"The Complete Works of Shen Peng" | Zhou Junjie

Mr. Shen Peng's calligraphy review

—— The Complete Works of Shen Peng, Calligraphy Scrolls

Zhou Junjie

Mr. Shen Peng is an important city in the contemporary calligraphy community, and with his profound artistic thoughts and creative practices, he has influenced the trend of contemporary calligraphy and put forward ambitious goals and feasible measures for the healthy development of calligraphy in the future. Mr. poet, scholar, calligrapher, book leader in one, coupled with his professional calligraphy and painting book editor, in his lifetime editing and publishing more than 500 kinds of various types of calligraphy and painting collections, calligraphy and painting commentaries, and he himself has written more than a million words of art criticism and more than a thousand poems, so Mr. Li can also be called a thinker in the contemporary calligraphy and painting industry, or a philosopher. With his ideological drill, he deeply excavated the most core ideas in the calligraphy tradition, and with the help of the regular arguments in Western art theory, he theoretically established the categories, characteristics and laws of calligraphy as one of the art disciplines, thus opening up an artistic path that can reflect excellent traditions, distinct sense of the times and unique personal style for the contemporary book world and for Mr. Himself's calligraphy creation.

The revival of contemporary calligraphy began in the late 1970s and early 1980s. Prior to this, people's understanding of calligraphy mostly stayed at the level of "writing", and Mr. Shen Yinmo, who could be called "everyone" at that time, only talked about how to write well and write standards. The works that discuss the artistic nature of calligraphy with a stereotypical "materialism" will correspond the strokes to the "objective things" in nature for research, such as a metaphor such as a knife and a tree, and dare not touch the human spirit and the "heart" and "soul" of people, so in the early 1980s, a great discussion on the aesthetics of calligraphy began in the Chinese book world, which can also be called "polemic". This "controversy" lasted for several years, and to this day there are still many different views that explore the characteristics and essence of the beauty of calligraphy art.

Mr. Shen Peng spoke highly of the ancient Chinese Yang Xiong's "book, heart painting also" said, he believes that the connotation of calligraphy ontology is "books like its people", and "books for the heart painting" is to fully exalt the spirit of the subject, so that the calligrapher can reach his temperament and shape his mourning, which is consistent with the essence of calligraphy art. Mr. Li once said: "Summarizing the art of calligraphy with heart painting is too precise and too accurate. He has repeatedly proposed that calligraphy should return to the "heart painting" ontology, because this is the original form of creation of calligraphy, and it is also the highest state of calligraphy as art. In Mr. Shen Peng's article, we realized that "heart painting" is the most accurate and appropriate discussion of the calligraphy ontology, the author's "heart" reflects the rich culture of calligraphy, and "painting" is the form of calligraphy art. According to Mr. Li's understanding, the "form" of calligraphy is the "content" of calligraphy, and Mr. Li clearly put forward that "calligraphy is the art of pure form, and the form of calligraphy is its content". This theory comes from the important argument of the British literary theorist Clive Bell on "meaningful form", although this theory provides a theoretical basis for various Western art schools in the twentieth century, but it is more accurate to use it than abstract Chinese characters. In the article "Calligraphy, Explanation in Comparison", He proposed that words are only the "materials" of calligraphy, and that taking "materials" as text content is "almost the most common misunderstanding, which is paradoxical in theory and useless in practice". He believes that the art form of calligraphy is independent, and he gives an example that Zhang Xu's fragment of the Thousand Character Text is "like a storm, a wild storm, a wanton Wang Yang, and the charm of the language of the non-Guan "Thousand Character Text", which is only due to the height of Zhang Xu's wild grass." In the same way, Zhao Tuo's "True Book Thousand Character Text" and "Cursive Thousand Character Text" are the ultimate of the true cursive method and have nothing to do with the content of the thousand character text." He concluded that the "meaning" of calligraphy does not bear the explanatory nature of the text itself, and there are countless people in history and today who have written the "Thousand Character Text", but they are all valued by the world because of the different "meanings" shown in their forms. What "meaning" does "calligraphic form is content" and "content is form" contain? In the treasure house of Chinese aesthetics we capture the following concepts...

expression. "Radiance" is the most important aesthetic requirement in the creation and appreciation of calligraphy, only bone, tendons, blood, flesh, may be a zombie. Tang Li Shimin said: "The word Fu takes God as the essence, and if The gods are not harmonious, then the word has no attitude." And "God", in addition to appearing in form, is also the mental and psychological state of the subject of the book.

