世界文化艺术家排行榜
World cultural artists list

《每日一星》
Star of the day

第334号  刘健
No. 334  Liu Jian

刘健，字行之，天行精舍，知真堂。

Liu Jian, the word line, Tianxing jingshe, zhizhentang.

1963年出生。青岛理工大学教授。中国书法家协会会员、中国楹联学会会员、山东省书法家协会理事、山东省高校书法家协会副主席、青岛市书法家协会副主席、青岛市书法家协会教育委员会主任、青岛市青年书法家协会顾问。

Born in 1963. Professor of Qingdao University of technology. Member of China Calligrapher Association, member of China couplet Association, director of Shandong Calligrapher Association, vice chairman of Shandong University Calligrapher Association, vice chairman of Qingdao Calligrapher Association, director of Education Committee of Qingdao Calligrapher Association and consultant of Qingdao young calligrapher association.

刘健书法风格独特，各体皆善，尤工行、草书，行书流畅，书风自然而不造作，秀美而有神韵，草书厚健而不是清雅，出新意于法度之中，寄妙理于豪情之外，自成一家。作品入展“全国第七届中青年书法篆刻展”、“第三届全国楹联书法大展”，鲁韩墨缘—中韩书法名家交流展,中日书法展,获首届中国文艺杰出成就奖，应邀赴日本、韩国进行书法交流活动。

Liu Jian's calligraphy style is unique and good in all aspects, especially ICBC and cursive. The cursive script is smooth, the style of writing is natural but not artificial, beautiful and charming. The cursive script is thick and healthy rather than elegant. It gives new ideas in the Dharma, puts wonderful principles beyond pride, and becomes a family. His works were exhibited in "the Seventh National Youth Calligraphy and seal cutting Exhibition", "the third national couplet calligraphy exhibition", Luhan Moyuan - China and South Korea calligraphy masters exchange exhibition, and China Japan calligraphy exhibition. He won the first outstanding achievement award in Chinese literature and art, and was invited to Japan and South Korea for calligraphy exchange activities.

主编《书法教程》等书，出版有《刘健书法作品集》（青岛出版社）。

He edited calligraphy course and other books, and published Liu Jian's calligraphy works collection (Qingdao Publishing House).

书法作品多次在《中国书法》、《书法报》、《书法导报》、《美术报》、《中国文化报》、《光明日报》等报刊、杂志上发表。被载入《中国当代书画家名典》（中国文联出版社）、《中国当代青年书法家大辞典》（新华出版社），《中国书画名家作品精选》（河南美工出版社）等书。

Calligraphy works have been published in newspapers and magazines such as Chinese calligraphy, calligraphy daily, calligraphy guide, art daily, China culture daily and Guangming Daily for many times. It has been included in the famous Dictionary of Chinese contemporary calligraphers and painters (China Federation of literary and Art Publishing House), the Great Dictionary of Chinese contemporary young calligraphers (Xinhua Publishing House), and the selected works of Chinese Calligraphers and painters (Henan Art and Engineering Publishing House).

其作品被美国、日本、韩国、澳大利亚、瑞典、新加坡的国际友人和文博单位收藏。

His works are collected by international friends and cultural and Expo units in the United States, Japan, South Korea, Australia, Sweden and Singapore.

深入传统跳出传统 认识自我走出自我--刘健书法创作感言

Going deep into tradition, jumping out of tradition, understanding oneself and going out of oneself -- Liu Jian's speech on Calligraphy Creation

学习书法无论是临摹还是创作，都必须始终坚持个性化的审美认识、笔墨情趣。以己之个性感悟古人之个性，以己之创造感受古人之创造。

Learning calligraphy, whether copying or creating, must always adhere to personalized aesthetic understanding and pen and ink interest. Feel the personality of the ancients with your own personality and feel the creation of the ancients with your own creation.

要与经典同行，常与古人对话，临摹经典一帖，胜读杂帖万卷。

To walk with classics, often talk with the ancients, copy a classic, better than reading thousands of miscellaneous books.

深入传统跳出传统，认识自我走出自我，说是容易，践行却难。

It is easy to say but difficult to practice to go deep into tradition, jump out of tradition, know yourself and go out of self.

学习书法中的困惑、痛苦和汗水是常人难以想象的，要用平和心态来对待是非常重要的，要耐得住寂寞。没有这颗平和心是难以坚持到底的，也难以攀登艺术的高峰。

The confusion, pain and sweat in learning calligraphy are unimaginable to ordinary people. It is very important to treat it with a peaceful attitude and endure loneliness. Without this peaceful heart, it is difficult to stick to the end and climb the peak of art.

