Mr. Gao Ershi (1903-1977), formerly known as Xi Huang, was known as Shu Kai, Shu Wen, Ma Tie Ren, Qin Lao poet, etc. People from Dongtai, Jiangsu. Born in a family of private school teachers, he studied diligently since childhood, and was admitted to Yangzhou Normal School at the age of 16. The first time he met Mr. Ge Gongzhen, Han Hanjun, and Zhang Shizhao, they all benefited a lot from learning for others.
In his second year of high school, he devoted himself to the study of literature, history and philosophy, poetry and song, and the creation of calligraphy art, with outstanding results, and was upright and frank and sincere. In the 1965 controversy over the authenticity of the "Orchid Pavilion Preface", gao Ershi's famous "[Lanting Preface] Authenticity Refutation" said, "I am not happy to follow people to lean down and make plans." At that time, Mr. Guo Moruo's "Lanting Preface is the basis for future generations" came out, and there were many people who agreed, but the second year of high school was unwilling to follow the customs, held on its own, and took the lead in expressing dissent. After Mr. Zhang Shizhao forwarded it to Comrade Mao Zedong for reading, Mao Zedong approved the publication of this article, and wrote to Guo Moruo and others, proposing that "the pen and ink lawsuit is better than nothing", which was a good story for a while.
The calligraphy of the second year of high school, judging from his surviving works, has been studied in Lishu, Zhenshu, Xingshu, and Cursive, especially zhangcao. The composition of the cursive style and tone of the second grade of the second year of the high school, which integrates the composition of the second king, the father and son of Tang Taizong, Zhang Xu, Huai Su, Yang Ningshi and Song Ke, is vaguely influenced by Mao Zedong's calligraphy. In the second year of high school, the study of suitable governance and calligraphy all seek its profound reasoning, obtain its source of law, are not bound by patriarchy and teacher inheritance, do not adhere to genres, but can "go in and out for thousands of years, traverse hundreds of dozens, learn from each other's strengths, get their own rings, and go beyond the image." His cursive writing has also reached the peak of contemporary times, which can be described as different from Lin Sanzhi.
Inscription Stone Gate Ode 1952 33×15cm
Seven Zan Jiao Yulu 1960s 137×35cm
Invite Hu Xiaoshi to swim in Houhu Lake 27×11cm
I Ching Lecture Transcript 1960s 31×43cm
Linxi Chapter 34× 28cm
Pro-Immortal Living Law 1960s 23×33cm
Two inscription poems 78×314cm
To Bao Song Yan Wu poem 22×77cm
It is composed of 137×37cm
Lintang Gaozong Tang Dynasty Sutra Gong 33×38
Moling Road sent to the old man of Gutong 31×19cm
First collection of poems 31×50cm
Title Yaming Huangshan Figure 22×36cm
Reading a multi-festival overview Nourishing qi in yin oh 1965 97× 25cm×2
The Holy Name 35× 22cm
Tall tree thick clouds blow over 29×17cm
Lan Ting refutes the draft (partial) 20×395cm
Blowing Dragon Dragon 27×35 cm
Supplement Oriental Left ShiQiu 33×38cm
Chapter grass is the ancestor of the present grass 26×8cm
Disciple 3,000 poems 36×23cm
Gu Tong Ninety-three Shou Poem 1973 41× 22cm
Gu tong old man eighty-nine shouzan 35×21cm
Happy Lonely Tong Old Man Flew to Hong Kong News 23×41cm
Letter to Xiao Ping
There is nothing difficult in the world, just climb 97× 24cm×2
In the 1970s, junyin sent condolences to the elderly in Gutong, 35×40cm
Chun Han Yin Living Poem 22×33cm
People's Day New 24×30cm
Lintang Taizong screen post 42×56cm
Linsong Ke Book Spectrum 27×39cm
Linxi Chapter 33×50cm
Gift of Rushan Poems 1975 32×43cm
Title Yaminzo Wine Seven Absolute Two Songs 1977 43×57cm
Title Lu Yu Shao landscape painting 18×52cm