For Pu Xinhu's calligraphy, people seem to pay far less attention to his paintings, in fact, Pu's calligraphy has worked far more than painting.
Qi Gong believes that "Mr. Xin's calligraphy skills, in all fairness, are much deeper than his painting skills."
Pu's most handed down works are calligraphy and cursive writing, and the most representative of his calligraphy style is also his calligraphy and cursive writing. In terms of artistic standards, calligraphy is better than rhyme, and cursive rhyme is better than law.
The strokes of this joint knife and axe, and the tight and loose knots on the inside reflect the characteristics of the Guifeng Monument.
And its ethereality seems to be even more than this stele; the horizontally folded and elongated strokes are given by the monk's body, not the pavilion body.
After crossing the sea to Taiwan in 1949, Pu Xinhu was elected as one of the "Five Families of Crossing the Sea" for his calligraphy achievements, the other four being Chen Hanguang, Yu Youren, Liu Taixi, and Tai Jingnong. As far as Pu's achievements in the study of the Thesis are concerned, it has the reputation of "the first person in Taiwan to study the thesis in three hundred years". Pu Xinhu's good friend Tai Jingnong once commented that Pu Shi was "a genius zhuo jie, and his pen is super clever, so he can work in various bodies."
The grass is flowing, blending with the 'two kings' and having its own charm. The calligraphy should be in order, and the Tang dynasty people are also sometimes seen as princes, which is also due to the aristocratic fashion of the past. Xiao Kai Shu is purely a Jin person's Law, elegant and energetic, very rare, but not much to do", what I saw was very true.
In the early years of Pu Xinhu's dakai, he mainly took the three families of Fa Yan Liu Ou, and later used a lot of force in Pei Xiu's "Guifeng Monument". Xiao Kai first learned the "Second King" and later wrote the Sui Monument.
In addition to the Letters of the Jin and Tang Dynasties, Pu Xinxuan, as the grandson of the Qing Dynasty, also made a lot of efforts to the letters of Yong Yao, the Prince of Cheng. Yong Mao's calligraphy is mainly due to the two families of Ouyang Qian and Zhao Mengfu, and he also worked on the Guifeng Monument.
Obviously, Yongyao calligraphy was regarded as a model of court calligraphy at that time, and the Manchu sense of self-confirmation was obvious. Pu Xinyi's calligraphy "is derived from Pei Xiu's Guifeng Stele and Prince Cheng's gestures, the white cloth of space, the wave of the strokes, and the obvious characteristics of maintaining a stable balance between the line spacing, constantly copying his own style, and also echoing the Confucian moral tradition."
For Pu Xinxuan, the meaning of maintaining the ancestral ritual system is far greater than the meaning of self-interest expression, and cursive writing is the opposite.
General evaluation of Qing Dynasty calligraphy, most of them in the form of pavilions, its characteristics are simply summarized as "Wu, Fang, Light". In fact, the style of the library was not static in the Qing Dynasty.
Although Pu's overall achievements in cursive writing are not as high as his cursive art level, the writing techniques are not complicated, and there is even no lack of stylized writing meaning.
However, what his calligraphy works exude is a rare and elegant atmosphere today, and seeing its words, such as seeing its people, this is the aspect of Pu Xin's calligraphy that deserves people's attention, rather than just focusing on the height of its dot paintings and structure, but purely for the analysis of art style.
As far as Pu Shi is concerned, when he talks about the aesthetic standards of calligraphy in various bodies, he also advocates "Xi Kai, get his fang strict", which is obviously a continuation or maintenance of this orthodox concept of calligraphy.
Since the script expresses a human nature that is bound or even suppressed, then this repressed must find an outlet, which can explain why Pu Xin's cursive style is so free and ethereal.
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