"A Hundred Rivers Into the Sea - A Great Exhibition of Representative Works of Maritime Calligraphers in the Twentieth Century" recently opened at the Han Tianheng Art Museum in Shanghai, and the exhibition collected 228 works by 99 calligraphers, allowing the audience to appreciate the unprecedented achievements of the maritime book world in the last century.
White banana cursive painting Lan Bao language Dou Lu Zang
The peculiarity of the maritime book world constitutes the rise and brilliance of the maritime book world in the twentieth century, and it is a unique cultural and artistic phenomenon of "no two" formed by the open and diversified Shanghai under specific historical conditions. Its very important constituent group was a group of Qing court officials and widows who came to Shanghai before and after the Xinhai Revolution. They were originally the famous Shuoxue Hongru, who were also good at hanmo, with high artistic creativity and skillful pen and ink expression; after becoming "people on the sea" with their disabilities, they became "famous people" with their pen and ink proficiency, thinking that they were making a living, such as Wu Changshuo, Shen Zengzhi, Chen Sanli, Kang Youwei, Li Ruiqing, Zeng Xi, Liu Chunlin, Zhang Xiao, Luo Zhenyu, Gao Zhenxiao, Yang Du, Zhao Shuru, etc. are all leaders. In the decades of the late Qing Dynasty and the beginning of the People's Republic, maritime calligraphers and painters gradually derived a semi-institutionalized mode of association and exchange from their own loose and independent apprenticeships, and successively established art societies such as the Yuyuan Calligraphy and Painting Society, the Shanghai Calligraphy and Painting Research Society, the Maritime Inscription Museum Jinshi Calligraphy and Painting Society, the Bee Painting Society, and the Chinese Women's Calligraphy and Painting Society. These semi-elegant and semi-transactional organizations have built a platform for resource sharing and mutually beneficial cooperation, which not only enhances the exchange of book art, cultivates talents, but also promotes the commercial transaction of works. Famous artists in the maritime book world are gathered, such as Yu Youren, Xu Beihong, Shen Yinmo, Yuan Kewen, Bai Shuo, Ma Gongyu, Pan Boying, Chu Deyi, Huang Binhong, Wang Fu'an, Qian Jiantie, Zhang Daqian, etc. Academic celebrities, literary generals and those who are good at ink, such as Zhang Binglin, Wang Guowei, Lu Xun, Ye Gongqi, Zhang Shizhao, Guo Moruo, Yu Dafu, Mao Dun and so on. The Shanghai Academy of Fine Arts, founded by Liu Haisu and others in 1912, specially offered calligraphy-related subjects. At that time, the teachers included Jinshi calligraphers Ma Gongyu, Huang Baojiao, Pan Tianshou, Zhu Fujie, Fang Jiekan, Wang Geyi, Zhu Lesan, Qian Shantie, He Tianjian, Zhu Qizhan, Li Jian, etc., and cultivated young talents such as Li Kejian, Cheng Shifa, Lai Chusheng, etc. Another example is Xu Beihong, Feng Zikai, Lu Yushao, Fei Xinmei, etc., all with different backgrounds in art schools. Nanyang College, founded in Shanghai, also offers calligraphy courses, from which Li Shutong, Xie Wuliang, Ma Heng, Shao Lizi, Zhu Dongrun and other books have come out. They had calligraphy and painting practitioners, but more worked in the cultural and educational fields, press and publication institutions, and government departments at that time. Most of them have both the enlightenment of old schools, new-style education and the background of studying in foreign countries, have relatively stable and superior survival resources, and calligraphy is mostly a side business. In addition, with the help of the development of new technologies such as photography and Colo edition printing, the classic inscriptions of ancient times have been transformed into ten thousand and widely disseminated, the charm of theology has been restored, and the return of the thesis under the cover of the style of stele books has become a trend. In Shanghai, a group of scholars represented by Shen Yinmo, Bai Shuo, Pan Boying, etc., specializing in the second king, was formed. They traced back to the Jin and Tang Dynasties, reflected on tradition, and made the maritime style of writing appear eclectic and colorful. Strolling through the noisy downtown of Shanghai Beach, the rows of shop advertisements and celebrity writing shop signs are dazzling. Calligraphy in all kinds, or beautiful and vigorous, or subtle and simple, beautiful. Wandering through it is like entering an open-air maritime calligraphy exhibition hall. At that time, Shen Yinmo, Ma Gongyu, Tang Camel, and Liu Shannong also called "the four holy hands of inscription plaque writing", and many shop plaques came from their handwriting, and the integration of calligraphy and commerce was a momentary grand scene.
