic history of China after Chun Hua Ge of Song Dynasty and San Xi Tang of Qing Dynasty. Very different from the famous imperial publications of works about calligraphy and inscriptions in the past, The Complete Cyclopedia of Chinese Calligraphy is not under the auspices of state but by the grass-roots supports. It includes much wider range of artistic works than ever in calligraphic publications. But what makes it especially important is that The Complete Cyclopedia of Chinese Calligraphy has high academic values. Every volume of the Complete Cyclopedia was compiled or introduced by the esteemed calligraphers who have widely recognized achievements in Chinese calligraphy. They provide readers with intensive reviews and insightful interpretations on every calligraphic works that make the cyclopedia not only enjoyable but also instructive in Chinese calligraphic art. Furthermore, the Complete Cyclopedia explores critical approaches to some polemic issues in the calligraphic history of China, such as the authenticity of Liu Gongquan’ s Meng Zhao Tie, about which a couple of articles written by Xu Bangda and Cao Yulin are included. More importantly, Mr. Liu Zhengcheng has ended up the “Lanting Polemic” in the history of Chinese calligraphy with his insightful conclusion.
During the end of 1995, there were five most prestigious scholars of Chinese calligraphy meeting at Rong Bao Zhai store in Liu Li Chang of Beijing. They were Gu Tinlong, Ji Xianlin, Feng Qiyong, Li Xueqin and Jin Weinuo, who gave enthusiastic compliments to the Complete Cyclopedia. They highly praised the academic value of the cyclopedia. Comparing it with the ancient Chun Hua Ge Tie and San Xi Tang Fa Tie, Mr. Gu Tinlong believed that the Complete Cyclopedia was a magnificent project in the history of Chinese calligraphy transcending all those before it. Mr.Ji Xianlin, who had ever lucidly forecasted the future development of the World Culture, considered the Complete Cyclopedia a landmark in exhibiting the traditional culture of China to the world. At the same time, Mr. Li Xueqin, a historian, found it a perfect combination between Chinese history and aesthetics and insisted that the Complete Cyclopedia outshined Shu Dao Quanji of Japan in academic precisions since there were quite a lot of mistakes in Shu Dao Quanji. Mr. Jin Weinuo, a comparative aesthetician, said that the art history of the world was as a matter of fact the history of the West, and the Western artists might be going to find a new world of art in this book.
During his compiling The Complete Cyclopedia of Chinese Calligraphy, Mr. Liu Zhengcheng simultaneously edited and compiled Zhang Xu Huai Su Sun Guotin Juan, Su Shi Juan, Wang Ze Juan, Huang Daozhou Juan and Xu We Juan. One of the outstanding features in Liu Zhengcheng’ writings is his vivid pictorial wordings with strong passions in a way like what Liang Ren Gong did in the past. That makes him different from those who write in a pedantic way in keeping a distance from the general public, and in a flourish form but without substantive contents. This is part of the reason why the Chinese elite intellectuals are distanced from the populace. Many historians and novelists such as Wu Han, Zhu Dongreng and Xie Guoqin have successfully contributed to vernacularization and readability in academic works. Mr. Feng Qiyong took Su Shi Juan as an exemplar combination between scholarship and literature when he commented on the publication of the Complete Cyclopedia. Mr. Feng continued in his review of the book: “It is a book so instructive to calligraphic learners who would reach a rather high level in calligraphy after reading the one-hundred volumes of the cyclopedia.
Mr. Liu Zhengcheng as a Campaigner in International Exchange of Calligraphic Art
In his dedication to Chinese calligraphy for almost twenty years, Liu Zhengcheng has conducted various exchanges in calligraphic art with many countries of the world through organizing exhibitions, paying visits and attending international conferences. He introduced Chinese calligraphy to the world and contributed a lot to the Open-Door Policy of China. Mr. Liu organized “The Chinese Calligraphy in the Twentieth Century” in Paris, to which the president of France paid a visit and showed a great interest in Chinese calligraphy as a part of Chinese traditional culture.
