Shen's main experience (thousands of words in Shen Caoshu)
Brief introduction of Shen's life
Formerly known as (because he was a professor at Peking University, he was ridiculed by his colleagues as "thirsty", so he suggested that his monarch be Yin, and later renamed Shen. ), Zi Zhong, born in Tyumen, alias Guiguzi, born in Huzhou, Zhejiang Province, 1883 was born in Hanyin, Shaanxi Province. Famous scholar, poet, calligrapher and educator.
Shen Lao, who studied in Japan for the second time in his early years, taught in Peking University and Beijing Women's Normal University successively after returning home, and worked with Chen Duxiu, Li Dazhao, Lu Xun and Hu Shi to run New Youth, which was an effective fighter of the New Culture Movement. Chen Duxiu once criticized Shen for being "vulgar in words", so their relationship was not good. 1925, in the "female normal university agitation", Shen Lao, Lu Xun, Qian and others jointly issued a declaration to support the students' just struggle. Recommended by Cai Yuanpei and Li Shizeng, he became the director of Hebei Education Department and the president of Beiping University. 1932, dissatisfied with the government's crackdown on student movements and expulsion of students, resolutely resigned and went south to Shanghai as the director of the Sino-French Cultural Exchange and Publication Committee. At the beginning of the Anti-Japanese War, at the invitation of Yu Youren, president of the People's Procuratorate, he went to Chongqing as a member of the People's Procuratorate. He tried to impeach Kong Xiangxi and was dissatisfied with the corruption of the government. He resigned after his victory, lived in Shanghai and lived a poor life, which shows Mr. Shen's integrity. 1 971June1day, Shen, a great calligrapher persecuted by the Cultural Revolution, died in Shanghai at the age of 88. Mr. Shen is the first democrat visited by Mr. Chen Yi after he entered the city. He is a member of the first Shanghai Municipal People's Government, the deputy director of the Central Museum of Literature and History appointed by Premier Zhou Enlai, a member of previous Shanghai Municipal People's Committees, a representative of the National People's Congress and a member of the China People's Political Consultative Conference. After 1949, he took part in CPPCC, the Municipal Museum, the Municipal Cultural Management Committee, the China Painting Academy, the Municipal Federation of Literary and Art Circles and the Municipal Museum of Literature and History, and personally founded the first calligraphy organization after the founding of New China, the Shanghai China Calligraphy and Seal Cutting Research Association, which made outstanding contributions to the prosperity of the motherland's cultural undertakings, especially to China's calligraphy art and theory. Chairman Mao once met him and spoke highly of his works and artistic achievements. The first page of Zhongnanhai calligraphy and painting collection is the calligraphy written by Shen Lao to the chairman. The word Shen Lao has been hung in the prime minister's home and office. He is the author of "A restricted view of the calligraphy of the two kings" and "Interpretation of wives and concubines from the experience of famous scholars in previous dynasties". The main book collections and copybooks published are Shen's Calligraphy Collection, Shen's Four-Handed Ci Draft and Shen's Shu Ci Mo. There are about 20 kinds. His poetry works include Zashi in Tyumen Room, Long and Short Sentences in Tyumen Room, etc.
Why didn't the "standard" regular script pushed by Shen Li succeed in the end?
Shen's typical calligraphy style is his running script, which is the highest achievement of his life's calligraphy art and can be summarized as beauty, health, elegance and precision. Shen's calligraphy gives people the gorgeous beauty of round pearls and jade, flesh and blood. Shen is very strict with his own pen, and requires pen as the center. He tasted: "the center is the fundamental method in calligraphy and the brushwork that must be observed."
Shen failed to completely get rid of the vulgar style developed in his early years and lacked the spirit of innovation.
