Jijun's Jijun: Dancing without the "Shackles" of Calligraphy

Zheng Zhi

One afternoon in early winter, I walked through a busy neighborhood and entered Ji Jun's home. Warm sunlight through a meter-high tiger orchid, irradiated in the wide mahogany table, cold leaves outside the window, people and cars through the flow; house warm and warm, paper and ink fragrance, is a quiet, comfortable world of calligraphy.

"Word" written by the force

Ji Jun's hobby of calligraphy was initiated in the teenager, at the age of ten, picked up the brush, night and day, the mind is slowly attracted by the mysterious world of black and white. He practiced Yan style, Wei Bei, two Wang, in the Clerical Script, Regular Script on the most effort, decades of Lin Chi never stop. A whole wall of mahogany bookcases at home, treasured thousands of calligraphy works he wrote, large characters more than one person high, albums, banners, couplets ...... are his years of hard work.

Ji Jun's words are very durable, not a board, strict almost stereotypical, but with a seemingly careless face to show the public, natural, honest, casual. Sometimes it is a bit like the naivety of a child's writing, but the sparseness is not too sparse, and the density is not too dense, and I feel that every stroke falls in the most appropriate position, not allowing the slightest movement. Jijun's characters are also lovely to read. He writes nursery rhymes: "The stars in the sky don't talk, the dolls on the ground want their mothers", "Under the bridge in front of the door, a flock of ducks swims by. Quickly count, two, four, six, seven, eight", "Butterfly butterfly fall, give you a bench to sit", childish and innocent, full of fun; he writes "crane", "dragon", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance", "dance" and "dance", "dance". "Crane", "Dragon", "Dance", "Wave", abstract, three-dimensional, is the understanding and generalization of nature and life, is the inner world of the expression and expectations; he wrote "Scars

When he writes "Scars", the drops and paths that fall from his brush are clearly blood and tears, which make people forget it after a glance, and keep going to your heart and soul.

Calligraphy is written by a person's education, calligraphy to create the size of the artistic achievements, depending on the calligrapher himself to the degree of artistic understanding, as well as the richness of the knowledge reserve or not. The wider a person's knowledge and the richer his cultural background, the higher the taste and realm of his works. The formation of Ji Jun's calligraphic style is attributed to his wide range of interests and strong desire for knowledge. Ji Jun not only dabbles in poetry, painting, photography, dance, theater and music, but also achieves remarkable results. For example, Ji Jun has published his own collection of poems, he would write poems about his feelings of reading the paintings and calligraphy of famous artists, and he would also express his poems in the form of calligraphy, and his calligraphy goes hand in hand with his poems. Contained within a y cultivated poetic soul, this poetic soul will naturally be dense in the depths of his pen and ink; for example, painting, in Ji Jun's study, hanging a painting of his own titled "and spring" of the ink, an old tree after the bitter winter, gnarled branches over the winter, in the early spring to become extraordinarily soft, and waving like teeth and claws, last night as if it was only a slight greenish color, this morning, but then Cui points have been, and even the Peach blossom also bloomed red buds ......... painter delicate and dynamic feelings expressed in calligraphy, is the "plum" of the bones, "snow" of the drift. He wrote the big word "sit", above the two "people" character borrowed from the art of painting, like a man and a woman with two backs, which in the structure will have a new idea.

Ji Jun's calligraphy is not written to satisfy anyone, but he is interested in his own addiction and competes with himself. He spends all day pondering, not the market, but the meaning of the character, and melts himself into it, so that people will love to look at it, and it will be easy for them to look at it. Every one of his characters is full of passion, and when you read it, you will cry and laugh, and you will love it.

Dancing with the "shackles" of calligraphy

As a famous calligrapher and one of the leading figures in Shandong Province's young and middle-aged calligraphy circles, Jijun's calligraphy personality is unique and distinct. More than twenty years ago, Ji Jun paid attention to the Chinese calligraphy modeling, font changes and the affinity of the Chinese characters with the image of the earth, based on the tradition, melting new ideas to express the meaning of the book and the heart of literature. Some experts believe that Ji Jun's calligraphy creation is rooted in the deep soil of traditional Chinese culture, he can fully mobilize and utilize the rich resources of Chinese calligraphy, wide range, comprehensive camp structure, rich brush, drenching and sound, formed a distinguished "Ji Jun style".

