Calligraphy works were exhibited in the National Art Museum of China in 2000.
Liu Chengzhang's calligraphy works have been published in Wen Wei Po, Anhui Daily, Anhui Education, Anhui Legal News and other newspapers and magazines.
Liu Chengzhang is now working in Cebu City Judicial Bureau, joined the Anhui Provincial Calligraphy Association in 1983, and is now the vice president of Li Baiyin Calligraphy Art Research Association, the director of the exhibition department, the deputy director of Li Baiyin Art Museum, the secretary-general of the Cebu Branch of the Anhui Provincial Poetry Association, the executive director and deputy secretary-general of the Cebu City Calligraphy Association, and the vice chairman of the Huanghuaihai Calligraphy Association.
Liu Chengzhang's "debut" was very early: he was still in his first year of high school, and a bunch of his new poems (****nine poems) were chosen to be included in the province's young authors' "Poetry Selection"--this way, he wore the crown of "Poet" and started his career. Thus, wearing the laurel of "poet", he made his debut in the literary world. Later on, he changed from "poet" to "lyricist", and became addicted to writing lyrics; later on, he became a professional playwright. He turned to write "prose" after the "new period", but in 1982 (when he was already 45 years old), he started to write "middle age". "middle-aged change": from now on "specializing in prose"! His creative trajectory of starting from "poetry", then "lyrics", then "drama", and finally ending up in "prose The trajectory, casting and fulfillment of him. He once said later: "Where exactly is one's "outstanding talent"? Often even he could not recognize it. He had no choice but to "try" several forms of art (the process of trying is the process of recognizing and discovering) in order to finally figure out where his artistic "cells" are. After "trying" the above art forms, he said, "It seems that I am more suitable for prose writing." "However, my previous efforts in writing poems, lyrics, and scripts were not in vain; they all came in handy in prose." This is true. The "prose" he wrote afterward was indeed "regenerated" from the spiritual field of his original poems, lyrics, and plays--not a "copy" of the external appearance, but an "adaptation" of the inner essence. It is not a "copy" of the external appearance, but an "application" of the inner essence. It brought a new vitality and freshness to the "prose" he wrote!
He wrote the most and the best kind of prose is the so-called "style - Shenyun prose". The earliest published "Turning Nine Quarters", although inspired, inspired him, so that he took a "middle-aged change" a key step; but look back it is not without regrets: this hahaha not only refers to some of the "characters" (such as leaves Ye Ye, big back head, coquettish daughter-in-law, etc.) has a This hahaha not only refers to the fact that some of the "characters" (such as Ye Ye, Big Back Head, Qiao Daughter-in-Law, etc.) have traces of "weaving", which seems to be intentional; but also the point of view at the end of the piece makes people read "Yang Shuo's flavor", which has fallen into a routine, indicating that it has not been able to stand on its own feet artistically. According to my own thinking: he was enlightened in 1985 (known as the "Year of Concept" in the literary world), and his artistic sense was suddenly enlightened, and his works such as "Old Yellow Wind" and "High-heeled Shoes, Rattling through the Streets of Suide" were already quite brilliant. Look at "Old Huang Feng Ji", it's so well written! It is still on the other side of the mountain (at least ten miles), not yet blown over, but its "might" has been felt. When it comes, you can see it again: "The crops, large and large, fall to the ground. Flying birds crashed to death on the mountain rocks. Chickens fly and dogs jump over the walls." And the sky? Tons and tons of dirt and sand were thrown everywhere. The sky darkened and the sun "became like a broken basin soaking in the muddy Yellow River." And the people? "like being a giant hand shoving, can't stand, can't walk steadily, can't help it, organs are shaken up, like an egg messed up yellow." Shaanbei scraped this "old yellow wind" - also known as "black boy wind" "child