Charm. This is a complete concept that reveals the essence of art, including a smooth breath, rich poetry and harmonious rhythm, and is also a common requirement of various Chinese art.

artistic conception. Wang Guowei once put forward an aesthetic criterion in critical literature, especially poetry: "The realm is not only a scenery, but also a realm in people's hearts, so those who can write the true feelings of their scenes are said to have a realm." Both the "state of mind" and the "material state" are included in it, which is used for calligraphy and can be regarded as "artistic conception".

style. It refers to the works created by the calligraphers with unique artistic characteristics and personalities.

The above aspects are the result of the integration of the main object, and are also the concepts possessed by the combination of the content and form of calligraphy art. They are metaphysical, higher and deeper categories of artistic aesthetics, so Mr. Shen Peng's proposition that "calligraphy art form is content" is a correct proposition that can promote the change of calligraphy ontology with the times. However, at present, some people do not understand this argument, believing that the "content" is the text itself, which is poetry, literature, and classics of traditional Chinese studies. I once listened to an old calligrapher speak at a meeting of the China Book Association, who said that he had pursued the improvement of the cultural taste of calligraphy for many years, and had copied the classics of traditional Chinese studies, the four famous works, and the complete collection of poems of past dynasties in Xiao Kai, and his xiao Kai level was as naïve and tacky as a beginner, and the artistic beauty of the calligraphy body, such as knotting, pen, ink, and chapters, could not be involved in him, so that calligraphy became an appendage of the text. In the face of such remarks and the so-called "artistic practice", Mr. Shen Peng believes that calligraphy relies on words, and the viewer often cannot be separated from the content expressed by words, but this does not mean that calligraphy has no independence, and calligraphy art takes the independence of calligraphy ontology as the premise of existence. "As an aesthetic object, calligraphy art is 'the image of nothingness' (Zhang Huaihuan), which does not have the ability to directly understand life and reflect life, and calligraphy conveys the temperament, inspiration, artistic conception and temperament of the writer, so as to achieve the subtle role of the recipient." Mr. Shen Peng wrote this without indignant questioning: "One of the problems encountered by calligraphers in the process of writing is that they are satisfied with the expression of the content of the text, or are they highly exalted in the subjective spirit?" Is it inactive copying, or is it an emotional creation? Mr. Shen Peng believes that the art of calligraphy is expressive, individual and creative in its essence, and if it is reduced to the role of words as carriers and symbols, the practicality is highlighted, but the artistic requirements are greatly reduced, which suffocates the broad world of calligraphy art. He stressed that the art of calligraphy should establish cultural value orientation with ontology as the core, and believed that "calligraphy is pure and beautiful in essence, it enlightens people's hearts and cultivates people's sentiments, and calligraphy has no utilitarianism." Through the unremitting pursuit of calligraphy ontology, its learning and emotions, as well as personal temperament and character, are integrated into the work, thus drawing a clear line with those vulgar aesthetic concepts. "Achieving all-round sustainable development in the constantness of the confirmation of the ontology" is not only a personal pursuit of Mr. Li, but also a wish and hope for the entire calligraphy community.

In an academic interview, when asked by a reporter about "calligraphy is both poetic and philosophical", Mr. Shen Peng said that the two are basically the same, "If Chinese calligraphy loses its profound philosophical and aesthetic heritage, it will lose its soul." But there is a difference between calligraphy and philosophical understanding. The realization of calligraphy also needs to be metaphysical, and its brushwork and its basic skills cannot be lacking." Attaching importance to the "metaphysical" pen and ink technique is the true scripture of the calligraphy world by experts in the book world, while those who talk about culture in the calligraphy itself are still laymen or semi-laymen, which are not helpful for the development of contemporary calligraphy, and it is difficult for individuals to enter the halls of calligraphy. Mr. Shen Peng has been attaching importance to "external skills in books" for many years, such as thinking about philosophy, the importance of poetry to the writer's character and temperament, the relationship between the essence of calligraphy and life, and the relationship with other art disciplines. In addition, he is not generally opposed to the mobilization and psychological preparation of the pre-creation poetic content, but he believes that all "extra-book kung fu" must be completed under certain conditions to complete the transformation into "inside the book", that is, the calligraphy ontology, which has practical significance for creation.