Innovation is bound to be controversial. Ji Jun has always been an artist full of youthful vigor, but also an artist who constantly causes controversy. Very often, Ji Jun's style of writing is taken as a "target" by some good people, some people don't understand him, and even sneer at him, and some people even don't understand it at all, and then judge it out of context. For the naysayers, Ji Jun will lightly laugh it off. Over the past twenty years, more than a dozen times at home and abroad to hold exhibitions, lectures, exchanges, his calligraphy has long formed a unique creative personality and self-contained style.

The biggest feature of Ji Jun's character is his persistence, he said: "People have to insist on something in their whole life. I've been sticking to it since I was in elementary school, and I'll stick to what I think is right." He doesn't care about other people's judgment, he cares about his own feelings. Because he understands that art needs to be creative. Let's say painting, the same face of the landscape, you see what kind of, I see what kind of, out of the effect is completely different. Calligraphy is the same. Most of the real art begins with imitation, finally original. Not copying can not lay the foundation, copying a lifetime, there is no self, have to always follow the heels of others. Metamorphosis from copying, art has been a new life - not a gateway, do not fall into the mold. For the former masters, you may not be able to surpass him, but you can go beyond him, that is, to establish another style from another angle, so as to achieve transcendence. Ji Jun's calligraphy in recent years can be said to have reached this point. "This piece of artwork is written by Ji Jun at first glance, strong and ancient, in accordance with the law, and his personal style is obvious, even if his name is covered up, I can still tell." An expert in calligraphy commented on Ji Jun's works

Ji Jun's artistic creation comes from the feelings of life, and also from unintentional inspiration. There are praises, sentimental feelings, darkness, and cloudiness in life, and he will seize these feelings and put them on the paper, applying them between the strokes of the brush and the ink. Tasting Jijun's calligraphy, you can see that he mixes his experience and experience, knowledge and elegance without any gap, and then stirs up the kind of transparent and concise style of calligraphy. Between the lines, you can tell how much painstaking work he has done in his private life, and from his seemingly casual phrases, you can see his wide range of life experiences. Every word of Ji Jun's calligraphy is hot and steamy, and he throws himself into it throughout.

All rivers in the sea, realize the true meaning of painting the hourglass marks

Jijun's friends say the boy is a polymath. Graduated from the College of Physical Education, was a basketball player and coach; more than twenty years old went abroad to do calligraphy exhibition; more than thirty years old to do photography exhibition, opened the Weifang human body photography of the first river; did the TV station choreographer, trained models, like painting, collection of mahogany, published a book of poems and calligraphy, what the art of what to play. Calligrapher, photographer, collector, poet ...... Ji Jun head of praise numerous.

Ji Jun in front of the crowd, stout body, long flowing hair, unsmiling look, appearance of cold and awe-inspiring. Some people have always praised him as a genius, while others say he is untamed and absolutely brilliant. In the complicated art circle immersed for many years, may have been young and cynical, but Ji Jun, more willing to be like his admiration of Master Hongyi and his calligraphy: "tasteful, like a gentle and modest gentleman, not overbearing, not lowly, and pleasant to sit there calmly discussing the road", which is also his standard of conduct. Ji Jun is a man of leisure, good learning and deep thinking, not as a madman pride and authority, people who know him will be infected by his calm and approachable temperament. As a professional calligrapher, executive vice president and secretary-general of Weifang Calligrapher Association, executive vice president of Weifang Calligraphy and Painting Academy, as well as other positions in the community, Jijun has a busy schedule and many social activities. In this busy rhythm, he has his own rules, work to get the head, organized, the night of silence is his alone time. Brew a pot of hot tea, quiet mind to read, poetry, writing, immersed in his calligraphy world

