老子--遗风入笔中
来源:新视野 new vision
老子是中国古代的一位伟大的思想家，道德家，他所撰述的《道德经》开创了中国古代哲学思想的先河，他的哲学思想和由他创立的道家学派不但对中国古代文化的发展做出了重要贡献，并且对中国两千多年来的思想道德发展亦产生了深远的影响，只可惜有关他的平生事迹已难详考，就连他确切的生卒年月也未曾留下。
但这些都无损于老子思想在历史的长河中闪烁的夺目光辉，亦无损于我们以崇尚的眼光仰视这个如同神仙一般的人。《老子造像》运用中国传统水墨、大写意的手法，大胆用笔，夸张了其头部特征，将老子塑造成为一尊令人崇敬的雕像。宽阔的额头，充分展示了其睿智和渊博，微启的一双凤眼，透射出洞察事态的敏锐，苍眉两道，美髯飘飘，让人羡慕生命的不衰和修炼的神奇，慈祥的面容，被岁月重斧凿去了内心情感的一切变化，剩下的是一个哲人的伟大，和让后世敬仰万千的精神。
Laotsu is a great thinker and moralist of ancient times in China. His work Moral Classic set a start for philosophy development in ancient China. Laotsu’s philosophic thinking and Taoism School, of which he is the farther, not only made an important contribution to the development of ancient China’s culture, but also had a magnificent influence on the country’s morality development for more than 2000 years. However, due to the lack of available details on Laotsu’s life story, even his exact birthday and fete-day are still unknown to people.
Despite of these, Laotsu’s thought has long been shinning in the river of history, and people have respected him as a sage.
In Statue of Laotsu, Lautsu was portrayed as a respectable statue with the application of Chinese traditional way of painting and the technique of general and abstract depicting, under which the characteristics of Laotsu’s head was exaggerated.
《野逸垂钓》是画家的代表作品之一。中国画讲究记白当黑，这幅作品灵活运用了虚实对比的手法，大胆留白，划一的芦苇，用笔颇具装饰性，似水浪一波一波，形成大面积灰调，与留白成为对比，而寥寥几笔的柳树，在秋风飒飒中婆娑摇曳，更是给画面起到一种变化、丰富、和造险，堤岸与浅滩则运用大笔触，看似随意挥洒，但面积的大小把握适度，墨色深浅拿捏得也恰到好处，一叶孤舟泛游湖上，满纸水墨世界，一笔红尘点睛，纵览画面，仿佛清风扑面而来，阴霾的天空被风吹亮，空灵、仙气弥漫画中，将人的心灵携入画里，正如画中诗句所写：野雁惊起芦花飞，孤舟闲垂唱无为。
《上善若水》这句名言，出自老子《道德经》第八章，符合“道”体的人象水一样。水善于帮助万物，但水从不与万物争长论短。水为冰，晶莹透明，坚硬如铁，可比顽石，水为液，无色无味，其身形柔化无形，水是一个令人追求的高尚境界。
书法家以书法相对静态的形式，运用隶书面貌出现，但书体中亦能入秦汉简书的率意笔法和行书的灵动、活泼笔意，将严谨的隶书注入了激情和活力，在用笔上浑厚凝重中不乏苍劲古朴，让人充分体会“水”的分量和潜在的能量，以及一种生生不息、涌动不停的力量。
《无为》此句出自《道德经》第三十七章的“道常无为，而天所不为”。
作者以草书的艺术形式出现，用笔飞动，奔腾的笔画沉雄老辣，如万岁枯藤，字的结构充分运用篆刻章法，疏可走马，密不透风，章法融入现代绘画意识，书写中有极尽冲破纸面的态势，无天地左右，上下条框，追大实大虚，大有大无，也正体现了老子所云：无为，无所不为的世界。
商辉（恢），字恢之，号殷商后人。一九五九年生于北京。一九九五年毕业于首都师范大学美术系书法专业，现任中国书画家协会理事，中国书法艺术研究员会员。
许爱东（栋），字：泽水，号：苇箔居士，苇箔堂，一九六二年生于北京。中国书法艺术研究员会员，其作品《野逸芦苇》被钓鱼台国宾馆收藏，《京城童趣》四条屏被香港三祥集团收藏，同时国内一些企业、团体及个人对他的《水墨荷花》四条屏，《泼彩山水》及人物画《老子》、《李白》等作品多有收藏。
The phrase Wu Wei is from a sentence of Moral Classics, chapter 37th. The handwriting was performed with Cao calligraphy, and the technique was of a rapid and powerful style. The structure of the characters are vivid and changeful as a result of the using of the Zuanke manner, which also involved the style of modern painting. The characters in the handwriting follows no fixed role.
Shang Hui, with courtesy name Huizhi and literary name Shanghouren, was born in Beijing in 1959.
Shang Hui majored in Calligraphy of Art Department and was graduated from Capital Normal University in 1995. Now Shang hui is director of China Calligrapher and Painter Association and a member of China Calligraphic Art Research Association.
Xu Aidong, with courtesy name Zeshui and literary name Weibojushi or Weibotang, was born in Beijing in 1962.
Xu Aidong is a member of China Calligraphic Art Research Association.His work Yeyiluwei is now a collection of Diaoyutai State Guesthouse and his Jingchengtongqu also one of San Xiang Group in Hong Kong. Meanwhile, some enterprises, units and individuals have collections of Xu’s works such as Water Lily, Landscape, Laotsu and Li Bai.
