「艺术中国」
张改琴：去掉火气以后的沉静与宽阔
"Art China" Zhang Gaiqin: Calmness and Broadness after Excluding the Rage
张改琴
女，甘肃省庆阳县人，1948年9月出生，中共党员，全国政协委员、政协甘肃省委员会常委、政协甘肃省委员会科教文体卫委员会副主任，第六届中国书法家协会副主席[2]，中国书协隶书委员会主任，中国书协妇女工作委员会主任，甘肃省书法家协会名誉主席，中国美术家协会会员，甘肃省文史馆馆员。2006年被省委、省政府授予甘肃省优秀专家称号，获甘肃省“敦煌文艺奖”；2009年获省委、省政府颁发的“突出贡献奖”，2010年获“全国三八红旗手”称号。
Zhang Gaiqin
Female, born in Qingyang County, Gansu Province, born in September 1948, member of the Communist Party of China, member of the National Committee of the Chinese People's Political Consultative Conference, member of the Gansu Provincial Committee of the Chinese People's Political Consultative Conference, deputy director of the Science, Education, Culture, Sports and Health Committee of the Gansu Provincial Committee of the Chinese People's Political Consultative Conference, and vice chairman of the 6th Chinese Calligraphers Association[2 ], Director of the Official Script Committee of the Chinese Calligraphy Association, Director of the Women's Work Committee of the Chinese Calligraphy Association, Honorary Chairman of the Gansu Calligraphers Association, a member of the Chinese Artists Association, and a librarian of the Gansu Provincial Museum of Literature and History. In 2006, he was awarded the title of Excellent Expert of Gansu Province by the Provincial Party Committee and the Provincial Government, and was awarded the "Dunhuang Literary Award" of Gansu Province; in 2009, he was awarded the "Outstanding Contribution Award" by the Provincial Party Committee and the Provincial Government. In 2010, he was awarded the "National March 8th Red Banner Bearer" title.
张改琴先生书画皆能，长于书法，精于楷、行、草、隶。其书法作品灵动自然、雄浑刚健，别具风格；楷书寓动于静；行草书寓静于动，既有敦煌文化大气磅礴的风尚，又具勇于蜕变敢于革新的创造精神。其美术作品多以西部黄土高原风情为主题，展现西部人民坚韧不拔、昂扬奋进的精神品格， 立意高远、大气磅群、赞誉颇多。是当代中国最有影响力的书法家之一。Mr. Zhang Gaiqin is good at calligraphy and calligraphy, and is good at writing, writing, cursive and scribbling. His calligraphy works are agile, natural, vigorous and vigorous, with unique styles; regular script embodies movement in tranquility; cursive script embodies tranquility in movement, which not only has the majestic style of Dunhuang culture, but also has the creative spirit of courage to transform and dare to innovate. Most of his works of art are based on the customs of the western Loess Plateau, showing the perseverance and spirit of the people in the western region, with lofty intentions, magnificent group, and many praises. He is one of the most influential calligraphers in contemporary China.