horse wind" "donkey wind" - this The unique "male wind", really let the "chapter wa" this pen to write "absolute"! Write "wind" of course, is also to write "people", write people's "spirit". When the old yellow wind rampage, running wildly, unbeatable, you look at those men, aunties, they are so calm and collected, calm, laughing! This is the inside and outside in line with the surface of the real "Shaanbei soul"! Read this article when you know: the treasure land of northern Shaanxi, its "natural environment" is robust, wild atmosphere; its "human spirit" is optimistic and humorous, bold and vigorous. The end of this article: "It is not like a rotten red armband?" Can really be called a "stroke of genius" carry on! High-heeled shoes, ringing through the streets of Suide", write the oldest small town in northern Shaanxi, but now the most modern a beautiful scenery. Write "regional flavor" and can be dyed "era characteristics", this article can be said to be an example. After this, his 1986 book Ansai Waist Drums brought this kind of prose to a new height. The vigor of Ansei Waist Drums is shocking. If Jia Pingwa's "Qinqiang" is his discovery and writing of the spiritual "characterization" of the Qin people from "Qinqiang", then Liu Chengzhang's "Ansei Waist Drums" is his discovery and writing of the spiritual "characterization" of the Qin people from the dance and drums of "Ansei Waist Drums". Liu Chengzhang's "Ansai Waist Drums" is a work in which he discovers and captures the spirit and soul of the people of northern Shaanxi from the dance and sound of the "Ansai Waist Drums"! Ansai Waist Drums" is a fiery ode to the life and vitality of the people of northern Shaanxi, and a poetic salute to the sedentary, heavy interior of the Loess Plateau. After this, he wrote in 1988 "mountain mount" article to this poetic ink and further - it is simply a beautiful prose poem. While celebrating the landscapes and customs of northern Shaanxi, "The Mountain Mount" organically unites and combines mountains and rivers with characters, legends and reality. After reading the "mountain mount" to cover the scroll and think, suddenly realized: the original mountain mount of the tall and magnificent, precisely because it is a simple and noble soul of the illusion! In 1994, he wrote such prose can be described as a masterpiece of the "carrying rafters tree", so that this "style - rhyme prose" in the history of contemporary prose, leading the new, great light. This piece of work of great vigor, the realm of high, according to my humble opinion is indeed unprecedented! "Carry rafters tree", is a kind of willow in northern Shaanxi Province. But willow and not charming, vigorous upward, each branch can do rafters, each tree can be cut sixty or seventy roots, "born cut, cut the birth, and so on endlessly. If you add up the dedication of its life, each tree is a forest! Obviously, this is the barren land on the sad dedication! Liu Chengzhang found the "rafter tree", but also found himself. He wrote this willow lonely waiting for millions of years, "the Pacific Ocean water depth of ten thousand feet, not as deep as this willow waiting for my love!" When they meet, the author uses a large splash of ink and a capitalist style of writing to freely splash, drench and enjoy himself to the fullest. The degree of spiritual liberation, freedom of mind, and spontaneity of the writing in Carrying the Rafter Tree are all first-rate.
"Shaanbei born in Shaanbei long, because your soul is attached to this place"--"write Shaanbei", for fear that no one can write Liu Chengzhang. He wrote Shaanbei, the pursuit of "earth" (i.e., nationalization and local color): poetic earth, spiritual earth, to "Albatross" close. This seized the "soul" of northern Shaanxi, but also showed the "essence" of his prose! Not only "old yellow wind record", "Ansai drums", "mountain mount" and "carry rafters tree" and so on is a real "art prose", unforgettable to read; that is, or like the "milfoil fugue", "shaanxi paper-cutting", "looking at the terracotta warriors" and "loess writing" and other short chapters of the writing, in the art can also be prepared for a style. I think, only this Shaanbei "flavor - charm prose" of the great success, "chapter wa" can have no regrets and no complaints carry on!
