作为中国书法的母体，篆书的历史可谓悠久。唐人韩愈曾作诗《石鼓歌》，其中有云：“鸾翔凤翥众仙下，珊瑚碧树交枝柯。金绳铁索锁钮壮，古鼎跃水龙腾梭。”让诗人大发感慨的石鼓文，系中国最早的石刻，字体为“大篆”。韩愈偶然看到石鼓篆文时，感叹字迹有如鸾凤翔飞众仙飘逸，笔画恰似珊瑚碧树枝柯交错。苍劲钩连象金绳铁索穿锁钮，浑然又象织梭化龙九鼎沦没。刻写在石鼓上的一段古老文字，竟然引起诗人如此美妙的想象，这足以说明，篆书绝不仅仅是一种实用的书写文字，而是一种大巧若拙、妙不可言的艺术瑰宝。 

苏轼句

　　在当代书家中，有志于传承篆书衣钵者众，而能树立生机盎然的艺术风貌者寡。这是因为篆书的流传离今天已经太久远，非涤虑静心者难以追摹篆书之体貌，更遑论穷究篆书之奥义？而在其中，李建军先生无疑是引人瞩目的一位书家。阅读他的篆书作品，在清晰的传统脉络中，你可以看到他数十年磨练和探索的印记。他的作品出自正脉，稳健平实，绝无乖张狂狷之流弊。他重视用笔，笔锋直下，婉转有序，古质中含、朴拙率真；其线条深厚凝重、质朴圆浑；他的字形结体，循规而不蹈矩，疏密相间、顺意天成。在他无为而无不为的笔墨中，呈现一种谨严朴厚、稳中见逸的书写之美。 

厚德载物

　　在《李建军书写中国传统名诗词百首》中，这种书写之美得到淋漓尽致地展现。比如屈原的《离骚》，煌煌2490字，其中不乏结构复杂、冷僻少用的字体，书写中稍有迟滞停顿，就会出现气势的阻断，滑入美术字的范畴。建军先生在书写前明显做足了“功课”，线条起止藏锋无迹，转折圆转而无角节，结体修长匀称舒和，体现出书家扎实的古文功底和清雅流美的艺术风格，渐臻“复归于朴”的造化之境。 

静水流深

　　李建军先生在进行篆书创作时，善于从大局谋划，对整幅作品的气势和章法胸有成竹。在其书写的苏轼《水调歌头》中，他强调篆书的写意性，并不拘泥于一笔一划的准确摹写，而是笔随意到，字结神完，随着沉稳、含蓄、率真的线条不断地丰富，作品的朴厚敦实中隐含着抑扬有致。特别是收尾时的飞白似断还连，妙趣无限。通观整幅作品，实象空灵，古拙灵动，透出浓郁的书卷气和文人气。

　　节选自《李建军篆书中国传统名诗词百首》序支英琦     2019年5月18日（本周六）上午十点半，将在临沂市美术馆举行书写经典——李建军书法作品展开幕式，届时欢迎各位亲友莅临参观。

As the matrix of Chinese calligraphy, seal script has a long history. Han Yu of the Tang Dynasty once wrote a poem "song of the stone drum", in which it is said: "under the Phoenix and Phoenix, under the immortals, the coral and green trees cross the branches. The gold rope and iron rope lock the button strong, the ancient Ding jump, the water and the Dragon soar and shuttle." The stone drum inscriptions that made the poet sigh are the earliest stone carvings in China, with the font "big seal". When Han Yu happened to see the seal script on the stone drum, he lamented that the handwriting was like a phoenix flying, and the immortals were elegant, and the strokes were just like the interlaced branches of coral and green trees. The vigorous hook is like a gold rope and an iron rope wearing a lock button, but it is like weaving a shuttle into a dragon, and the nine tripods are lost. An ancient text engraved on the stone drum has aroused such a wonderful imagination of the poet, which is enough to show that seal script is not only a practical writing, but a great and wonderful artistic treasure. Among contemporary calligraphers, there are many who are willing to inherit the mantle of seal script, but few who can establish a vibrant artistic style. This is because the spread of seal script has been too long since today. It is difficult for those who do not think and meditate to trace the appearance of seal script, let alone investigate the profound meaning of seal script? Among them, Mr. Li Jianjun is undoubtedly an eye-catching calligrapher. Reading his seal script works, in a clear traditional context, you can see the mark of his decades of training and exploration. His works are from the right vein, steady and plain, and there are no disadvantages of being perverse and arrogant. He attaches importance to the use of pen, with straight strokes, tactful and orderly, ancient quality, simplicity and frankness; Its lines are deep and dignified, simple and round; He has a zigzag structure, which follows the rules but does not follow the rules. It is alternating with density and natural. In his writing style of doing nothing but doing nothing, there is a kind of writing beauty of being cautious, simple and thick, and seeing ease in stability. In Li Jianjun's writing of a hundred Chinese traditional famous poems, the beauty of this writing is vividly displayed. For example, Qu Yuan's "Li Sao" has 2490 characters, many of which are complex, remote and rarely used. If there is a slight delay in writing, there will be a blocking of momentum and slide into the category of art characters. Mr. Jianjun obviously did his "homework" before writing. The lines start and end without trace, and the turning circle turns into no angular joints. The structure is slender, symmetrical and comfortable, reflecting the calligrapher's solid foundation of ancient prose and elegant and beautiful artistic style, and gradually reaching the realm of "returning to simplicity". Still waters run deep. Mr. Li Jianjun is good at planning from the overall situation and has a clear idea of the momentum and composition of the whole work when creating seal characters. In Su Shi's "water tune song head", he emphasized the freehand brushwork of seal script, which is not confined to the accurate imitation of each stroke, but the pen is at will and the words are finished. With the continuous enrichment of calm, implicit and frank lines, the simplicity and simplicity of the work imply cadence and elegance. Especially at the end, the flying white seems to be broken and connected, which is infinitely interesting. Looking at the whole work, the real image is ethereal, unsophisticated and flexible, showing a strong bookish spirit and literary popularity. Excerpt from preface to Li Jianjun's seal script of 100 Chinese traditional famous poems Zhi Yingqi at 10:30 a.m. on May 18, 2019 (this Saturday), the opening ceremony of the calligraphy exhibition of Li Jianjun, a writing classic, will be held in Linyi Art Museum. At that time, relatives and friends are welcome to visit.