There are four aspects of calligraphy ontology, Mr. Shen Peng first attaches great importance to the knot of the word, in the seal, affiliation, truth, grass, line five-body book, although the knots of each body are very different, but there are certain rules, such as flat, interspersed, pitching, avoidance, Golden Rule and so on. Mr. Shen Peng follows the rules in this regard, but has made breakthroughs in specific practice. The principle of breakthrough is, first of all, the integration and deformation of various book styles, and in addition, bold reorganization according to the needs of the chapters, so as to get rid of the calligraphy of the ancients and form its own unique artistic language. For the primary factor of the "knot body", over the years, from the inheritance of the ancients to the creation of the family law, Mr. Has made great efforts, and we have felt it from the creation of Mr. Li's various books. In the actual creation, the "pen" of the body is both difficult and its importance is no less than the factor of the body, the soft brush writes a strong and powerful and rich line, "the pen is soft and strange", it takes many years of exploration and practice to gain something. How to write the strength of the line and avoid softness, falling, and floating? Mr. Li Keyan got a true transmission from Mr. Li Keyan: the line should be understood as the extension of countless points, accumulating points into lines, so that the lines will appear astringent, hairy, and intrinsic effects like "cone painting sand" and "house leakage marks", thus avoiding light, slippery, and floating. In the use of ink, Mr. Wang absorbed Wang Duo's ink increase method and pursued the five-color changes of focus, thickness, weight, light and light. According to the author's understanding, contemporary people have no time to study ink by themselves, and mostly write with ready-made ink, while Mr. Shen Peng soaks in ancient ink blocks, dissolves and then dips the ink to adjust the ink to produce the effect of su mo. In this way, coupled with Jiaxuan, the richness of its ink rhyme is like Qi Baishi painting shrimp, and a variety of ink color levels appear. As for the chapter law, in addition to inheriting the various forms of his predecessors, He also attaches special importance to the exploration results of the Japanese and European modernists, such as the treatment of large black and white contrasts, the few-character books that shock the viewer, the contrast between straight lines and curves, circles and squares, etc., and the integration of Chinese and Western aesthetics provides theoretical and practical support for its call for "originality". The exploration and application of the above skills is the basis for the success of calligraphers, and it is also the only way to become a calligrapher, Mr. Shen Peng has paid decades of painstaking efforts for this, and has also achieved remarkable achievements.

In the above four projects of calligraphy ontology, the "knot body" and "pen" of the character are its core, and the mutual conversion, reference and integration of different knots and different pens is the key to creating a new style of calligraphy. Before we explore Mr. Shen Peng's several book styles in a more comprehensive way, it may be quite convincing to take a review of his calligraphy works. Mr. Shen Peng said of his creation of the Thousand Character Text: "The Thousand Character Text does have a certain enlightening effect in expounding nature, society, history and ethics, and it is also catchy to read. But in the end, it is a mixture of good and bad, and a considerable part of the content is stale education, but as a calligraphy work, it may also be considered to be an independent appreciation, for calligraphy, the text content is of course important, but it is difficult to play the ultimate role. "Mr. Shen Peng is by chance at the request of a friend to write the words that almost all the writers have written for thousands of years, and in the face of many classic texts, it is difficult to write works with different styles, different calligraphic meanings, and high taste. This is a very difficult test for the author's thinking ability and creative level. As a contemporary calligrapher, we must not follow in the footsteps of any calligrapher in history and carry out imitations with obvious traces, but also break through the ancients and write a distinct personal style that belongs only to this era and what Hegel called "this one". Mr. Shen Peng wrote the European Script when he was young, but at this time, when he wrote the "Thousand Character Text" in Ou Yi, it was obviously not his pursuit, and the script was extremely mature by the Tang Dynasty. Ou, Chu, Yan, Liu, and others have already made a summary of the "end here" for the book. Tang Kai to the Song to form the imitation Song style of the Song edition of the book, to the Ming and Qing dynasties to become a pavilion body that destroys individuality, the high maturity of the Tang Kai book, the creative component hidden in the text seems to have exhausted time, especially for Mr. Shen Peng, who has a strong sense of innovation, it is not the best choice. What to do? It was also necessary to find a way to create from tradition, so Wei Kai, Zhang Cao, Jian Mu, Shu Shu, Li Shu, Seal Shu and other more simple, deep and more meaningful books became the object of Mr. Wang's exploration. After many repeated attempts, Mr. Wei found inspiration from the Wei Ti kaishu, especially the more free and strange Wei epitaphs, and abandoned the style of "Dragon Gate Twenty Pins" with obvious twists and prominent gui angles. On this tone, it is almost a simple meaning of chapter grass. The use of pens is mostly in the style of flying in the book, such as "Yang Huai Table", "Shimen Song" and so on. On this tone, the large seal is mixed with a pure center and a strongly arbitrary pen method such as "Scattered Disc", which is standardized and free, calm and flying. However, if you taste it more carefully, the cursive meaning of free penmanship is revealed in the whole rigorous italic method. The whole work can be said to be in the rigorous "law" to find the meaning consistent with their own personality, temperament, and aesthetics, but it also gives people a sense of "impossible" full of rigorous law.

