盧國俊其人其書

盧國俊

Lu Guojun

主任記者

中國國家畫院沈鵬導師書法工作室精英班成員中國書法家協會會員

重慶市文聯委員

重慶市書法家協會理事、篆刻委員會副主任重慶市永川區書法家協會主席《永和今韻》書法雜志主編

01 盧國俊書唐庚對聯

不必低頭求同群You Don’t Have to Blend in If You Were Born to Stand Out

盧國俊深入傳統，尤其對篆、隸書和楷、行書下過很大功夫。篆、隸、楷他喜歡高古奇肆一路，篆書如《散氏盤》《石鼓文》《虢季子白盤》等，隸書如《石門頌》《開通褒斜道刻石》等，魏碑如《石門銘》《廣武將軍碑》《古塔銘》等。他能夠從這些金石碑刻當中捕捉到那些遠古的審美情趣，化為自己的個性化語言，為己所用。其行書受何紹基、沈曾植、弘一法師、八大山人以及謝無量等人之影響，且根據自身之喜好，適當有所取舍。因此，在他的作品當中彌漫著一種高古典雅、自然質樸之氣息。他好古而不泥古，善變而不臆造，注重古典精神與現代意識互相結合來對自己的審美追求進行盡可能完美的表達。

盧國俊書法時常不計工拙，從他的諸多作品來看，他很少沾染時下展覽流行的那種涉奇獵怪、扭捏作態、七拼八湊、隨波逐流的不良風氣，而是始終如一地保持著一種傳統文士的高貴品質，追求人格精神和審美思想的自由和獨立。

02 盧國俊書印光法師嘉言

盧國俊在書法上所要竭力追求的就是我們這個特殊時代的人文精神，因此，他沒有把書法僅僅作為一種技能，而是作為一種人格修養來對待。在他的書法作品里面，有對古人山林生活的向往，也有對時人玩弄技巧的反正。體現的是一種輕松、恬淡、優雅、閑適、清靜、自然的審美情趣，不去有意追逐世俗之所好。

任何藝術形式，如果上升不到“道”的層面，那它就是低級的，是形而下的。盧國俊正是有了這樣的認識，因此他數十年來一直在探索一條屬于自己的“由技進道”的書法篆刻之路。藝無止境，他面對當代書壇印界所存在的諸多問題，也一直處在思考之中。他這種思考，除了有對自身的如何調整和超越之外，也有對書壇亂象的種種憂慮。

——傅德鋒（書法家、藝術評論家，多家書畫報刊專欄作家。別號山石道人、海岳道人、醉墨先生、大漠居士，原文有刪節。）

Lu Guojun who deeply respects Chinese traditions has made tremendous effort in the seal script, official script, regular script and cursive handwriting. He prefers ancient and grotesque seal script, official script and regular script, including official script such as San Family Plate, Burring of the Pre-Qin Period and Ji Zibai Plate of the Guo State; official script such as Stone Gate Praise and Da Kai Tong; tablet of Wei Dynasty such as Stone Gate Cliff Inscriptions, Chan Tablet of the Pre-Qin Period and Ancient Temple Tablet. He can capture ancient aesthetic tastes from these inscriptions and turn them into his own personalized language for his own use. For his cursive handwriting, though influenced by masters like He Shaoji, Shen Zengzhi, Master Hongyi, Zhu Da and Xie Wuliang, Lu Guojun is very selective in absorbing their handwriting styles. Therefore, he is able to present classic, elegant, simple and vintage-style cursive handwriting. He likes the past but does not hold onto it. He fantasizes about art but does not fabricates it. By virtue of classical spirit and modernity, he aims to express his aesthetic pursuit in a perfect approach.

Lu Guojun has never got tired of laborious work in honing his skills. He has stayed away from the unfavorable trend of novelty hunting, mannered and copying method or going with the flow, which is popular in current exhibitions. Rather, he maintains the noble quality of a traditional scholar who pursues the freedom and independent personality and distinctive aesthetic appreciation.

What Lu Guojun endeavors to pursue in calligraphy is the humanistic spirit of our special times. Instead of treating calligraphy simply as a skill, he regards it as a kind of personality cultivation. In his calligraphy works, there is a yearning for the life of the ancients in the mountains and forests, and also an opposition against the people of our times who play tricks in calligraphy. He presents his relaxed, tranquil, elegant, leisure, quiet and natural aesthetic taste in lieu of a deliberate chase after the secular good.

