Sponsored by the Shanghai Academy of Chinese Painting, Shanghai Calligraphers Association, Shanghai Han Tianheng Art Museum, co-organized by Xiling Printing Society and Shanghai Han Tianheng Culture and Art Foundation, and carefully curated by Mr. Han Tianheng, a famous calligrapher and painting seal engraver, the "Hundred Rivers Entering the Sea - The Exhibition of Representative Calligraphers of the 20th Century on the Sea" has been unveiled on December 31, 2021 at the Han Tianheng Art Museum in Shanghai.
As a city, a time period, a group, an art, the twentieth century maritime book world is star-studded, the momentum is magnificent, the influence is far-reaching, it is placed in the long history of calligraphy, but also a stunning and brilliant existence that cannot be without one or two, a existence that is difficult to copy.
In the twentieth century, the famous artists of the maritime book world gathered and the stars competed for victory, which is not only a majestic and vast plateau in the history of calligraphy art, but also a brilliant era of a group of peaks and strange peaks.
The author did not speculate on shallowness, and planned the "Hundred Rivers Into the Sea - The Exhibition of Representative Writers of the Twentieth Century on the Sea", which collected 228 works by 99 people and dedicated them to readers and audiences. Although the list has the regret of leaving pearls, this is an extraordinary group appearance, whether it is the interpretation of the ancient style of the shimen, or the innovation of ingenuity; whether it is a huge production, or a ruler inch note, we can more fully appreciate the unprecedented achievements of the maritime book world art of the last century, both beauty and pen and ink flowing. Shanghai has achieved the great deeds of a large number of maritime scholars, and the writers have also written an eternal epic classic chapter for the city.
Since ancient times, calligraphy and painting have the same origin, and the art of painting has become a great success, and the art of calligraphy has been tempered through hardships. There are many books in maritime Chinese painting, and there is no shortage of outstanding people. They are more bold and vivid in the pursuit of personality in the style of calligraphy, and at the same time absorb and integrate the advantages of painting art, so that the creative space and aesthetic edge of calligraphy can be expanded and enriched. Peeping at the leopard in the tube, this article only takes a few painting masters as an example to feel the unique charm of the century-old glory of the maritime book world.
Xu Beihong is a master of modern painting and an art educator. In his early years, he was a disciple of Kang Youwei, influenced by Kang's admiration for the simple and majestic calligraphy aesthetic, and pursued the study of steles and was knowledgeable and excellent. His daily writing is mostly grass, taking the road of the integration of inscriptions and posts, forming a unique style of writing with broad words, strong and free, cold eyes to the sky, and clumsiness and mutual benefit. He may not be as strong as painting in calligraphy, but his high-style culture and aesthetic accomplishment make his calligraphy reveal a clear and elegant literati atmosphere, and he is a first-class calligrapher, and the name of the book is hidden by the name of the painting.
Liu Haisu is born with the ability to gather all kinds of strength, write straight into the book, the pen is heavy and thick, and seeks a grand atmosphere, without considering the small section posture, forgetting clumsiness and forgetting the cleverness, and has no writer's habits. The book has leak marks in the house, cone scratches sand, and three points into the wood. Between the ages of seventy and ninety, when writing books, he should hold his left palm on his right wrist, and in his later years he miraculously recovered as before. Taste my carved "real hands are not bad" big seal masturbation. Fifty years ago, in haitian pavilion, he showed the long volume of the "Scattered Disc", accumulated points into characters, Yu Bo Gu Cang, which was not caught by the Jia Dao Hou shu family, then I don't know who the flower fell?
Lai Chu sheng three unique, from the Ming people and the law and the two Han, his calligraphy in addition to extensively absorbing the nutrition of ancient inscriptions, but also more involved in the mysterious truth of the Jian Mu book that was ignored by the predecessors. In his later years, he was on the stone of the pond every day, and he was the most diligent scholar I have ever met. In the twilight years, the art of calligraphy has entered the realm of transformation, and all the bodies are excellent, especially the grass crown is unique, the majestic is strong, the indulgence is frank, and everyone is impressive. His Practice of the Grass Sect's Zodiac is more mellow and mellow, the Lishu Is simple and mellow, and the seal calligraphy Zhao is modest and mellow. His books, paintings, and portrait prints can all be learned and discarded from the master's heart, and the magic lies in getting a "mellow" word. I once said that "the most difficult thing to print calligraphy and painting is seal engraving", which is the theory of experience.