Liu Zhengcheng would not miss any chance in promoting Chinese calligraphic culture with his great passions and ever visited many famous calligraphers around the world. Especially, he is in close contact with many famous Japanese calligraphers and received many visits from his Japanese guests in his residence Song Zhu Cao Tang, where he either gave shows of his calligraphic drawings or had tea and chess with the guests. The Sino-Japanese cultural exchange was greatly enhanced by those meetings between the artists of the two countries. In the preface of “The Collections of Calligraphic Works in the Third Exhibition of Sino-Japanese Calligraphy of Friendship,” Liu Zhengcheng titled his essay with “Our Tie of Friendship Roots in Our Traditional Culture” that revealed the significance in the calligraphy exchanges between the Chinese and Japanese calligraphers.
Calligraphic art has become very popular around the world and it is the best instrument in representing the national and cultural psyche of the Chinese. After having lived in abroad for many years, many overseas Chinese take Chinese calligraphy as the agency of channeling their nostalgic sentiments toward home as well as an effective means of promoting Chinese culture to the countries where they are living. Liu Zhengcheng has developed strong friendly ties with Mr. Xiong Bingming, the chairman of French Society of Calligraphy, Mr. Liang Piyun, the famous calligrapher of Macao, and Mr. Rao Zongyi, the famous scholar and calligrapher of Hong Kong. Not only did Mr. Liu Zhengcheng promoted his academic achievements through the magazine The Chinese Calligraphy, but also he sponsored the birthday parties for Mr. Rao Zongyi and Xiong Bingming in the name of the magazine. These birthday parties for the overseas Chinese sponsored by the magazine of calligraphic art had strongly symbolized the campaigning for elevating Chinese cultures and introducing China to the world.
Liu Zhengcheng has achieved incredibly in calligraphic art at the age of China’s reforms and opening to world. He always dedicates himself to those who love Chinese calligraphy, young and old, anyone and anywhere.
Rm 201, Bldg 3, Dongjiao Jianggong Rd, 60, Xian, Shangxi Province, P.R. China 710043.
Tel: 029-2236227
The Biographical Information about Mr. Liu Zhengcheng
-1946, Mr. Liu Zhengcheng was born.
-1980, he attended “The First National Exhibition of Chinese Calligraphic Art” of the Society of Chinese Calligraphers and his works were exhibited.
-1982, his works were exhibited in “The First Exhibition of Young Calligraphers.”
-1984, worked for the literary magazine Ren Shi Jian as the deputy executive editor. His works were exhibited in “The Second National Exhibition of Chinese Calligraphic Art.”
-1985, he worked for the Society of Chinese Calligraphers as the director of the department of publications, the deputy executive editor of magazine The Chinese Calligraphy
-1986, he organized “The Second Exhibition of the Young Calligraphers” sponsored by the Department of Culture of the P.R. China and the Society of Chinese Calligraphers.
-1987, his works were exhibited in “Third National Exhibition” and worked as a member of the panel for the exhibition.
-1989, his works were exhibited in “Fourth National Exhibition” and he published The Cyclopedia of Chinese Calligraphy.”
-1991, he was elected as the board of the Society of Chinese Calligraphers and acted as deputy general secretary.
-1992, he published The Complete Cyclopedia of Chinese Calligraphy, The Collections of Liu Zhengcheng’ s works and Diyu Bianxiang Tu.
-1993, his works were exhibited in “The Second International Exchange of Calligraphic Art” and he worked as deputy director of the panel.
-1994, worked as director and executive editor of Zhongguo Shufa Zazhi.
-1995, he visited Japan and his works were exhibited in “The Sixth National Exhibition.”
-1997, he acted as the head of the panel at “The Seventy Exhibition of the Young Calligraphers” and visited Korea and Australia.
-1998, he acted as the general secretary of “The Calligraphic Exhibition of the 20th Century” to which the President Jiang Zemin visited. Mr. Liu also visited Japan and France at the same year.
-1999, “The Exhibition of Liu Zhengcheng’s Calligraphic Works” was held in Hong Kong University.
-2000, he had the honor to meet the President Jiang Zeming and other leaders of the state.
- 2001, he attended the “International Conference of Inscription and Calligraphy” at the invitation of the Hong Kong University and received a “Special Award for the Dedication to Calligraphic Art” issued by the Society of Chinese Calligraphers.
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IP卡
狗仔卡
发表于 2003-4-30 14:50:20
提升卡
置顶卡
沉默卡
喧嚣卡
变色卡
显身卡
发表于 2003-4-30 20:54:17
发表于 2003-5-1 23:52:48
发表于 2003-5-2 20:09:01