In the collision of the blending of old and new cultures, and the stimulation of the aesthetics of emerging civic culture, the maritime book world in the twentieth century has changed over the centuries, and several generations of writers have shown a style of maundy and new and different physical appearances. The following is a brief review of the style of representative writers at sea, and the selection of their key points is briefly commented. The style of the stele school, each of which had its own mysterious Qianjia Jinshi exegesis, rose up, and under the encouragement of Ruan Yuan and Bao Shichen, the style of the stele school gradually became the mainstream. With the publication of Kang Youwei's "Guangyi Zhou Shuangyi" in 1889, the idea of epigraphy was further promoted, and the maritime book circle of the Republic of China, represented by the former Qing Dynasty, occupied a dominant position in this historical aesthetic background. While inheriting the style of the monument, the maritime writers are facing the free and eager to taste the new art market, and with their respective intellectual reserves and individual aesthetics, the creative concept of seeking flexibility and self-improvement is extremely active. Wu Changshuo is a master of poetry, books, paintings and printing, and is also a benchmark figure in the Maritime Art Garden. Calligraphy is famous for its seals, rooted in the hunting of ten drums, dedicated to decades, from similar to similar, self-style. The stone drum of the book changes its form and grabs its god, gives way left and right, takes the momentum and fights, and is unique. While emphasizing "being an apprentice with the ancients", he paid more attention to "being out of one's own mind", which is a new example for the ancients. Wu Changshuo is also a master of opening the partition wall with an art. Its affiliation, truth, line, and grass are all based on the seal method, which constitutes a book style system with a unified style and a strong personality recognition. This kind of humble and simple, heroic and strong artistic vocabulary has also dominated the construction of the aesthetic realm of his painting and seal carving, and fed back into the book with painting and printing, and finally formed its old and spicy and majestic unified artistic appearance. At that time when the country was weak and the people were humble, it had the meaning of boosting the national spirit.
Wu Changshuo Seal Book Eight Words Lian "The Difficulty of Entering Virtue Is Like a Boat on the Water Hidden in the Mi ruo mu jing dong" Dou Lu Zang
Shen Zengzhi, who lived in Shanghai as a widow, was a wise man who had a wide range of knowledge in the official field of the late Qing Dynasty and had rare knowledge of the world. He was well versed in many fields such as science, historiography, Buddhism, and jinshi exhortations, and was revered as a "confucian of the modern world.". Shen Shijing Tang Kai Jin Ti early, and then transferred to the stele school, got the pen in Bao Shichen, loved Zhang Yuzhao, and collected a wide range of inscriptions from the Han and Wei Dynasties; in his later years, he changed his meaning sharply, took the square pen in the northern stele, and obtained simplicity in the Han stele, taking the zodiac Zhou and Ni Yuanlu's overturning and circling trend, forming a unique style of writing by the Shen clan, which was strange and beautiful, and made the ancient Zhangcao move towards modern times. He is a model of "learning into books", it is precisely because of his learning and insight that Shen Zengzhi, who has been late in the early days of the Republic of China, has become a person with great ability to break the cocoon, and he has inspired a generation of calligraphers living in Shanghai, such as Yu Youren, Ma Yifu, Xie Wuliang, Lü Fengzi, Wang Qiumei, Luo Fukan, Wang Yuchang, etc. are all influenced by Shen Shu.