Mr. Ouyang zhongshi once said: "a pursuer from the art of calligraphy, if only from the pen and ink on the effort is far from enough, must be in their own learning, character and other inner temperament, more efforts, it is possible to peep into the profound true meaning, it is possible to climb the The height of the dust." Growing up in Weifang, a rich land, Ji Jun has been receiving thick traditional Chinese culture and art nourishment, he will not force himself to learn anything, poetry, music, painting, he was born interested in these. "Trees from seven or eight hundred years ago, work from three or five hundred years ago, classic today." This is a passage in Ji Jun's poetry collection, but also his collection of mahogany furniture on his true feelings. Ji Jun especially like to collect, mahogany furniture, celadon pots, Danqing scrolls, zisha teapots ...... are his favorite. Collection needs to be persistent and calm, need to slowly taste and interpretation in the intertwining of time. Although it is said that these collections can not bring direct influence to his calligraphy, but they and music, painting, dance, the same, day after day, will slowly precipitate into his calligraphy works. Precipitate into this man's character, let him in life through the calm, confidence and depth.

A gorgeous rainbow can only be seen after the storm, the charm of life can only be revealed after experiencing the pain and struggle, the maturity of calligraphy can only be revealed after experiencing the trials and tribulations of life and possessing profound strength, and only then will it reveal its vastness and heaviness. Ji Jun is able to grasp his own enlightenment and realize the wonderful way of calligraphy from the writings of his predecessors, and the essence of calligraphy from the accidental revelation of the natural world. If we say that Ji Jun's calligraphy expresses a robust, expansive, and tumultuous temperament and a simple, generous, and sincere character, then it is better to say that he has an overflowing talent and a dashing literati temperament. We believe that calligraphy is the life and dance of his long life, and will accompany this young calligrapher to create wonders: it is his "cone drawing sand", his "house leakage marks", and his "slush leaving claws". "Mr. Kennedy.

Mr. word of the style and grace to look forward to the sentimental, such as seeing a beautiful woman, see Cao Quanbei as dreaming of the Han Palace Zhao Feiyan dance. Cherry blossoms and plum blossoms, snow is a sentient thing, fluttering in the holy country. How not to give birth to a romantic affair - red, white and black three-color block extremely modern and elegant, such as seeing the modern modest gentleman, but also do not meet the tolerance of the world, do not hesitate to buy a sword, sable fur for wine can also be ho. Such a romantic work of love. Does not seem to be tolerated by the moralistic people. The true nature of the art is true. Is the true state of life. Who can't help it.

Love more injuries to the fear of exhaustion of beauty, as Mr. word, traditional rules. And it is difficult to hide its romantic and uninhibited love. When citing the sculptor Rodin as a different generation confidant. Works Balzac really great works also. Lamentable pity sadly hateful ridiculous is in Rodin died many years before being displayed.

Flying and despondent. This is the tragedy of the heroes

Ji Jun: Poetry heart Pin Ruimu

When the modern skyscrapers and full of modern art breath of home decoration have entered people's lives, but there are some people, as long as you see the ancient style of mahogany coffee table, circle chair, it will be born of a strong feeling of attachment, attracted by, and obsessed with, as if it had been used in a previous life, with it again! The feeling of reunion. The city's famous calligrapher Ji Jun is one of them.

Good eyes hide good furniture

Ji Jun's home in the city in a large district, more than 200 square meters of duplex house, upstairs and downstairs, large and small placed all the classical furniture, large sofas, small to the exquisite mahogany ornaments, with the right mix and match, not static and not noisy, a moment to let a person like being in a Ming and Qing dynasty family of books.

In the calligraphy world, Ji Jun's work is known for its unique style and individuality, and his eye for classical furniture is equally unique and keen. "I like

Ji classical furniture, especially the old mahogany furniture, is not exactly what many people identified as preservation of value, but the unique aesthetic value of classical furniture, beautiful

patterns, warm texture, can make people have unlimited reverie." In Ji Jun collection of classical furniture, in addition to a small number of old mahogany, there are chicken wing wood, red

Acid twig, Burmese rosebuds, Vietnamese rosebuds, and other materials, the style of eclectic forms. Ji Jun's study has a comb chair, which he stumbled upon during a visit to a furniture store

. This chair front is the shape of the high armchair, both sides of the armrests for the comb back, are seven round stick equidistant vertical rows,

The whole chair is a novel shape, simple and elegant, very durable. Ji Jun searched a lot of Ming and Qing dynasty furniture atlas, did not find relevant examples.