The overall style of Shen's calligraphy is vigorous and peaceful, close to introversion, not wild. This feature is very obvious in both his official script and his running script. This is related to his strict European regular script training in his early years and his rigorous academic style. His main book, whether it is Weibei style or European style, has its own stippling position, which is coordinated before and after, coherent in response, compact in structure and relaxed in some aspects. In cursive script, his preciseness remains the same. His running script, font size and regular script are similar, and there is little extreme contrast in size. Basically the same size, little contrast.
There are also few indulgent strokes in Chinese characters, neither vertical nor long strokes, but gentle, subtle and restrained elegant strokes. At this point, his calligraphy style is closer to that of Song people, such as Su Shi. In this very neutral and elegant way, he expressed his poetry and academic accomplishment on paper, which coincides with the bookish and freehand spirit of Song people. Therefore, we can't evaluate Shen by purely returning to the calligraphy of the two kings.
Shen's calligraphy is not as free and easy as that of Jin people. He has the rigorous statutes of the Tang Dynasty, the rich connotations of the Song Dynasty and the graceful character of the Yuan Dynasty. He is a master who studied calligraphy later. Shen has been engaged in the teaching and research of classical literature for a long time, and insisted on writing poems almost every day of his life. He wrote dozens of poems in his life. His interest in poetry originated in the Tang Dynasty, but his strength lies in the Song Dynasty. Lu You, Yang Wanli, Huang Tingjian, Chen and Yan Shu had the greatest influence on it.
Shen's complex of classical culture made him fall in love with the research and creation of China's calligraphy instead of writing new poems in his later years, which strongly illustrated the close relationship between classical literature and calligraphy art. Although Shen's fading out of the poetic world affected his popularity in the whole society, it enabled China's calligraphy art, which was full of revolutionary waves in the early days of liberation, to be classically continued, and made Shen's calligraphy rich in spiritual and cultural connotations.
The tendency to criticize Shen's calligraphy mainly refers to his blunt brushwork and lack of innovative spirit in his calligraphy style. It should be said that his absolute demand for pens and pens really has its rigid side, which also affects the expressive force of his calligraphy. His personal calligraphy style should exist, but it is not as obvious and prominent as many people in history. But these are not the biggest problems of Shen's calligraphy. The biggest problem with Shen's calligraphy is the warning given to him by Mr. Chen Duxiu: "Its vulgarity lies in the bones".
It can be said that Shen failed to completely get rid of the habit or vulgarity formed in his early calligraphy. Perhaps this vulgarity is not in his bones, but his pen and ink really lacks the escape of Jin people, and this escape is the spirit of Wang Xizhi's calligraphy. At the same time, the relatively mechanical aesthetic formed by studying Huang Ziyuan's regular script in his early years has been shrouded in his pen, which can be described as lingering. Therefore, the popularity of Shen's calligraphy lies not in the connotation of the works, but in the aesthetic concept.
Brief introduction of Shen
Shen (1883- 197 1 year), formerly known as 1883, was born in Hanyin House, Xing 'an League, Shaanxi Province (now Zhu Min Street, Chengguan Town, Hanyin County, Ankang City, Shaanxi Province). He studied in Japan in his early years, and later served as Professor and President of Peking University and Professor of Fu Jen Catholic University. After 1949, he served as deputy director of the Central Museum of Literature and History, member of the Shanghai Municipal People's Committee and deputy to the Third National People's Congress. Shen is famous for his calligraphy. In the early years of the Republic of China, the calligraphy circle was known as "South Shen and North Yu (Yu Youren)". In the 1940 s, there was a saying in the book circle that "there is Wu in the south and Wu in the north". Mr. Xu Pingyu, a famous writer, called Shen Lao's achievements in calligraphy art "beyond the Yuan, Ming and Qing Dynasties and straight into Song Sijia without guilt". Professor Xie, the leader of the late national cultural relics appraisal group, said: "For hundreds of years, calligraphers have come forth in large numbers, and no one can match them." . Mr. Lin Yin, the late professor of National Taiwan University and director of China Literature Research Institute, praised Shen Lao's calligraphy as "under Mi Yuanzhang (Mi Fei)".