人格不俗，书才不俗，人格的高低也必然会体现在笔端，“书如其人”啊！

Personality is not vulgar, books are not vulgar, and the level of personality is bound to be reflected in the pen, "books are like people"!

学会思考的学习，是成功的学习，盲目的学习，只能事倍功半。

Learning to think is successful learning. Blind learning can only get twice the result with half the effort.

个性化的审美认识要贯彻始终，如果把功夫下死了，再也寻找不到自我，那就是泥古不化，也仅得古人皮毛。

Personalized aesthetic understanding should be carried out from beginning to end. If you work hard and can no longer find yourself, it is not ancient, and you only get the fur of the ancients.

在创作思想上要敢于有所爱，有所不爱，要真正做到与人不同，难也。

In creative thinking, we should dare to love and not love. It is difficult to be different from others.

书法，抒其情，抒其志，抒其韵。书法是书写者一种真情的流露，高尚的艺术充满着高尚的人格。

Calligraphy expresses its feelings, aspirations and rhymes. Calligraphy is an expression of the writer's true feelings, and noble art is full of noble personality.

技法和笔墨不是最重要的，技法和笔墨之外的东西更需要我们用心灵去感悟。

Techniques and pen and ink are not the most important. Things other than techniques and pen and ink need our hearts to understand.

当你的创作达到一定水准后，智慧和修养就越来越显得重要，写字写到最后就是写境界，写修养。真正的艺术作品，是作者心灵的写照，是智慧和修养的写照。

When your creation reaches a certain level, wisdom and self-cultivation become more and more important. Writing is the last realm and self-cultivation. A real work of art is a portrayal of the author's soul, wisdom and self-cultivation.

哲人说：“书法就是写字的艺术”。由汉字而书法，是真正意义上有民族文化美学意味的学问。书法是仿若云水，刚柔相济，负阴而抱阳，冲气以为和，富有生命暗示和表现力量和线条美，又是表现艺术家审美性情和学养的艺术，书圣王羲之的书法审美特点是体现了"自然天趣"。这一书风，绵延近两千年，仍常盛不衰，而且持续发展。书家刘健就是一位继承这一传统法则的成功者。

The philosopher said, "calligraphy is the art of writing". Calligraphy from Chinese characters is really a knowledge with the meaning of national culture and aesthetics. Calligraphy is like cloud water, combining hardness and softness, embracing Yang while negative Yin, and thinking of harmony with Qi. It is rich in life hint, expressive power and line beauty. It is also an art to express the artist's aesthetic temperament and learning. The aesthetic feature of calligraphy by Wang Xizhi, the calligrapher, embodies the "natural interest". This book style, which has lasted for nearly two thousand years, is still thriving and developing continuously. Calligrapher Liu Jian is a successful person who inherits this traditional law.

身为理工高校教授的刘健，是标准的学者型书家，也是山东中青年书法家的代表性人物之一，更是海滨岛城书坛的翘楚。刘健书法风格独特，各体皆善，尤工行、草书。行书自然而不造作，秀美而由神韵，草书厚健而不失清雅，跌宕而散逸，沉实而虚灵，出新意于法度之中，寄妙理于豪情之外。以古为新，不急不利，谱写性灵，呈示出温润中和之气象。

As a professor in a University of science and technology, Liu Jian is a standard scholar calligrapher, one of the representative figures of young and middle-aged calligraphers in Shandong, and a leader in the book world of the coastal island city. Liu Jian's calligraphy style is unique and good at all aspects, especially ICBC and cursive. Running script is natural but not artificial, beautiful and full of charm, cursive script is thick and healthy without losing elegance, ups and downs and leisure, calm and empty, new ideas are in the Dharma, and wonderful theories are beyond pride. Take the ancient as the new, not anxious and unfavorable, write the spirit, showing the weather of gentle and moderate.