In Ji Jun's many collections, some of them are his own drawings and designs to find someone to customize. The two-meter-high mahogany bookcase in the study filled a whole

whole wall, the shape of the atmospheric solemn, delicate and smooth pattern, very striking, partitions are set up according to the needs of their own collection of books, convenient and practical

Use; the two-meter-long, one-meter-wide bookcase is also his own design, drawings drawn up after he looked for a number of furniture processing plant, are

Because there is no such a large piece of wood and gave up, and finally from the "hometown of China's wood carving" reputation of Zhejiang Toyo please master processing customized

From the deposit to the book home, he waited a whole year.

With a poetic heart to taste classical

General collectors collect the beauty of form and quality, but few people to explore the natural beauty of the material. In Ji Jun's classical furniture, in addition to some chairs, chairs, bookcases, desk, there are some beautiful wood grain of the small case, small furnishings. Their workmanship is not so complicated, but the natural

wood grain, in the years of refinement, showing a different and moving look. "Maybe it's true that mahogany furniture has such a charm, whether

it's the noble and delicate rosewood, the clear and timeless huanghuali, or the mysterious beauty of chicken-fin wood, it's enough to make people fall in love with it and love it."

Ji Jun expressed his feelings about mahogany furniture to the reporter, " too beautiful, some like landscape paintings, some like birds and beasts, texture vivid and varied

, or hidden or present. Appreciate its pattern, craftsmanship, including smell its odor, are a kind of enjoyment". The pleasure of collecting is mainly to appreciate and taste,

Ji Jun with the unique feelings of calligraphers and poets rich and delicate imagination to those beautiful classical furniture with poetic interpretation.

The bedroom's Ming-style mahogany hanger simply holds a few pieces of clothing. Ji Jun leaned down and touched the lower seat, said, what a good thing, which could have been

Put clothes on it, but I do not want to put it on, put it on can not see the pattern of it. In the wall of Ji Jun study, hanging a picture he plucked decades ago

mahogany frame, two meters long, less than thirty centimeters wide, a friend said, this is a waste, and narrow and long, useless; there are also friends who suggested that he write a few

big words inlaid. Ji Jun painted a picture for him, named "and spring": gnarled winter branches, fluffy dance up in early spring, as if slightly

slightly green but also cui points have, even peach blossom also bloomed red buds ......... This painting makes an old mahogany frame fresh, elegant and vibrant! .

Precious wood has the spirit of kung fu outside the poem

"Trees seven or eight hundred years ago, three or five hundred years ago, the work of the classic today." This is Ji Jun in his own collection of poems on classical furniture chanting. Precious wood

Spirit, a spirit of gas-rich classical wood will use their own special language to tell people about their past lives, to read it, need to see more

think carefully, and constantly discover. Ji Jun said, through the appearance of precious wood, you can see its magical inner. That meticulous texture permeated the distant life

breath, with a hand, you can feel a touch of warmth and humanity, feel the traditional culture of the inner smudge, that is the culture of the old ancestors

engraved in the bones of the memory. Although the relationship with classical furniture only a short period of more than ten years, but Ji Jun deep understanding, thanks to his years of literature, beauty

studies, mechanics and many other disciplines of study and research, the concept of Chinese classical aesthetics implicitly melted into the bone, as the so-called "kung fu outside the poem

".

Mahogany furniture, celadon pots, Danqing scrolls, Zisha teapots ...... collection needs fate, but also need a kind of persistence and calm. In the all-silent night

evening, after the completion of the creation, Ji Jun brewed a pot of hot tea, carefully to taste and interpretation, intoxicated in this time interlaced with the fun. Although it is said

that these collections can't bring direct influence to his calligraphy, they are like music, painting and dance, which will slowly settle

into his works of calligraphy over time.

Ji Jun: An Artist of Legends

Liu Zhaobin

Ji Jun is a man of "legends".

His main cultural identity is that of a "calligrapher". The name "Ji Jun" has become familiar to many in the contemporary Chinese calligraphy world. He is also known as "Famous Calligrapher", "Young and Middle-aged Leader of Shandong Calligraphy", "One Hundred National Calligraphers" and many other formal and informal titles, as well as a member of various major exhibitions organized by the Chinese Calligraphers Association, and a member of the Chinese Calligraphers Association's "China Calligraphers Association". The many formal and informal names such as "Young Leader in Calligraphy" and "National Top 100 Calligraphers", as well as the experience of entering and winning prizes in all the major exhibitions organized by the Chinese Calligraphers Association, have brought him popularity.