Lu Yu is a native Jiading native. He first came to the monument to learn the post, and he loved Yang Fengzi's "Lu Hong Caotang Ten Zhi bao" of life, clumsiness, bigness, childishness, innocence and humor, and was able to sacrifice his form to take the gods, becoming his ancient stubborn style. Lu Shu's lines are round and strong, and the bones are open. His calligraphy is nourished by poetry and painting, and in his works you can see the mountains and rivers and clouds rushing in. He is also good at painting with books, and he is particularly original in the layout of the plot, especially the writing of hand scrolls, when the snow flutters, when like hail plummeting, quiet and moving, rising and falling, collecting and crazy, sparse and dense, peaceful and strange, alternating adjustments at will, creating a thrilling visual impact and appeal of riding a "roller coaster".
Xie Zhiliu is a great painter, a university inquirer and connoisseur. His calligraphy was extricated from Chen Laolian and was magnificently refined. After middle age, he fell in love with the "Four Ancient Poems" and climbed zhang Xu's room of wild grass. He is quick in his thinking, and his next pen is swift and fast, inverse in and out, jagged and staggered, ups and downs and free ends. The state is crazy and clear, the pen is involved in wind and thunder, and Han Yi is flying, just like Tang Feng. Elder Xie entered the book with his painting theory, and his wit was interesting, and the strange charm of the landscape was very romantic. And he writes about dragons and snakes, indulging in urgency, but in fact, there are little-known physiological factors. In his later years, Xie Zhiliu sometimes had a shaky wrist, and if the pen was slightly slower, it would be difficult to be energetic.
Tang Yun's calligraphy teacher He Shaoji in his early years also studied thin gold body, and his middle-aged books were fresh and beautiful. The ups and downs between his strokes are rich and strong, the slender places are like hair and the line is not weak, and the Qingqi is not lost, the thickness and thinness are intertwined, and the virtual reality is born, and it has a charm. In his later years, the style of writing changed from the early ten thousand styles to hard and bold, and the pen was carved as sharp as the sound of a knife cutting an axe, which could be regarded as a version of the Great Qin Edict. I tasted this feeling to sue Weng, and Weng thought it was "knowing the goods". However, although it is good at writing, its calligraphy is rare in the hall, and the couplet is also rare. When I asked for words, I said: "Writing is much more difficult than painting, words are not good, I would rather draw a picture for you." "Therefore, his calligraphy is rare, especially in his early years.
Born in Songjiang, Shanghai, Cheng Shifa is a versatile painter with profound philosophical thinking and a new personality. He said, "Whoever doesn't learn from Wang Xizhi will vote for him." "His calligraphy is due to the Qin and Han Jian Mu and Huai Su Crazy Grass, which integrate grass, seal and subordinate to one, and a variety of brushwork is mixed and harmonious. After middle age, calligraphy has the internal power of the word, and the external power of the word; and in the technique of capital writing, and with the mentality of the game, the full swing, wantonly. His calligraphy is sprinkled with pens, the lines are condensed and alive, and the undulating lifting is not a legal bundle. Exaggerated changes in knots, ups and downs, good at seeking disaster in danger, rich in the flexibility of modern painting and the sense of humor of the wise, with a strong personal outlook and artistic temperament. Fa Lao once ordered me to engrave "Ancient and Modern Chinese and Foreign Laws", which reveals his ideological pursuit.
It is worth pointing out that a group of learned and imaginative painters have the catalytic effect of "emancipating the mind" to the emergence of the twentieth century maritime book scene. For example, Wu Changshuo's book chongyanggang, Huang Binhong is gentle, even if it is the same as borrowing from the zodiac, Pan Tianshou is at risk, and Lai Chusheng is seeking its alcohol, the south is the opposite, the style is varied, and the artistic heart is renewed. (Han Tianheng)
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"100 Rivers Entering the Sea: An Exhibition of Representative Works of Maritime Writers in the 20th Century" was held at the Han Tianheng Art Museum in Shanghai from December 31, 2021 to May 31, 2022.