西汉扬雄在《法言·问神》中指出：“书，心画也”。“心画”可谓书法之最高境界。书法是文人心性意态的自然流露。在笔歌墨舞之间，流淌着情思，表达着人生，所谓“达其性情，形其哀乐”。从刘健的书法中，我们可以明显地感悟到他的“心画”印迹。尤其他的行草书达到了人格、修养、感情以及技巧的浑然一体，实现了线条、墨韵的生命化。刘健擅长写楹联，他是以楹联书法扬名书坛的。他早期“六月书会”展览以及入展“第七届全国中青年书法展”、“全国第三届楹联书法展”均以楹联形式出现，我们知道楹联书法是在严密的语音规范下创造出想象力飞扬的文字，这也绝非易事。然而就刘健而言，恰恰是难度之高成就了作品之精，文化之深成就了其书法之美。他的书法所表现出的情感思绪、生命感悟、诗意憧憬幻化为或纵或收、或浓或淡、或枯或润的线条，并通过这些笔墨线条的枯润、浓淡反映出他的审美意向。在那流淌的笔墨线条中，在那磅礴的诗篇布局间，在那激荡人心的诗词联句里，传导出的是他心灵的节律，留下的是他生命情感活动的痕迹。他那富有张力和情感的线条会唤起人们的诗意联想和审美体验，令人感悟到其人格襟抱和喜怒哀乐，得到书法美的陶冶和享受。

Yang Xiong of the Western Han Dynasty pointed out in "Dharma word · asking God" that "calligraphy, heart and painting also"“ "Heart painting" is the highest realm of calligraphy. Calligraphy is the natural expression of the mind and mood of literati. Between the pen, song, ink and dance, there is emotion and expression of life. The so-called "reach their temperament, form their sadness and music". From Liu Jian's calligraphy, we can clearly feel his "heart painting" imprint. In particular, other cursive books achieve the integration of personality, cultivation, emotion and skills, and realize the life of lines and ink rhyme. Liu Jian is good at writing couplets. He is famous for his couplet calligraphy. His early "June book fair" exhibition, the Seventh National Youth Calligraphy Exhibition and the third national couplet calligraphy exhibition all appeared in the form of couplets. We know that couplet calligraphy creates imaginative words under strict phonetic norms, which is by no means easy. However, as far as Liu Jian is concerned, it is precisely the high difficulty that achieves the essence of his works and the deep culture that achieves the beauty of his calligraphy. The emotional thoughts, life perception and poetic vision expressed in his calligraphy are transformed into vertical or closed, thick or light, dry or moist lines, and his aesthetic intention is reflected through the dry, moist and thick of these pen and ink lines. In the flowing pen and ink lines, in the magnificent poetic layout, and in the exciting poetic couplets, the rhythm of his heart is transmitted, leaving traces of his life and emotional activities. His lines full of tension and emotion will arouse people's poetic Association and aesthetic experience, make people feel their personality and emotions, and get the edification and enjoyment of the beauty of calligraphy.

刘健是一位性情的书法家，从他的书法作品中我们能够读出他的志趣和志向，洞悉他的心灵世界和隐秘情感。他把文字中所寄托的精神追求，通过转化，凝聚在书法线条的运动中。通过书法线条的变化来释放内心的情感。刘健的书法可贵就可贵在于其对所书内容的深刻把握和诠释，笔墨在不知不觉中张扬着性情，通篇书法表现出完美的“取会风骚之意”（唐孙过庭语)。

Liu Jian is a calligrapher of temperament. From his calligraphy works, we can read his interests and aspirations, and have an insight into his spiritual world and secret emotions. He condensed the spiritual pursuit in the text into the movement of calligraphy lines through transformation. Release your inner feelings through the changes of calligraphy lines. Liu Jian's profound grasp of Tang keting's style and meaning lies in his imperceptible interpretation of sun keting's calligraphy.

书法是一门艺术，但更是一种文化现象。中国汉字是世界上最美的文字，书法是中华民族文化之母的一个骄子。它的点线，形韵构成并不是单纯的笔墨再现，而是整个民族文化的反应和表现，几乎是中国人的一种宗教信仰。汉字是人类文明里唯一传承超过五千年的最古老的文字，也是至今仍然可以方便地在电脑中使用的最年轻的文字，汉字使我们的民族有了悠长的活力和不间断的记忆。书法的基础是汉字，只有熟练地掌握、了解、运用汉字，才能在更丰富的知识修养和情感体验之上投入书法的创作。从这个意义上讲，书法家应首先是个文人，刘健执教于青岛理工大学，浸淫于学术与书斋。正是有了这样的基础和深厚的学养，他才能创造出舒展恣肆，纵横有象，妙趣迭出的书法佳作。