The above achievements are honorable enough for many people, but "achievement" is not the same as "legend". Ji Jun's "legendary color" lies in its rich life experience and set a hundred interesting in an artist's image:

He graduated from the College of Physical Education, when the basketball players, coaches; more than twenty years old in foreign countries to do calligraphy exhibitions; more than thirty years old held a photography exhibition, Weifang, a pioneer in body photography; as a TV station editorial director, trained models, like painting, and the first to do a lot of work. Trained models, like painting, collection of mahogany furniture, Zisha pots, porcelain, ink cartridges, but also published a collection of poems and so on. Such a rich life "experience", already with a "legendary" color. It's easy to see: he is a "polymath". "Mixed family" is not "strange", strange in his "mixed" with a primary and secondary! There is a hall of fame! There are achievements! In Ji Jun's arts, or can be divided into "calligraphy first, photography second, painting third, poetry fourth, collection fifth ......" and so on. I don't know whether he himself has been divided? His calligraphy has a wide influence in the society, however, his photography is also extraordinary! Works have been selected by the French "Palm Tree" Cup International Photography Exhibition, "the first national human body photography exhibition", "the national classic human body photography", "Russian style set" and so on. His "Broken Lotus" is so poignant that it makes people feel sad, and makes them reflect on it, which in turn stirs up the power of life. His paintings are also very spiritual. I have seen two of his ink and color paintings, one is "Harmony with Spring", which is dotted with countless red, yellow, blue and green dots among thousands of fallen branches, reminiscent of dazzling flowers and tender green leaves, and abstractly expresses the vibrant spring; and the other one is "Autumn Reality", which abstractly expresses the autumn scene of a lotus pond with huge lotus seeds, symbolizing the joy of a bountiful harvest. There is more to it than that! His poems are also well written. For example, "Commemorating the 65th Anniversary of the Passing of Master Hong Yi" reads: "A collection of masterpieces of art, the Dharma is full of the earth. The world's eyes are dazzled by the wonders, and the spiritual light shines in my heart." Poetry heart, Buddha's heart, fused into a piece, both written out of the heart of Master Hongyi's compassion, but also written out of the poet's deep consciousness.

In the end, Ji Jun is a poet, therefore, his life, art, is always not "interest". This is also reflected in the content of his calligraphy. Unlike most calligraphers who are used to copying ancient poems, Ji Jun's writing is full of fun. He writes slogans: "add iodine to supplement calcium"; he writes philosophical thoughts: "black and white world"; he writes feelings: "seasickness", "bitterness and desolation "; he writes songs: "Outside the long pavilion, by the ancient road, the grass is blue even in the sky ......"; he writes his own poems: "Kerzan's big brush is so dripping, the flowing spring waterfalls the sky hanging mat. Miserable management of bitter creation, the division cattle hall since the hooves." "The ink color is dappled with water, and the shadow is the lotus pond. Like a dreamy holy place, inexplicable bitterness and sadness." He wrote the scene in front of him: "plum snow drift"......

This choice of text content reflects his calligraphy thinking. The "legendary" coloring adds to Ji Jun's story. Some say he was a genius, others say he was untamed and extremely intelligent, and still others say he had a romantic and uninhibited temperament. ......

Ji Jun's calligraphy is most distinguished by his clerical and regular scripts. On the basis of the Han Clerical Script, he synthesized the constituent elements of the Regular Script, which can be called "Clerical and Nearly True" style of calligraphy. For example, in official script, "Feng Zikai's Poem on a Painting" (A good flower has been destroyed and broken, and has not been fragrant for a few days. The emaciated remaining posture will be abandoned by the road tomorrow. See Figure 1), the basic spatial structure is flat, in line with the conventional form of the Chinese official script, but the basic "strokes" increase the changes, drawing on the "Regular Script" elements of the composition, at the same time, also includes some original ink and brush vocabulary, rich in modern flavor. The characters "摧", "折", "朝", and "明", which are based on the "Zhangqian Stele", have a modern flavor. Strokes" is not changed much, but there are many words, such as "Zeng", "憔", etc., obviously synthesized the "strokes" of BeiBei and YanKai. The form of "strokes". This "regularization" of the Clerical Script, in essence, "Clerical of the eight points", with a distinctive nature of creation.