This realm and height can be achieved on the basis of the author's familiarity with the history of calligraphy and his accurate grasp of various calligraphy styles and styles in the calligraphy ontology. His books are widely taken, the inscriptions and posts are integrated, the style is solemn and simple, and the odd and positive are born together, which can be described as a comprehensive breakthrough of the predecessors, which belongs only to our times and also belongs to Mr. Shen Peng's artistic masterpieces, and the ideological value and artistic value embodied in it will have a great enlightening effect on the contemporary calligraphy community. There are not many pure letters written by Mr. Shen Peng, and even if the plaque is inscribed, it is also the meaning of the line in the letter. In an exhibition in Japan many years ago, Mr. Li exhibited the four-word link "Absolute Canyon as a Pool, Dividing Rocks and Quenching Que", which was written in pure Wei Bei's penmanship, which was simple in opening and broad in momentum, and the knot body took more of the meaning of "Dragon Gate Twenty Pins", while the pen was based on the large seal brush method of the center, weakening the meaning of the square fold of the original stele, which can be described as a rare masterpiece of calligraphy in Mr. Wang's life. What was exciting was that we saw in Beijing the "Monument to the Burning of Zhao Jialou" written by Mr. Zhao in 1992, which is probably the only multi-character inscription written by Mr. Zhao. The meaning of the characters has something in common with his "Thousand Character Text", Wei Kai has a strong meaning, but from the longer knot, we also feel the traces of the hard work that Mr. Ouyang Qianshu did when he was young, and the twists and turns of the strokes occasionally appear in the unique Tang Dynasty's Gui angles and skimming paintings. This is a work that integrates Wei and Tang Kai books, and only in this era can appear in style, if you want to compile the history of ancient and modern inscriptions, this work should be selected.

The reason why we first deal with his calligraphy when discussing his works is because according to the practice of learning books, all scholars start in italics, which is the basic skill that the calligrapher must make great efforts to lay when he is young, and whether there is such a foundation is closely related to whether or not he can achieve greater achievements in art in the future. In addition, we have also noticed a phenomenon that in the long years, no matter what kind of body the accomplished calligrapher chooses as the main target, he also more or less has to get involved in the seal book and the lishu, because, from aesthetics to the method, the seal is especially the great seal and the Hanmo cliff are the source of calligraphy. The Great Seal is three generations of golden text, and the whole atmosphere is ancient, simple, and elegant. The carved stones in the book are bold, clumsy and full of aura and childlike feelings, both of which are typical of the Chia Tai weather. Mr. Shen Peng has worked hard to copy the "Scattered Disk" and "Yu Jizi White Disk", and has dabbled in Han Wa Dang, Tang Stele, etc., which has obtained the profound meaning of the sages and the pen of the pure center, which is consistent with the path taken by everyone in the book world in the past hundred years. In the future, the calligrapher may not mainly attack the seal book, nor will he become a seal calligrapher, but in practice, he must sink into it, find its source, take its shape, and take its breath, with the purpose of integrating with other book styles, which has almost become an unavoidable law in the book world in the past hundred years. As a calligraphy theorist and creator, Mr. Shen Peng not only realizes that the three generations of JinWen have an important enlightening effect on the improvement of aesthetics of calligraphers, but also that it is the only way for his works to reach the realm of Shenxiong, Hunmu and sublime beauty in creative practice. We can feel the choice and trend of his calligraphy practice from the large number of seal books copied by Mr. Wang, but it is a pity that mr. Li occasionally uses the word "recreation" in the big seal book, and we have not been able to see more of Mr. Seal Book creation, which is quite regrettable.