张改琴先生自担任甘肃省书协主席以来，为推动甘肃省书法事业进步做出了积极贡献：她建立健全了甘肃省书法家协会组织机构，设立各专业委员会，吸纳更多优秀的专业人才参与书协的工作。创办了《甘肃书法》，为甘肃书法家对外交流和自我展示搭建了最佳平台。设立了书法奖励基金，为发现、培养和激励甘肃书法家的进步提供了保障。设立并主持评审了甘肃省最高书法专业奖——“张芝奖”，为甘肃书法家走传统与创新之路起了重要作用。策划承办了国家级书法展——全国第二届行草书大展，组织举办了首届“中国·敦煌”国际书法艺术节、“守望敦煌”甘肃书法晋京展、全国名家书法邀请展，并出版作品集； 多次组织举办全省、全国群众性书画大赛，为甘肃书法家了解全国的创作趋势和当代书法创作现状开阔了眼界。积极推进甘肃书法教育事业，创建了甘肃书法培训中心， 设立了甘肃省书法奖励基金，并多次担任甘肃省和全国重大书法展览评审委员会主任或委员。Since serving as the chairman of the Gansu Provincial Calligraphy Association, Mr. Zhang Gaiqin has made positive contributions to promoting the progress of the calligraphy industry in Gansu Province: she established and improved the organization of the Gansu Calligraphers Association, established various professional committees, and attracted more outstanding professionals to participate in the book Association’s work. Founded "Gansu Calligraphy", which built the best platform for Gansu calligraphers' foreign exchanges and self-exhibition. The calligraphy award fund was established to provide a guarantee for discovering, cultivating and encouraging the progress of Gansu calligraphers. Established and presided over the evaluation of the highest calligraphy award in Gansu Province-the "Zhang Zhi Award", which played an important role for Gansu calligraphers to take the path of tradition and innovation. Planned and organized the national calligraphy exhibition-the second national cursive calligraphy exhibition, organized and held the first "China·Dunhuang" International Calligraphy Art Festival, "Watching Dunhuang" Gansu Calligraphy Exhibition in Jinjing, and the National Famous Calligraphy Invitation Exhibition, and published it. Collection of works: Organized and held several provincial and national mass painting and calligraphy competitions, which broadened the horizons for Gansu calligraphers to understand national creative trends and contemporary calligraphy creation. Actively promote the education of Gansu calligraphy, established the Gansu Calligraphy Training Center, established the Gansu Calligraphy Award Fund, and served as the director or member of the Gansu Province and the National Major Calligraphy Exhibition Evaluation Committee for many times.
在做好书协工作的同时，张改琴坚持刻苦磨砺，笔耕不辍，成果颇丰。曾在中国美术馆，以及西安、兰州、广州等地举办个人书画展，作品被中国美术馆、毛主席纪念堂等单位收藏。《美术》、《中国书法》、《书法》、《人民日报》、《光明日报》、《人民政协报》、中央电视台美术星空，中央电视台新闻综合频道，甘肃电视台等媒体曾作专题介绍。其本人被入编《中国名人大辞典》。出版个人专著《中国书法·当代著名书法家张改琴卷》、《中国美术馆当代名家系列作品集书法卷·张改琴》、《中国美术家张改琴》、《塬上风·张改琴书画集》、《当代楷书名家作品集·张改琴》等。主编出版《全国第二届行草书入展作品集》、《守望敦煌·敦煌写经作品选》、《守望敦煌·武威汉简作品选》、《守望敦煌·甘肃书法作品集》、《敦煌风·甘肃省书法作品集》、《敦煌风·甘肃省摄影作品集》等多部大型作品集，出版有《张改琴书画》、《张改琴书画集》、《中国美术家张改琴》等。While doing a good job in the Book Association, Zhang Gaiqin insisted on hard work, continuous writing, and fruitful results. He has held personal painting and calligraphy exhibitions in the National Art Museum of China, Xi'an, Lanzhou, Guangzhou and other places, and his works have been collected by the National Art Museum of China, Chairman Mao Memorial Hall and other units. "Art", "Chinese Calligraphy", "Calligraphy", "People's Daily", "Guangming Daily", "People's Political Consultative Conference", CCTV Art Star, CCTV News Channel, Gansu TV and other media have made special introductions. He himself was included in the "Chinese Celebrity Dictionary". Published personal monographs "Chinese Calligraphy·Contemporary Famous Calligrapher Zhang Gaiqin Volume", "National Art Museum of China Contemporary Masters Series Collection Calligraphy Volume·Zhang Gaiqin", "Chinese Artist Zhang Gaiqin", "Yuan Shangfeng·Zhang Gaiqin Calligraphy and Painting Collection", "Contemporary Regular Script" Masterpiece Collection·Zhang Gaiqin, etc. The editor-in-chief published "The Second National Cursive Script Collection", "Selected Works of Watching Dunhuang·Dunhuang Scriptures", "Selected Works of Watching Dunhuang·Wuwei Hanjian", "Collection of Watching Dunhuang·Gansu Calligraphy Works", "Dunhuang Style" ·Gansu Province Calligraphy Works Collection", "Dunhuang Style·Gansu Province Photography Works Collection" and many other large-scale works collections, published as "Zhang Gaiqin Calligraphy and Calligraphy", "Zhang Gaiqin Calligraphy and Calligraphy Collection", "Chinese Artist Zhang Gaiqin" and so on.