Unlike the "downward" route of the "Official Script" which seeks to synthesize the constituent elements of the "Regular Script" in order to innovate, Jijun's Regular Script adopts the "upward" route of the "Regular Script", which is a form of the "Regular Script". Unlike the "upward" route, Ji Jun's Regular Script adopted the "upward" route, synthesizing the constituent elements of the "Official Script" on the basis of the "Regular Script". Therefore, his "Clerical Script" and "Regular Script" are both "a synthesis of Clerical and Regular Scripts", but the difference lies in the compositional elements of the Regular Script in the "Clerical Script". The difference lies in the fact that the proportion of the constituent elements of the regular script in the "Li Shu" is smaller, and the proportion of the constituent elements of the "Clerical Script" in the "Regular Script" is smaller. Therefore, although both his Clerical Script and Regular Script tend to be "the synthesis of Clerical and Regular Scripts", the difference in the "quantity" of the two basic constituent elements of the Clerical and Regular Scripts makes the "Clerical Scripts" and "Regular Scripts" more different from the "Regular Scripts". The difference in the quantity of the two basic constituent elements makes the "official script" and the "regular script" have a clear "boundary".

Generally speaking, Ji Jun's regular script has two frames. The first is a combination of the Zhang Manglong Stele and the Regular Script, such as the Regular Script "Li Bai's Ancient Style" (I love Meng Fu Zi, his style is known throughout the world. (Figure 2)! This work is based on the "Zhang Manglong Stele", and is not far from the "Zhang Manglong Stele" in terms of both the form of the characters and the basic ink and brush vocabulary, but the characters "夫", "君", and "不", clearly contain the characters of "隶书", which are the same as "隶書". However, the characters "Fu", "Jun", and "Bu" obviously contain some "strokes" of "Official Script", such as the long apostrophe of the character "Fu" and the long horizontal stroke of the character "Jun". The regular scripts of this style are also found in the Other examples of this style of regular script include Ji Jun's poem "Reading Li Keran's Collection of Paintings" (fig. 3) and Sikong Shu's poem "Immediate Events in a Jiangcun" (Returning from a fishing trip without tying up the boat, fig. 4). In the former work, the characters for "He", "Quan", "Bu", and "Xi" are flat and full of clerical meaning, while in the latter work, the characters for "He", "Quan", "Bu", and "Xi" are full of clerical meaning. In the latter work, there is less of an affiliation. The second form of Ji Jun's Regular Script is Yan Style Regular Script in the style of Qian Nan Yuan. In this line of regular script, the dots and drawings are heavy and solid, and the characters are wide and ancient. For example, the standing scroll of "Hidden Name, Not Envious of Mountains" (Figure 5), with its firm quality, high flavor and deep feeling, avoiding softness and charm, and its high and ancient style, can be said to be a work of "Divine Mai" and "Showy Color due to Birth". Ji Jun's line and cursive form a style of its own, with the ancients and the people of the time have opened up a certain distance. Strictly speaking, his lines and cursive belong to the "script", which is further developed on the basis of his own clerical and regular scripts, seldom relying on the ancients and the people of the time, and only from the treatment of the long lines can one vaguely see the shadow of Lin Sanzhi's calligraphy. The advantage of avoiding the ancients and moderns is that it is easy to create one's own appearance, but without a deep understanding of the basic rules of running and cursive script, it is difficult to achieve formal perfection. However, Ji Jun writes freely in cursive and running script, and his strokes move in and out of the script with a variety of rhythms, and although he is less dependent on the ancients, he has y realized the spirit of cursive and running script. For example, he likes to write Li Shutong's "Song of Farewell" banner (Figure 6) and "Plum Snow Floating" banner (Figure 7) and their postscripts, which are all written in a dashing manner with a natural sense of humor. For example, the main content of the "Plum Snow Floating" banner, the three characters of "Plum Snow Floating" and the two characters of "Plum Blossom" in the trellis are closely related to Lin Sanzhi's treatment, but the rest of the characters, mainly The logical development of Jijun's own Clerical Script and Regular Script is the result of interpreting the basic constituent elements of his Clerical Script and Regular Script with the turns, strokes and rhythms of his Running Script and Cursive Script Jijun's exploration of calligraphy is a "two-way digging in", and while delving deep into the tradition, he actively explores the path of creating "modern calligraphy". At the same time, he also actively explores the creative path of "modern calligraphy". From "iodized calcium", "black and white world" to "scars", "bitterness and sadness", "Umbrella", "Tiger", "Yue", "Sitting", "Sea ", "Seasickness", "Thematic Calligraphy", "Less Characters School" and "Ink Image School" in Japan, or "Calligraphy by Theme". "Calligraphy", or emphasize the "theme idea", or emphasize the space composition, or emphasize the ink (the mixing), or "like things like shape" and so on, reflecting the influence of modern art concepts. For example, the two words "Scars" (Figure 8), with the broken brushwork to shape the scars of the art image, "bitter and sad" (Figure 9) five words, and the works of Master Hongyi "sadness and happiness" have similarities and differences. "