After we went through Mr. Li's works, we found that Lishu is one of his main books, and the amount of creation is quite large, which is very unexpected, so it has become the focus of our attention. Mr. Li has selected famous monuments in the Eastern Han Dynasty, such as "Yi Ying", "Shi Chen", "Cao Quan", "Zhang Qian", etc., but he is more fond of the cliff carvings of the two Han Dynasties, such as "Yangquan Messenger", "Lubei Majesty Stone Inscription", "Wufeng Ernian Carved Stone", "Laizihou Stone Carving", "Shi Men Song", "Yang Huai Table Record", "Three Old Secret Characters Taboo Day Carved Stone" and so on. Its learning method is mainly based on observation and imitation, mind pro, looking in the eyes, remembering in the heart, and dissolving in the hands, from a self-statement written by Mr. Li, we can feel the uniqueness and effectiveness of this method: "If the ancients want to 'enter', then I really did not do enough... I may have a little strength, the classics of my true love, will be repeatedly pondered, infected with breath, silently read a certain word, a certain brushwork, when creating, unexpectedly flowing out of the bottom of the pen. "Mr. Li's perceptual learning method has been used in various book styles, and there are many studies for Lishu, and we can really feel and understand the uniqueness and effectiveness of this learning method from a large number of Lishu works. Because of the many years of editing calligraphy and painting books, Mr. saw the bold, simple, dull, clumsy and spirit of the Han Dynasty Moya ancient style is very much, although Mr. Jiangnan people have a beautiful side, but the reading is very wide, asking chinese and foreign, so at the same time has a broad mind and easy to be strong, wild style of the string gently plucked that resonance and temperament, and all this can be proved by the works.