Shen Zengzhi Linzhang Cao"Qiu Liang Ping Shan Ti Dou Lu Zang
Kang Youwei, the protagonist of modern epigraphy, also lived on the sea in his later years, boosting the style of steles in Shanghai on the spot. Kang Youwei is the most effective in the "Shimen Ming" and "Shimen Song" and other Cliff calligraphy, and the fusion seal is subordinate to the line kai, the lines are round and round, the ink color is pale, and the weather is simple and clumsy. The knot is tight and loose, vertical and horizontal, the mood is ethereal, with a strong northern monument interest, and it is also a weather of its own. Unfortunately, this old eye is high and low, and the shortcomings of the wired quality are vain when the book is written. The old man told me that one day when a friend went to visit him, he was writing The Yang Lian with a pen, and asked in a friendly and strange way: "Kang Shengren, your penmanship is not the same as what you wrote in "Guangyi Zhou Shuangyi"? Kang replied, "Books are written for others to read." It is evident that this public cunning and cunning thinking may not be a good deed, and an accomplished theorist is not the same as creating everyone. Kang Youwei accepted Xu Beihong, Liu Haisu, Xiao Xian, and other disciples during his stay in Shanghai, all of whom were practitioners of the inheritance of his calligraphy of the Stele School, and they were all junjie for a while. Li Ruiqing yu Hu Zi, also known as a heavy time. His books were first learned by Huang Tingjian, and later learned from Huang Tingjian, and later learned from the Jin, Tang, Han, and Wei Dynasties, and the style of writing was vigorous, jerky, and sparse, and the penmanship was old and spicy and rich in gold and stone ancient meaning, and it was a faithful stele school. Shen said that in Shanghai, he would rely on selling words to survive, and it was necessary to cater to the market's "good novelty" taste. Therefore, since then, he has used a trembling pen in his creations, and the lines of the pen are trembling like earthworms. The rational use of astringent pens may increase the interest of calligraphy, overemphasize the habit of instantism, and the board is not smooth, lacking natural writing. This is also an example of the book world that caters to the market. It is said that he "receives no less than ten thousand gold a year, and he has no worries about food and clothing." Later generations of famous artists such as Li Jian, Hu Xiaoshi, Lü Fengzi, Zhang Daqian, Qian Haozhai, etc., all of them were patriarchal and their book style was all the rage. Zeng Nongqing worked with Li Ruiqing as an official in Beijing in his early years, studied calligraphy together, and after his death in Shanghai, he was called "Southern Zengbei Li" with Li Ruiqing. Zeng Xi studied Calligraphy in Han Li and the North Stele, especially in the "Fistula Ming", "Zhang HeiNu Monument", "Xia Chengbei" and "Huashan Stele". He took the seal as the basis of the round pen, the poor Wei and Jin, communicated with the southern and northern steles, integrated the square circles, used the pen to pass through the luster, the lines were rigid and soft, and formed a broad and longitudinal, elegant and beautiful style, compared with Li Ruiqing, especially Xianchong and Yayi. The revival of the thesis, looking back at the Jin and Tang dynasties, the so-called thirty years of Hedong, thirty years of Hexi. At a time when the style of calligraphy in the Republic of China was still dominant, the return of Thexue had already taken off and formed a strong force in Shanghai, the center of multiculturalism, and there were maritime scholars represented by Shen Yinmo, Bai Shuo, Pan Boying, Deng Sanmu, Ma Gongyu, etc. They adhered to the traditional path of theology, struggled to revitalize themselves, and took the study of theology as the best, but they did not abandon the study of steles, soberly and dialectically examining and playing the function of subsidizing the study of steles to the study of theology.
Shen Yinmo is a leader in the promotion of theology in modern times. The second king of the Shen clan Shuzong, through the Tang and Song dynasties, Rongye Su and Mi, also involved in the Six Dynasties stele. When wandering in Chongqing, every morning I must grind a small bowl of ink, and the degree of diligence can be seen. Shen's middle-aged couple is also qing, and he tries to say that the book Xiao Kai should not lose Wen Zhengming, in fact, this statement is also quite pertinent. His calligraphy, proficient in the use of pen, scrupulously adhering to the center, clear and handsome, gives people a gentle, flowing, elegant aesthetic feeling. In his later years, Shen Yinmo was highly myopic and almost blind. In the 1960s, at the famous Japanese calligrapher Toshima Harukai Book Fair, Mr. Toshima watched the big couplet, and his nose was almost pressed against the work. Usually, if you write a work, the family will dip the ink and hand it to him, indicating the head of heaven and earth and the line, but the whole text can be written in one, which can be described as: "With God encountering instead of seeing, the official knows and God wants to act." It is also the best interpretation of "book for heart painting".
