Xiong Boqi

Xiong Boqi

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Xiong Boqi (1944 -), Han nationality, was born in Chengdu, Sichuan Province. Also known as Guanghan, Rongsheng, Jinlisheng, Tianfu people. He is a national first-class artist. He is now the director of China Calligrapher Association, deputy director of seal cutting Committee of China Calligrapher Association, and professor of calligraphy training center of China Calligrapher Association. Good at seal cutting, calligraphy, freehand brushwork, flowers and poetry. His works have been exhibited in all previous national calligraphy and seal cutting exhibitions and other major domestic and international exhibitions, and he has been a judge for many times. He has held many personal exhibitions at home and abroad, published many kinds of works, such as Xiong Boqi's selected works, Xiong Boqi's collection of calligraphy, and published several papers. His works are collected by many institutions at home and abroad.

brief introduction

Xiong Boqi, male, Han nationality, was born in 1944. He was fond of painting when he was young. At the age of 15, he began to learn fine brushwork, flowers and birds, thin and golden calligraphy, and then cursive and seal script. The running grass pursues Chu suiliang and Huangshan Valley, which are elegant and unrestrained, and the body is open; while the seal script studies Shiguwen, Taishan stone carving and Hanli, which also has its own style. In 1971, he began to study seal cutting. He began to learn seal cutting from Han Dynasty. Later, he started from the first four schools in Xiling, followed by Wu rangzhi, Wu Changshuo and Huangtuling. He especially studied ancient seal and Han Dynasty seal. His style is simple and honest. He is a national first-class artist. Now he is the director of Xiling Seal printing society, director of seal cutting Research Office of Xiling Seal printing society, director of China Calligrapher Association, deputy director of seal cutting Professional Committee of China Calligraphy Association, and professor of calligraphy training center of China Calligraphy Association. He is vice president of peony calligraphy and painting art committee of China Federation of literary and art circles, researcher of China seal cutting art academy of China Academy of Arts, director of Xiling Seal Cutting society, director of seal cutting Creation Research Office of Xiling Seal Cutting society, vice president of Beijing seal cutting society, seal cutting, calligraphy, freehand brushwork, flowers and poetry. His works were exhibited in the first, second and third national calligraphy and seal cutting exhibitions, and the first and second National Youth Calligraphy and seal cutting exhibitions. He was selected into the "modern Chinese calligraphy and seal cutting Exhibition", "Sino Japanese calligraphy joint exhibition on the 10th anniversary of the restoration of diplomatic relations between China and Japan" held in Japan in 1976. In August 1985, "Xiong Boqi calligraphy and seal cutting Exhibition" was held in Asahi Gallery, Ginza, Tokyo, Japan. Chinese calligraphy published its paper on the art of ancient seal layout. Published the selected works of Xiong Boqi.

Yitan

Pursuing artistic individuality but not cultural tradition

Chinese seal cutting art is not only known as the treasure of Chinese culture, but also a wonderful flower in the world art palace. It presents the Chinese characters in the square inch with emotion, showing the bold and elegant calligraphy style, beautiful and pleasing painting composition and vivid carving charm. It is a perfect combination of calligraphy, composition and knife technique. With the appearance of "China seal" on the emblem of Beijing Olympic Games, the "heat" of seal cutting among Chinese people is also rising. Why is seal cutting a wonderful flower in our traditional culture? How to inherit the traditional culture of seal cutting art? Recently, our newspaper interviewed Xiong Boqi, a famous seal cutter——

The art of seal cutting is very important

A carrier of inheriting our national culture

Q: the social heat of seal cutting is rising. In the past, those engaged in calligraphy engaged in seal cutting, while those who did not engage in calligraphy, including those engaged in oil painting and traditional Chinese painting, also engaged in seal cutting. Seal cutting seems to have become a fashion. What do you think of this phenomenon? Xiong Boqi: the emergence of "Chinese seal" has indeed aroused people's great interest in Chinese calligraphy and seal cutting. This is a good thing, because more people pay attention to it, and its vitality will be more vigorous. But "Chinese seal" itself is actually a kind of craft design, or decorative design, which is not the same as seal cutting. The art of seal cutting, which has always been engaged in and appreciated by a relatively small number of people, has a certain gateway, which needs to be learned with great concentration. Just like go, people who don't understand go can't understand it or appreciate the game. Unlike chess, if you know the basic moves of the army, horse and artillery, even if you don't understand the strategy, you can also know the basic trend of the game. In the art of Chinese calligraphy, painting and seal cutting, painting is the best to understand, followed by calligraphy, and seal cutting is the worst to understand - at least you have to know some of its history and the school of seal cutting. If you don't know it at all, it's very difficult to appreciate it. In the field of calligraphy, painting and seal cutting, some young people have been engaged in it for less than two years, and they are eager to do personal propaganda in a big way. This is a kind of impetuosity. Pay attention to "packaging", famous, works appreciation. But my personal feeling is that it is very difficult to achieve real artistic achievement to engage in calligraphy and painting, or seal cutting, eager for quick success and instant benefit.. Q: you have always stressed that the higher a person's cultural accomplishment, the richer the connotation of his works. How to understand this sentence? Xiong Boqi: a large number of Chinese seals began to appear in the Warring States period. At that time, they were mainly made of copper. The people who processed them were usually professional craftsmen, not literati. The contents of seals were mostly names, official positions, and a small number of idioms and auspicious words. According to legend, Wang Mian, a great painter in Zhejiang Province, was the first one to carve a seal with huarushi and use it in his own paintings in the Yuan Dynasty. According to historical records, Wen Peng, the eldest son of Ming Dynasty calligrapher Wen Zhengming, accidentally got several baskets of Qingtian stones in Nanjing. He used those stones to carve his own seal. Later, some scholars began to follow his example. So it is called Peng Wenzu. After the literati got involved in the engraving, the content of the seal changed, the poetry went in, the famous sentences in some ancient prose went in, and the Zhaitang hall number went in, which made the seal have rich cultural heritage. It not only became an art, but also a carrier of inheriting our national culture. The seal has both practical value and appreciation value, in which there is not only the art of writing, but also the performance of literati's own aspirations. For example, Qi Baishi's seals are all his own words. In other words, seals can express many things like calligraphy and painting. In this sense, the higher the cultural quality of the seal, the richer the connotation of his seal cutting. The higher the cultural accomplishment of the seal cutting people, the more they can appreciate the charm and essence of it.