Mr. Shen Peng has copied the Western Han Dynasty's "Yangquan Messenger Smoke Furnace Inscription" more than once, and the lines in 2012 are vigorous and elastic, and their pen meaning seems to come from the golden text, while the lines in 2015 emphasize the rigid side, and the next stroke is heavy and powerful. The meaning of the former book is translated into Lishu Doufang's "Night Tour of Shanghai Huangpu River" and "Huizhou West Lake Manbi", while the latter style is embodied in Zhongtang's "Gift to Liang Dong", "Yipu River", "Liang Ren Gongyu Gift to Beijing Sport University 60th Birthday" and other works. Again in detail, the language of this line is mainly derived from the cliffs such as "Yang Huai Table" and "Chu Chu Dao Carved Stone", and the knot body is loose and loose, seemingly inadvertent and rigorous, with a strong pen, simple and astringent. Since then, Mr. Shen has created several large-scale works of six feet and exquisite fans in the vastness, all of which have formed a style of high antiquity, purity, strong emotion, and profound meaning, which is unique in the contemporary book world and belongs only to Mr. Shen Peng. However, Mr. Li did not stop here, after many explorations, Mr. Li also incorporated cursive and concise meaning into his subordinate books, from "The Three Realms of Kingdom Maintenance", "Cai Jue Dun Teaching Union", "Bu Zhi Dan Jue Lian", "Jingshan Ancient Acacia" and "Twenty Years to Wu Hou Ancestral Temple" written for Chengdu Wuhou Ancestral Hall Seven poems, including knots, pens, ink, more and more spontaneous, indulgent and natural, so that people feel that the author's main spirit has been fully expressed and publicized in the work. In addition, Mr. Shen Peng also showed his curiosity and creativity in the strange pursuit and case-making creativity of his friends and units inscribed for friends and units. For example, the wonderful layout of the heavy chinese characters of "Feng Ya Song", the movement of "Zhangbi Ancient Castle" like a flying swallow, the strong and mu mu of "hometown feelings" with pen and ink, the simplicity and clumsiness of "Liu De Zhai", and the changes in the calm and calm of "Valley Garden" all show Mr. Wang's skill and adaptability. Here we should also mention in particular the plaque inscribed by Mr. "Waving Yun Zhai" many years ago, only three words integrate too many factors: the word "waving" is close to the calm knot of Kaili, the word "cloud" removes the simplification of the first four points of the rain word and the extension of the second horizontal stroke, connects the two sides of the text from the "qi", the most wonderful thing is the enlarged "Zhai" word, the top point is slightly inclined to the left, and all the strokes in the lower half of the word extend slightly to the lower left, especially the elongated strokes, so that the whole word looks like a dancer looking left and right, with a great sense of flying. The square of the word "waving", the flatness of the word "cloud", and the length of the word "Zhai" make the work of only three words produce a distinct sense of rhythm. The whole work is simple, atmospheric, thick, steady in the flying, flat in the strange, coupled with the fall of the three lines of small cursive on the upper left, breaking the three large characters on the left side of the sinking chapter, playing a visual balance. Although we have obtained the above feelings from the analysis, but repeated careful tasting, it can be clearly realized that the foundation of this work originates from the "Ode to the Stone Gate", and its knot, its momentum, and its meaning are closely related to the breath of this tongmo cliff two thousand years ago. Yang Shoujing's book "Commentary on Steles" has clouds: "His writing is really like a wild crane idle gull, fluttering and immortal, and the Six Dynasties Shuxiu faction has come out from here." The Qing people's ancestral wing said: "For three hundred years, the Sihan stele did not know how many people, but no one learned the "Ode to the Stone Gate", covering its strong and unrestrained atmosphere, the timid did not dare to learn, and the weak could not learn it." Mr. Shen Peng not only created with this inscription, but also boldly changed its shape with extraordinary courage, and integrated into the distinctive characteristics of the times, making the whole article more relaxed and open. These characteristics are also shown in his other works. Looking at mr. Lishu, it is unique in contemporary times, and there is no similarity with the historical Lishu. Its method of taking is high and ancient, the style is muddy, and it is taken with a straight line to take the meaning of the big seal, purely like a center forward, and a close view is also seen in the grass into the subordinate, just as the South China Sea clouds: "The upper seal is divided to know its source, the middle uses the subordinate intention to thicken its qi, the side wading through the grass to get its change, and the lower monuments to prepare for its method." "Sir ben is famous for practicing cursive writing, and his writing is enough to become a big person. We believe that the path and achievements explored by Mr. Lishu will enlighten and guide the development of Lishu in our time.

The people who really made Mr. Shen Peng famous were his writings, grasses, grasses and wild grasses. The book is a book that everyone in history must write, and one person and one side, with the development of the times, changes with the times, so Sun Guoting once said: "When the time is changing, the book is the key." "Daily life records, correspondence, and poetry are also mostly written in writing. In the history of Chinese calligraphy, the "Three Great Books", "Orchid Pavilion Preface", "Sacrifice Nephew Manuscript" and "Cold Food Post", have occupied an important position for more than a thousand years and have become insurmountable classics. The historical evolution of Shang Yun, Shang Fa, Shang Yi and Shang Shi put forward from the academic point of view is also an artistic concept established by the development and change of the book. Mr. Shen Peng has a large amount of books, and most of those who write their own poems, inscription plaques, and inscriptions for units are mostly written in writing. His writing style is diverse, there are early European wills, such as the fan-faced Zhang Ji poem "Fengqiao Night Berth" written in 1963, the glyph is rectangular, the ups and downs are obvious, although the pen is sent to the place, but the whole is trapped in the fence of the predecessors, and the personal style is not obvious. Many years ago, the long banner "Spring River Flower Moon Night" has basically separated from the influence of European characters, the text is standardized, the next pen is stable, and it has shown its own face. What is even more striking is that in the past one or two decades, his writings have fully formed their own style, which is far away from the historical masters and does not collide with the artistic language of any contemporary person. In recent years, we have repeatedly searched for the ingredients and reasons for forming his style in a large number of works, and finally realized that the core of his writing is full of Wei style, specifically its italic book that integrates seal, li, Wei, and simplicity, and the factor that makes its core full of changes to form its style is the rhyme of Jinren, the meaning of Zhangcao, and even all the way to He Shaoji and Yu Youren's style of writing. In a nutshell, his writings are the result of the thesis of the thesis and the thesis. Therefore, looking at a large number of his works, he is full of movement in thickness, beautiful in the vast exudate, strange in the middle of the flat, and the author's spirituality and talent are revealed in the depression and simplicity. Su Shi once said: "Calligraphy is prepared in the main book, and overflows into the grass." If you fail to write the book, but you can practice the grass, you have not tasted the zhuang language, and if you let it go, there is no way. "In Mr. Wang's works, we deeply feel the wisdom of The Insight of the Dongpo Residents, and we feel the maturity of Mr. Dongpo's works. Mr. Guan's "Qinyuan Spring Angkor Grottoes", "Neon Ming Extinction Visiting Japan Poems", "Heart Peace Life Visiting the United States Poems", "Reading Lu Xun's "A Q Zheng Biography", "Yamagata Beacon", "Battle of Jiawu" and other works of calligraphy, his brilliant spirit, the grandeur of the atmosphere, the changeable lines, and the magnificence of his intentions are all representative works of Mr. Guan, and they are also the fine works of our time. Another form of amazing Yang Lian, Mr. Yang wrote a lot, most of them are written in writing, because they are engraved in famous places across the country, so they have a great influence, such as "Dragon Elephant Desert Ying Thirteen Character Union", "Pointing and Promoting Eleven Character Union", "World Youth Seven Character Union", "Yangtian Chengshui Fifteen Character Union", etc., are lush and majestic, the characters are righteous, and the gold characters on a black background are well-made, which greatly improves the cultural taste of scenic spots and monasteries. In addition, Mr. Li also wrote plaques such as "Taiqing Temple", "Lu Xun Academy", "Yan Infant Ancestral Hall", etc., which are all over the country, so his writings have been widely known and recognized by people from all walks of life. Mr. Xingshu uses a pen square in the circle, the circle contains the square, the knot body opens majestically and contains a strong bookish atmosphere, which is a professional calligrapher with the ability to freely control the pen and ink, and it is also the highest realm that can be achieved after the fusion of scholar-type literati who have learned to be rich and rich. Just by looking at his writings, people called it "Shen Ti", which can be described as a well-deserved one.