Shen Yinmo Xingshu Mao Zedong's Seven Laws of Poetry on the Occupation of Nanjing by the People's Liberation Army
Bai Banana is a native talent on the sea, he combines "talent", "madness" and "elegance" in one, sexual spillage has a Jinren style, and also maintains a consistent madness and freedom in art, and is a literati with wind and bones. His poems, books, and paintings are all allowed to be called a generation. The Second King of the White Banana Scholar, proficient in walking grass, the flanking turn, the style is elegant and leisurely, the atmosphere is like an orchid, and it emits a cold and simple atmosphere. His calligraphy integrates poetry, painting and even the spirit of indifference and self-preservation, confucianism and leisure, and rhymes directly with the Jin and Tang Dynasties, and is recognized as a wonderful person who returns to the era of the Two Kings.
White Banana Xingshu Sun Qiyu "Handling the World"
As one of the important figures in the revival group of maritime thesis, Ma Gongyu is known as the "all-rounder of the art garden", and all kinds of bodies are exquisite, especially good at lists. He Zhen, Cao took the Fa Zhong, and Wang, with his thick pen strength and mellow breath, and his subordinate "Shi Men Song" and "Yi Ying Stele", the seal book was powerful in the stone drum and Qin Zhao version, and it was also quite powerful. Ma Gongyu advocated "moderate and peaceful", the style of writing was neat and balanced, beautiful and pure, with mellow and guli beauty. He and Deng Sanmu can be called the "Gemini Constellation" of all four bodies. Pan Boying is also an active admirer of the Erwang Shufeng. He is a master of art and works part-time poetry. His books are attributed to Wang Xizhi and Chu and Zhao, and the books are beautiful and vigorous, and Xiao Shan is detached. Cursive writing is derived from the "Seventeen Theses" and the "Book Genealogy", which has two kings. And with the pen is resolute and dignified, clumsy and born together, to neutralize the beauty. Stele and post integration, most of the maritime calligraphers in the late Qing Dynasty and the early Ming Dynasty followed the style of the stele school, although in terms of personal achievements reflected a stronger stele face, but the experience of learning books or starting from the post and followed up on the stele, or supplementing the stele with the stele, such as Shen Yusuo's stele into the post, Li Ruiqing's stele into the stele, in fact, the stele and the post mutual assistance has always been an endless undercurrent. By the middle of the Republic of China, the influence of the dispute over the stele had gradually subsided, and the scholars stepped out of the "epigraphy shroud" and examined the advantages and disadvantages of the stele with a completely open eye, integrating the two with each other, learning from each other's strengths and complementing each other's weaknesses, "like spring in the flower, like salt in the water", forming a new state of amusement without a trace. For example, master Hongyi's calligraphy contains his dialectical absorption of the inscriptions, and also integrates his aesthetic cultivation in many fields such as modern music, painting, and drama, which confirms the saying of the ancients that "shu Zen silent evidence"; for example, Sha Menghai, who has studied deeply in literature and history, archaeology, calligraphy, seal carving, etc., the style of writing has changed from the Shang yun in his early years but seeking to be fair, to the shangqi of pursuing the majestic in his later years, and the strength of the stele school with both the intention of swinging and the simple and simple stele school; such as Lu Weizhao, who is deeply learned, from the early years of worship of monuments, to the painstaking and lonely interpretation of "Cockroach Flat" "Body; such as Zhu Fujie, who has been the focus of his research and creation with seal writing all his life, his cursive writing of the Two Kings with inscriptions, showing the chicness of the stele bones on the face; and for example, due to the paralysis of his right arm, Fei Xinyi, who changed to writing books with his left hand, went against the trend and wrote pens, and the calligraphy formed a unique style of clever and clumsy use, which seems to be strange anyway. In addition, Xie Wuliang, Ye Gongqi, Yuan Kewen, Song Jiding, Zhao Lengyue's "Hair from the Heart, Fun Tiancheng", Shen Zengzhi, Wang Yuchang, Yu Youren's "Entering the Grass with a Monument, Opening a New Realm" is worth mentioning, as an artistic calligraphy, very different from the writing of ordinary brushes. The intervention of outstanding painters such as Xu Beihong, Liu Haisu, Lai Chusheng, Lu Yushao, Xie Zhiliu, Tang Yun, and Cheng Shifa, who are proficient in calligraphy, is inseparably related to the intervention of baihui jingfang in the shanghai 20th century book world.