其书法作品曾参加中日当代书法艺术大展、中日妇女书法篆刻展、中国·新加坡书法交流展、中国·韩国书法交流展、中国妇女百花书法篆刻展（新加坡主办）、第八届全国书法篆刻展（特邀）、全国第二届行草书大展、全国书法名家邀请展、全国书画名家小品展、纪念毛泽东诞辰一百一十周年全国书法展、纪念周恩来诞辰一百周年全国书展、纪念邓小平诞辰一百周年全国书展、庆祝澳门回归全国书画展（中国美协主办）、庆祝全国政协成立五十周年全国书画艺术大展……作品多次在全国群众性大赛中获奖，其本人曾应邀赴新加坡进行访问和艺术交流。His calligraphy works have participated in the China-Japan Contemporary Calligraphy Art Exhibition, China-Japan Women's Calligraphy and Seal Cutting Exhibition, China·Singapore Calligraphy Exchange Exhibition, China·Korea Calligraphy Exchange Exhibition, Chinese Women Hundred Flowers Calligraphy and Seal Cutting Exhibition (hosted by Singapore), the 8th National Calligraphy Seal Cutting Exhibition (Special Invitation), The Second National Cursive Script Exhibition, National Calligraphy Masters Invitation Exhibition, National Calligraphy Masters Essay Exhibition, National Calligraphy Exhibition to Commemorate the 110th Anniversary of Mao Zedong’s Birth, National Book Exhibition to Commemorate the Centenary of Zhou Enlai’s Birth, Commemoration Deng Xiaoping’s Centenary National Book Exhibition, the National Painting and Calligraphy Exhibition to celebrate the return of Macao (hosted by the China Artists Association), and the National Painting and Calligraphy Art Exhibition to celebrate the 50th anniversary of the founding of the CPPCC National Committee... His works have won many awards in national mass competitions. He himself was invited Go to Singapore for visits and artistic exchanges.
其美术作品曾参加中国首届中青年国画展、全国第二届“莱乡情”中国画展、情系西部中国画邀请展、纪念延安文艺座谈会讲话60周年全国美术作品展……
2002年，张改琴随甘肃妇女代表团出访芬兰、意大利、奥地利、梵蒂岗、德国、卢森堡、法国、比利时、荷兰。
2012年10月22日，“感悟桥山书意黄陵·壬辰年重阳中国书法名家黄帝陵笔会”活动在陕西黄帝陵举行，张改琴等十余名书法家现场挥毫表演。His art works have participated in China's first young and middle-aged Chinese painting exhibition, the second national "Laixiangqing" Chinese painting exhibition, the invitation exhibition of western Chinese paintings, and the national art exhibition to commemorate the 60th anniversary of the speech at the Yan'an Literary and Art Symposium...
In 2002, Zhang Gaiqin accompanied the Gansu women's delegation to Finland, Italy, Austria, the Vatican, Germany, Luxembourg, France, Belgium, and the Netherlands.
On October 22, 2012, the "Sense of the Huangling of Qiaoshan Calligraphy·The Pen Society of the Huangdi Mausoleum of Chinese Calligraphy Masters in Chongyang Years Chongyang" was held in the Huangdi Mausoleum of Shaanxi. More than ten calligraphers such as Zhang Gaiqin performed on the spot.