Calligraphy is not only an art, but also a cultural phenomenon. Chinese characters are the most beautiful characters in the world, and calligraphy is a proud son of the mother of Chinese culture. Its dot line, shape and rhyme composition is not a simple reproduction of pen and ink, but the reaction and expression of the whole national culture. It is almost a religious belief of the Chinese people. Chinese characters are the oldest characters in human civilization that have been inherited for more than 5000 years. They are also the youngest characters that can still be easily used in computers. Chinese characters have given our nation a long vitality and uninterrupted memory. Calligraphy is based on Chinese characters. Only by skillfully mastering, understanding and using Chinese characters can we invest in calligraphy creation on the basis of richer knowledge cultivation and emotional experience. In this sense, a calligrapher should first be a scholar. Liu Jian teaches at Qingdao University of technology and immerses himself in learning and study. It is with such a foundation and profound cultivation that he can create excellent calligraphy works that are unrestrained, vertical and horizontal, and full of wit and interest.

近年来，刘健在深入体悟前人经典碑帖审美精神的同时，他又能勤于笔耕和思考，不仅在创作中传承中国书法的艺术精神，同时又能不囿于前人的既定成规和图式，他能以“二王”为宗，融汇各家之长，兼收并蓄，收放自如，自然成趣。刘健其书植根帖脉，风格淳雅，锋颖使转宛然间，有雅人深致之慨。不管是大字小字，指挥如意，气息、笔法均臻上乘。帖学乃文人书法之核心，集学养人格审美、笔法之大成，舍帖则书法道统倾屺，书法失文心矣。刘健于书法一道，始终心仪帖学，孜孜矻矻，多历年所，不随时风所转，迄有所成。予帖学之外，刘健也旁涉甲骨、金文楚汉简书乃至“现代书法”皆有心得。其金文守古法，又糅入新意，强化书写性，在自由书写中显深穆古厚，自有别调。刘健以文人格调统辖自身创作，古不乖时，今不同弊，有足多称者，假以时日，当臻新之阶境。

In recent years, while deeply understanding the aesthetic spirit of predecessors' classic inscriptions, Liu Jian can be diligent in writing and thinking. He can not only inherit the artistic spirit of Chinese calligraphy in his creation, but also be not limited to the established rules and schema of predecessors. He can take the "two kings" as his religion, integrate the strengths of various families, absorb and release freely, and become interesting naturally. Liu Jianqi's book is rooted in the thread. Its style is pure and elegant. Feng Ying makes it turn like an elegant person. Whether big or small, the command is satisfactory, and the breath and writing skills are excellent. Calligraphy is the core of literati calligraphy, which integrates the cultivation of personality, aesthetics and writing skills. If you give up calligraphy, the tradition of calligraphy will flourish, and calligraphy will lose its literary heart. Together with calligraphy, Liu Jian has always been interested in calligraphy. He has worked hard for many years. He does not change the wind at any time. So far, he has achieved something. In addition to Yu Tiexue, Liu Jian also has experience in oracle bones, gold inscriptions, Chu and Han simplified calligraphy and even "modern calligraphy". Its golden prose adheres to the ancient method, integrates new ideas, strengthens the writing, and is deep and thick in free writing. Liu Jian governs his own creation with a literati style. When the past was bad, there are many different disadvantages today. Over time, he should reach a new level.

寻绎刘健的书法艺术历程，笔者联想到王安石的一段游记：“古人之观于天地、山川、草木、虫鱼、鸟兽，往往有得，以其求思之深而无不在也。夫夷以近，则游者众；险以远，则至者少。而世之奇伟、瑰怪、非常之观，常在于险远，而人之所罕至焉，故非有志者不能至也。”在书法艺术的寻幽探胜之旅中，刘健不满足于“夷而近”，他更向往的是“险以远”，以期到达“奇伟瑰怪”的“非常之观”。

Looking for Liu Jian's calligraphy art course, the author thinks of Wang Anshi's travel notes: "the ancients often got their views on heaven and earth, mountains and rivers, vegetation, insects, fish, birds and animals, and they all wanted to think deeply. If a man is near, there are many tourists; If the danger is far away, there are at least a few. The world's wonders, wonders and extraordinary views often lie in the danger and distance, and people are very rare, so they can't go unless they have a will. " In the journey of seeking seclusion and victory in the art of calligraphy, Liu Jian is not satisfied with "being close to foreigners". He yearns for "being far away from danger" in order to reach the "extraordinary view" of "strange and magnificent".

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