Li Shu and the Four Sayings of the Kaishu Lian "Knowing the Truth and Respecting the Ancients" xiling seal society collection
Lai Chu Sheng Li Shu Excerpt Shi You "Urgent Chapter"
The academic theories of the maritime book world achieve theory and creation, such as the wings of a bird, left and right, in order to be able to soar and soar. In the academic theory of calligraphy in Shanghai, the traditional study of calligraphy historiography is an area that has been deeply excavated and achieved high achievements. In 1930, Sha Menghai published an article in oriental magazine "Calligraphy in the Past Three Hundred Years", which was a pioneering work of macroscopic system research with Qing Dynasty calligraphy as the main body, and its excellent insight occupied the commanding heights of the research methodology of calligraphy historiography at that time. The text divides Qing Dynasty calligraphy into five schools: Thesis, Epigraphy, Seal Calligraphy, Lishu, and Yanzi. Through the systematic elaboration of the style and genre inheritance of the works of various schools of calligraphers, the overall appearance of the development of calligraphy in the Qing Dynasty was outlined, and the foundation for the study of calligraphy historiography in the Republic of China was laid. From 1934 to 1935, Ma Zonghuo's "Book forest algae" and "Book Forest Chronicle" were published successively. In addition, there are Hu Xiaoshi's "Introduction to the History of Chinese Calligraphy", Li Jian's "History of Chinese Calligraphy", and Ma Gongyu's "History of Chinese Calligraphy", all of which are masterpieces of this period. The maritime book world has also achieved outstanding results in the theoretical exploration of calligraphy techniques. In 1932, Yu Youren initiated the establishment of the Standard Cursive Society in Shanghai and edited and published the "Cursive Monthly", and the handwritten collection was printed with the "Standard Cursive Thousand Character Text", making the advocacy of standard cursive a huge calligraphy innovation movement. From the perspective of practical application through the ages, Yu Youren put forward that "writing is a tool for human beings to express their thoughts and develop their lives, its structure is ingenious, it is difficult to use, and it is the most important thing about the future of the nation", and established four standards for standard cursive writing: easy to read, easy to write, accurate and beautiful, and the promotion and popularization of cursive is indispensable.
Wang Yu Chang ZhangCao Four Words Lian "Brilliant Future, Picturesque Rivers and Mountains" Collection of Shanghai Calligraphers Association
Shen Yinmo, as a leading figure in theology of theology, wrote his first treatise on the book in 1943, "The Five-Character Method of Writing", which distinguished the confusion between the five-character writing method and the four-character stirrup method, expressing his understanding of calligraphy at that time. His academic theoretical works on calligraphy, more published after 1949. He explored the art of calligraphy and its techniques with the rigor of modern scholars, and made an in-depth analysis of the problem of penmanship, and his "center forward theory" and "penmanship five-character method" have influenced generations and made due contributions to calligraphy research, education and popularization. Bai Shuo, the peak figure of the return of Thessalony, wrote theoretical works such as "Speech on Learning Calligraphy" and "Record of Speech and Art in the Clouds", which are not many, and they are of great quality. Each lecture of his "Ten Lectures on Calligraphy" can span the ancient and modern times, with a clear personal point of view, meticulous and profound. In addition, Pan Boying is the author of "Miscellaneous Treatises on Calligraphy", "Chinese Calligraphy", "A Brief Treatise on Chinese Calligraphy", and Guo Shaoyu is the author of "Peeking into the Evolution of Fonts from Calligraphy". Maritime calligraphers such as Gong Delin, Pan Xuegu, and Hu Wensui have also done a lot of research and popularization work in calligraphy theory. The unity of knowledge and action, the controversy of a hundred schools of academic theory, the vitality, and the percussion of calligraphy creation complement each other, and the dialectical use makes the maritime book world of the twentieth century always roar forward on the golden light road that combines theory and practice.
Author: Han Tianheng
Editor: Chen Shaoxu