每个书法家都得面对传统和现代的关系。今天，传统仍然传递出历史岁月的辉光，但如何使传统和现代能够在个人心性价值上统一起来，使得书法既有文化本土性，又有当代审美的人类性，从而使书法发散出人文精神魅力，实在是有文化境界的书家必须面对的问题。当我拜读《张改琴书画作品集》时，感到与这位未曾谋面的陇上女书画家在书法的传统与现代若干问题上，有诸多艺术观点的相契相通，甚至有“德不孤，必有邻”的感受。可以说，张改琴在浮躁的时代坚持了内在心灵的宁静，在商品消费主义甚嚣尘上之时坚持了艺术的超越性。她厚重的绘画，在笔墨情调中展示出具有浓郁生活气息的黄土高原的神奇、苍茫和生命张力；她的书法，在雄强的形态中包孕着传统经典内在的理性审视和历史吐纳。我注意到，张改琴在书法作品创作中，一方面坚持文人书法的性情书写性和温婉内在性，另一方面，又在其擅长的行草作品中加进北碑的凝重和大气。她在中堂、横幅、斗方、册页、楹联、尺牍书写中，找到了自己鲜活的生命体验和淡远气息。事实上，自我创作和走近经典关系重大，临习过多容易油滑，临习太少则易稚拙，如何在线条生拙中保持意态的鲜活，在帖学体系的书写中融北碑的气势和内敛，使其下笔果断爽利厚重涩行之中，显示书家控制笔墨线条的能力和对汉字乃至于汉字包蕴承载的经史诗文的深刻体悟，实在是一件不容易的事情。更宽泛地说，现代社会的汉字书法，不仅要为人类艺术尤其是抽象艺术做出自己的贡献，而且要走向世界并成为人类能够欣赏并共同拥有的艺术，其中的关键是必须形成世界性的审美形式共识，并解决文字审美线条化欣赏的问题。在这个过程中，文字书写始终是一个底线。对此，书法家既要悟得很高，还要笔墨表现得很妙。很多人内心都有，但很多人笔下没有。内心有了，写不出画不出也不行。张改琴内心有了，笔下也有了，从而能创造出当代女性书法新价值去掉书法火气以后的沉静与宽阔。在我看来，过分张扬火气，使得一些书家丢掉了重要的腕上工夫和纸笔间的细微把捉，这其中拿捏的尺度非常重要。火气太重不行，去掉火气全是软线条也不行。所以古人说书写就是行云流水，自然如水行于渠中。当代世界笼罩着一种形式化、规格化的气氛，人变得空虚并被虚无化了。印刷品泛滥，复制品使艺术日益走向商品化，对普遍性和个体性的追求导致形式化思想的充分膨胀。如何在日益信息化拼凑化的后工业文明中，保持住人间的诗意、生命的意义和艺术的理想，是迈向现代化的社会所必得关注的全球性问题。书法在国际化的今天，代表了中国身份、中国立场、中国指纹、中国文化细胞，表征出中国文化的基本内核。可以说，只有将性情之书融合在人文底蕴之中的书法家，才能在细微的用笔转换中表征自我心性深度，才有不断超越的明天。甘肃是文化大省。历史上不仅有闻名中外的伏羲文化和敦煌文化，而且有大名鼎鼎的草圣张芝、大书法家索靖。在这厚重的文化积淀中，张改琴的书法在文化的传承中登上了新的高度，尽管其书法生态的多样性和创作的地域风格特征还有待加强，但是已经形成了自我的书法文化审美风貌。我有理由期待朝气蓬勃的甘肃书法队伍在她的组织下，会在厚重的书法历史传统继承中，创化出当代书法的新精神、新形态。
——王岳川《走近经典并超越自我——品读张改琴书画 》
Every calligrapher has to face the relationship between tradition and modernity. Today, tradition still conveys the brilliance of the historical years, but how can tradition and modernity be unified in the value of personal character, so that calligraphy has both cultural locality and contemporary aesthetic humanity, so that calligraphy can radiate the humanistic spirit Charm is really a problem that a calligrapher with a cultural realm must face. When I read "The Collection of Zhang Gaiqin's Calligraphy and Calligraphy", I felt that I had a lot of similarities in the traditional and modern issues of calligraphy with the female calligrapher in Longshang, who I had never met. The feeling of neighbors. It can be said that Zhang Gaiqin insisted on inner peace of mind during the impetuous era, and insisted on the transcendence of art when commodity consumerism was on the rise. Her heavy paintings show the magic, boundlessness and life tension of the Loess Plateau with a strong life atmosphere in her pen and ink atmosphere; her calligraphy, in its powerful form, contains the internal rational examination and historical revelation of traditional classics. I have noticed that Zhang Gaiqin insisted on the writing and gentleness of literati's calligraphy in the creation of his calligraphy works. On the other hand, he added the dignity and atmosphere of the Beibei to his cursive works. She found her vivid life experience and distant breath in the writing of the middle hall, banners, fighting parties, albums, couplets and ruler slips. In fact, self-creation and approaching the classics are of great importance. Too much study is easy to be slick, and too little study is easy to be immature. How to keep the mentality alive in the awkwardness of the lines, integrate the Beibei in the writing of the calligraphy system The vigor and introverted style of writing makes writing decisively, sharply and sharply, showing the ability of calligraphers to control pen and ink lines and their deep understanding of Chinese characters and even the epic poems carried by Chinese characters. It is really not an easy task. More broadly, Chinese calligraphy in modern society not only has to make its own contributions to human art, especially abstract art, but also to go to