traditional culture

The edification of traditional culture benefits me all my life

Q: when did your love for seal cutting begin? Xiong Boqi: my family was in Chengdu before liberation, and the yard was very big. My father has an orderly, he often holds me to write on the glass, teach me to read, so I know more than 200 words when I was two years old. About five years ago, I liked to draw on the ground with chalk. At that time, there were several tenants in my family, one of whom was from a publishing house. He often brought back comic books for me to see. So when I was very young, I watched "the adventures of puppets" and the stories of the Warring States period. When I saw the painting inside, I was very happy. I took chalk and painted on the ground. Later, when I was in primary school in Chongqing, I was still not interested in calligraphy. I felt very bitter. I used Liu Gongquan's xuanmi tower as a model to write big characters, which was very rough. My best score was 4 points, generally 3 points. My family came to Beijing in 1955, when I was in the sixth grade of primary school, I always liked to draw. Chinese fine brushwork Master Yu Feiyin's publications were very influential at that time. After his death in 1959, I went to see the exhibition of his posthumous works held in huafangzhai, Beihai. I was very impressed, so I began to concentrate on learning Chinese painting. Because the inscriptions and seals on Chinese paintings are indispensable. If I had to find someone else to inscribe my own paintings, I would just do it myself. At that time, I didn't know where the school got a lot of stones and threw them in the yard of the school, so my classmates and I went to grind and carve seals. At that time, the seals on my paintings were all carved in stone. Yu Feian learned from Emperor Huizong of the Song Dynasty and wrote thin gold style, so I used thin gold style in my paintings and carefully studied this type of font. It can be said that the influence of traditional culture in my childhood has benefited me all my life. Q: rongbaozhai is the most famous old cultural store in Beijing. Your working experience there will be a great help for you to engage in the art of calligraphy and seal cutting? Xiong Boqi: at first I worked in Xicheng District Housing Authority. During the cultural revolution, rongbaozhai was under the control of the people's fine arts publishing house. It could not be called rongbaozhai, but the second Marketing Department of the people's fine arts publishing house. At that time, opposite rongbaozhai, there was a subordinate unit of the cultural relics store, called qingyuntang. It sold the stone materials that were checked and processed. It sold very cheaply, so I bought it back and carved my own seal. There are also many seals in the shop, which are all thrown in a big box and priced from 10 cents to 3 yuan. In fact, there are very good things in it. There are Wu Changshuo's original works and Qi Baishi's original works. I bought one for 50 cents. There are also many things of seal carvers. I really regret that I didn't buy more at that time. For example, many of us who were born in the 1940s and learned to carve seals before and after the Cultural Revolution were influenced by the pamphlet how to carve seals. Before I went to rongbaozhai, I just read it and a Book of the first four seals of Xiling to learn how to carve seals. Artists like Wu Changshuo started with seals and calligraphy, and then began to draw. I want to carve the seal well first, do well in calligraphy at the same time, and finally turn to painting. In 1971, my friend introduced me to learn seal cutting from Mr. Xu Zhiqian of rongbaozhai. In 1973, when I came to rongbaozhai, I worked in calligraphy and seal cutting and continued to study with Mr. Xu. Mr. Xu has no culture. The way he teaches his students is that the master leads the apprentice. He is not conservative in teaching students, but he is very conservative in art. I am not used to it. However, there is a reference room in rongbaozhai, where there are many famous people's seals, about 100 square meters. I often borrow the original works of Wu Changshuo, Qi Baishi and others, put them in my drawer, and take them out to ponder at any time. Calligraphy activities around the "Cultural Revolution" are very important

Chinese PinYin : Xiong Bo Qi