He also wrote a number of self-exposing lyrical prose. However, the number of such works is not large, and the impact is not as great as that of the works mentioned above. Among them, Tiger Shoes was the earliest, a story about the first time he put on the tiger shoes when he was just born after the "full moon". The "subject" of the narration was so small at that time, and the story was purely "heard" later on, and I took great pains to "retell" the story, but I still feel that it is not real but not true; The deliberate prominence of "Mama Tong" (Liu Zhidan's wife, Tong Guirong) is also a weakening of "my" subject position. Comparison of the subsequent "sedan chair" is much better: it is written "I" was six or seven years old when an old story - because of the re-married mother to the new home and lost as a boy "sedan chair" right. At the painful juncture of emotional suppression and spiritual damage, a girl named Qin Juan, who was ten years older than me, made a promise: when she got married, she promised to invite me to press the sedan chair. The promise was honored, and I was saved from a heartache. In terms of "style", The Palanquin is impeccable - it can also include "Tiger Shoes" and "When We Were Like Pearls and Eggs", etc., all of which have a certain "autobiographical" and "children's" quality (suitable for children and teenagers), and are also suitable for children and teenagers to read. (suitable for children and teenagers to read), I think these accounts of "old childhood stories" may be regarded as "autobiographical essays". To widen the scope a bit, I think The Three Little Birds can be included in it: it writes about his three children, it is "looking down", and the affection of flesh and blood is all in it. To widen the scope, "In the Ancient Land" can also be included. It is written "I" and "mother" life and death, inextricably linked, with "looking up", it is a moving "Ode to Mother! "The above essays, in addition to those mentioned above, are also a great example of how a mother's life and death are inseparable! The above essays, counting the "grass color shouting continuous fresh blue", "I seem to be cloudy mountain peaks", "fire gourd", "the feeling of laundry", "extraterritoriality", etc., in the expression of the deep and true "self" - from the artistic point of view, it is really not so "on the spot! Artistically speaking, they are really not that "on point". He has some very deep understanding, such as he once said: (write prose should) "do not forget me"; "which chapter get 'me' which chapter new! From writing something that belongs uniquely to "me" (such as those northern Shaanxi "style - rhyme prose"), he did; from strengthening the "self" consciousness, performance From the point of strengthening the sense of "self" and expressing the deeper humanity of the "subject", he has not done enough. This is somewhat strange. Why is that? I think there are two points: First, he is afraid that there is a contradiction between "big self" and "small self" in the depths of his thought (this is mostly true for those who have been educated for seventeen years like him), and he tends to have a deeper understanding of the "small self" and the "small self". He tends to avoid and minimize the attitude of "ego"; secondly, his own life, experience and psychology are more complicated, and some of them are quite "difficult to say". In fact, this is not a problem. If you can "tell the truth" "write the truth" of the courage to poke that layer of windowpaper, his unique "self" mind, on the contrary, more profoundly reflect the reality of life in this era, it may, on the contrary, be outstanding. It could be outstanding. It's a great opportunity, so don't miss it!
Of course, he also has some other essays, some of them are very wonderful, such as "Remember the kitten", "wildlife revelation", "Hukou Falls", "to see the good aunt", etc., there is no need to say more here.
Have written the famous "Ansai Waist Drums", added to the Humanistic Version of the seventh grade under the 17th class.
And wrote "yellow earth love", "Liu Chengzhang selected essays", "slender sunshine", "read the monument", "sheep want to clouds", "into New York", "Ansai waist drums" and so on.
Was assistant professor of the department, scriptwriter of Yan'an Song and Dance Drama Troupe, editor-in-chief of The Literati, deputy director of the Literature and Art Department of Shaanxi People's Publishing House, and vice-president of Shaanxi Provincial Publishing General House. Now he is the vice chairman of Shaanxi Writers' Association, a member of Chinese Writers' Association, executive director of Chinese Prose Society, and a first-class writer. He enjoys special government allowances. He began to publish his works when he was in junior high school (1954). He has written poems, lyrics and plays, and his lyrics have had a certain impact. Since the 1980s, he has been mainly active in the literary world with his prose writing, and has published seven collections of prose, among which "Sheep Thinking of Clouds" was awarded the first Lu Xun Literature Prize. Five of his essays have been selected for inclusion in secondary school textbooks. Seven prose works were selected for 14 versions of college, university and secondary school language textbooks.
"Turning Nine Quarters" won the first prize of the first "Prose" evaluation award,
"High heels, ringing through the streets of Suide" won the first "Selected Prose" evaluation award for outstanding works,
"Mountain mount" won the second prize of the "People's Daily" Yandai Prose Essay Essay Essay Award,
"Vermilion Lipid Fugue" won the "Guangming Daily" **** and the country in my heart Prose Essay Essay Essay Award for outstanding works,
The Strange Bunch won the Chinese Writers' Lixiang Cup Outstanding Prose Prize,
The Life among the Poor Mountains and Bad Stones won the Second Prize of the Hanjie Cup Prose Competition,
The collection of essays Sheep Thinking of Clouds won the First Lu Xun Literature Prize,
The collection of essays by Liu Chengzhang won the Special Prize of the Double-Five Literature Prize of Shaanxi Province,
The Collection of Liu Chengzhang was awarded the Special Prize of the Double-Five Literature Prize of Shaanxi Province.
Ansei Waist Drums and selected from the October 3, 1986 edition of the & lt; People's Daily & gt; is now included in the language humanistic version of the seventh grade book 17, Su version of the language of the first book of the sixth grade class 14, and Ji-Teaching version of the language of the first book of the sixth grade class 29 lessons.