the world and become an art that humans can appreciate and have together. The key is to form a global Consensus on aesthetic form, and solve the problem of appreciation of the aesthetic lines of text. In this process, writing is always a bottom line. In this regard, the calligrapher must not only have a high level of understanding, but also perform well in his pen and ink. Many people have it in their hearts, but many people don't. If you have it in your heart, you can't write or paint. Zhang Gaiqin has his heart and his pen, so that he can create the new value of contemporary female calligraphy, the calm and broad after the calligraphy is removed. In my opinion, the excessive display of anger has caused some calligraphers to lose important wrist work and fine grasping between paper and pen. Among them, the scale of manipulation is very important. It’s not good to get too hot, and it’s not good to get rid of all the anger and soft lines. Therefore, the ancients said that writing means moving clouds and flowing water, which naturally moves in a canal like water. The contemporary world is shrouded in an atmosphere of formality and standardization, and people have become empty and nihilized. The proliferation of printed materials and reproductions make art increasingly commoditized, and the pursuit of universality and individuality has led to the full expansion of formal thinking. How to maintain the poetry, the meaning of life and the ideal of art in the post-industrial civilization that is increasingly informatized and pieced together is a global issue that must be paid attention to in a modern society. In today's internationalization, calligraphy represents Chinese identity, Chinese position, Chinese fingerprints, Chinese cultural cells, and represents the basic core of Chinese culture. It can be said that only the calligrapher who integrates the book of temperament into the humanistic background can express the depth of his own mind in the subtle transformation of his pen, and he will have a future of continuous transcendence. Gansu is a major cultural province. In history, there are not only the well-known Fuxi culture and Dunhuang culture at home and abroad, but also the famous grass saint Zhang Zhi and the great calligrapher Suo Jing. In this heavy cultural accumulation, Zhang Gaiqin's calligraphy has reached a new height in the inheritance of culture. Although the diversity of his calligraphy ecology and the regional style characteristics of his creation need to be strengthened, he has formed his own aesthetic style of calligraphy culture. . I have reason to expect that the vigorous Gansu calligraphy team, under her organization, will cr
张改琴的书与画都浸渍着一种沧桑感，有一种江南女子很难有的境界。她的画作，恢弘厚重而不凌厉不峥嵘，古拙苍涩而不奇诡不玄虚，回响于深处的是一种对人生的沉着与对生命的关爱。她的书作，久受传统碑学的浸濡，对墓志石刻书风研习尤深，且能融会近现代金石书风的笔意，又从民间书法中汲取了营养，汇多家为一家。而且以书入画，以画为书，写出自己心中的意趣。
——肖云儒
Zhang Gaiqin's books and paintings are impregnated with a sense of vicissitudes, and there is a realm that is difficult for Jiangnan women to achieve. Her paintings are magnificent and heavy but not fierce and unrelenting, ancient and pale but not strange but not mysterious. What echoes in the depths is a kind of composure and love for life. Her books have long been immersed in traditional steleology, and she has a deep study of epitaph stone calligraphy, and can integrate the brushwork of modern inscriptions and calligraphy. She also derives nourishment from folk calligraphy and gathers many as a family. And use the calligraphy as the painting, the painting as the book, to write out the interest in my heart.
——Xiao Yunru