The overall style of Ji Jun's calligraphy is "magnificent". There are several manifestations of this:

One is that he likes to write large, bold and powerful characters. His works of "modern calligraphy" are often written in a very large size, giving people an aesthetic feeling of great volume and power. With the concept of traditional aesthetics, this is the "masculine beauty", to a certain extent, also close to what Kant called "mechanics of the sublime" and "mathematical sublime".

The second is that his brush is thick, never weak. Ji Jun's calligraphy, to take the calligraphy of the school of the main, and avoid the post school calligraphy of the soft, oily. From the penmanship, he made good use of the square pen, works of vigor and strong, but he also used the round pen, against the trend of astringent transport, written in the force of the pen, mellow and strong. "Pen qi" of the thick, highlighting the "atmosphere" of the spiritual character.

Thirdly, his character is dense, "sparse place can go horse, dense place does not make the wind". He often used "stacked dots and paintings, relax a corner" of the word knotting method, such as "wound" of the "wound" word, the upper tightly under the loose, the upper part of the spirit of the reunion, the lower part of the dots and paintings radiate, sparse and dense properly, the contrast is interesting. It is a perfect reflection of each other. The word "sad" in the phrase "bitter and sad" has several strokes merged into one, leaving only a large empty space in the center, while the words "astringent" and "cool" have a large empty space in the middle. The two characters "涩" and "凉" have an extremely wide center and a sparse structure. This kind of "dense" as the main, "sparse" as a supplement to the knotting of the word, so that the work as a whole, angry and united, the bones of the deep and stable.

From the perspective of calligraphic concepts, Ji Jun was greatly influenced by Li Shutong. In the ancient and modern art masters, he is "fond of" Hongyi Da Shi, has written many times before Hongyi Da Shi wrote the "Farewell Song", and trekking cloud:

Li Shutong, born in Tianjin, is both a generation of monks and a great monk, and is also a great monk. Both a generation of monks, but also talented art educator, poetry, painting, calligraphy, seal carving, music, theater, literature in one, in many areas, the first of China's splendid culture and art. I have written his poems many times. In particular, this song "Farewell" is fresh and elegant, sincere and poignant. The lyrics are of varying lengths and full of variations, complementing each other with picturesque and poetic feelings. The following two works were written ten years apart.

From them, it is easy to see his admiration for this master of art! Li Shutong had an artistic concept of viewing calligraphy as "art" and "painting", and Ji Jun's works reveal a similar aesthetic sense. In his calligraphy, while emphasizing the essence of "calligraphy", he also pays great attention to the form of the picture composition of the whole work. This is most evident in his exploratory "modern calligraphy" works

Rich life experience and multiple artistic achievements have created the image of a three-dimensional artist, whose hard work has been recognized and rewarded by society. However, Ji Jun is not proud of himself, he is very modest, and always said that the art of calligraphy is profound and profound, and the road of his own exploration is still very long. Perhaps, in some aspects, he can do even better, we look forward to it ......