03 盧國俊篆刻佛像印

04 盧國俊篆刻“其有眾生”

Any form of art that fails to touch the essence of life is inferior and superficial. With such a mindset, for a decade, Luo Guojun has stayed committed to identifying a way which enables him to reach a stage of perfection in calligraphy and seal carving. However, art is endless. Faced with a plethora of problems in the contemporary calligraphy circle, he never stops trying to find remedies. He thinks about how to adjust and transcend himself, and also how to regulate the troubled calligraphy circle.

—— Fu Defeng(calligrapher, art critic, columnist of many calligraphy and painting newspapers and periodicals) (Also known as Shanshi Daoren, Haiyue Daoren, Mr. Zui Mo and Damo Jushi. The original text is abridged.)

盧國俊書法小說Lu Guojun’s Calligraphy Novels

2013 年5 月，我進入中國國家畫院沈鵬工作室學習，在這里，我第一次見到盧國俊兄。同學兩年，對國俊兄的了解也多了起來。其實知道盧國俊這個名字，算來已經是上個世紀的事了。當時很有影響的全國第三屆楹聯書法大展上，國俊兄的一副對聯獲獎，這是我對他和他的作品的最初印象。

之所以能有所留意，是因為他的作品在當時頗有些另類，直接往某家某帖上套是很難的，這起碼可以看出國俊兄于書法學習是很有心得的，不囿于尋常所見，而能別具慧眼，另辟蹊徑，從而與很多學習者拉開距離，單是這一點，已經不能不讓人對他的作品刮目相看了。之后的十幾年間，在各種媒體展覽上陸續見到他的作品，感覺大致還是最初所見的印象，盡管各有精彩之處，但是從審美趣味上看，無疑是一如既往的。

通過各種資料，我對國俊兄書法的印象由當初的不無浮泛而漸漸具體鮮活起來。此前，我更多見到他的行草書一類，少字數的如對聯等，用筆結字在率意質樸中透出天真稚拙甚至頑皮，字數較多的小行草，更多自然書寫的灑脫自在。這些固然是國俊兄書法中具有代表性的一路，也是很多人對他的書法的印象。

如果關注一下他這些手段之外，會更多更深地了解盧國俊書法。他的篆書隸書，與他的行草一脈相承，在范本選擇上更多借鑒野逸一路，而整飭近乎工藝的小篆、強調波磔的所謂廟堂氣的隸書則有所不為了。

國俊兄是個具有良好藝術感覺的藝術家，也是個不肯隨波逐流而堅定地一意孤行的藝術家，盡管我一直認為藝術家本該如此，但如今真的是很難得了。

——魏春雷（《藝術品》雜志專欄撰稿人，當代書法論壇“魏春雷評書”專欄主持人。原文有刪節。）

05 臨“八大山人臨河集序”

In May 2013, I came to study at Shen Peng Studio of the National Academy of Painting of China, where I met Brother Lu Guojun for the first time. As fellow apprentices for two years, I gradually know more about Brother Guojun. Actually I heard about Lu Guojun as early as in last century. At the influential Third Chinese Couplet Calligraphy Exhibition, a couplet of Brother Guojun won the prize, and it was my first impression of him and his works.

His works caught my special attention because they were rather unusual at the time. His style is distinctive from any existing calligraphy master or school. Obviously, Brother Guojun is very knowledgeable in calligraphy learning. He does not rigidly adhere to a certain type, but opens up his own path with a unique insight. Thus, he outrun most other learners and left a deep impression on me. In the next couple of years, I have been following up his works on the media or exhibitions. My first impress has barely changed. Though the contents are different, the aesthetic taste within always stay the same.

Through research and study, my impression of Brother Guojun's calligraphy is no longer abstract, and has gradually come to life into a concrete form. Prior to this, I saw more of his cursive lines, such as couplets with fewer words of simple, naive, clumsy and even naughty handwriting. His cursive handwriting with more words is more natural and free style. These are, of course, the most representative features of Brother Guojun's calligraphy and also many people's first impression of his calligraphy.

However, if you look beyond his methods, you will know more about Lu Guojun's calligraphy. His seal script and official script are similar to his cursive handwriting. In the choice of model text, he does not stick to any particular style, which is quite innovative because seal script emphasizes neat and order and official seal adopted by the imperial court also demands regular strokes.

Brother Guojun is an artist with sharp consciousness in art. He never goes with the flow and is always determined to go his own way. Although I always think that artists should be like this, it is really rare now.

—— Wei Chunlei（a columnist for Artwork magazine and moderator of "Wei Chunlei's Comments on Calligraphy" at the Forum on Contemporary Calligraphy. The original text is abridged.)