In the history of Chinese calligraphy, there are many cursive works, and Wang Xizhi's father and son have a huge impact on future generations with their classic works, which is an important reason, and the artistic charm of cursive writing itself that integrates cursive writing and cursive writing is also an important factor. The "Two Kings" book is vigorous, beautiful and dashing, and later generations of calligraphers have created many cursive works of different styles and different genres on the basis of their personal personality and temperament, on the basis of Jinren. This state of affairs has also profoundly influenced the contemporary era. Just by taking the proportion of cursive calligraphy received by the National Calligraphy Exhibition, it can be seen that the position of cursive writing in the history of calligraphy and its impact on the contemporary book world and society as a whole can be seen. Cursive writing, as the name suggests, is the combination of line and grass, can be considered to be the line of writing into the grass, can also be said to be cursive into the line, in order to write a good cursive, the writer must have a foundation of cursive, but also to master cursive, the perfect combination of the two can enter the cursive creation of a good situation. Mr. Shen Peng's cursive writing is unique, and his style is different from any scribe in history, and it is also far away from the contemporary schools. Speaking in your own pen and ink language that only you can say is for everyone.

The above mentioned mr. line of writing, but also to further understand his cursive writing, in order to more comprehensively explore the characteristics of his cursive writing. In front of me was a copy of Shen Pengxing's Cursive Thousand Characters published in 2003, which was shocking! Writing the "Thousand Character Text" is a lesson that cannot be done as a cursive writer. From the overall style point of view, its knots, pens, to subtle twists, skimming painting treatment, are all derived from Huaisu's "Dacao Thousand Character Text", although the academic community has doubts about whether the "Great Grass Thousand Character Text" is written by Huai Su, but its meaning, brilliance and richness are better than other Tang Dynasty cursive works, including Huai Su's "Xiaocao Thousand Character Text", which is beautiful, elegant and steep and strong; Huai Su's "Self-Narrative Post" is sparse and wild, and it is difficult to merge with the xingshu; Sun Guoting's "Book Spectrum" is graceful and mature, and the grass is thick It is also a masterpiece of Tang cursive writing, and it is inevitable that it lacks tension compared with Huai Su's "Great Grass Thousand Character Text". Therefore, we say that Mr. Shen Peng's cursive writing mainly stems from Huai Su's work, first of all, it is derived from the conclusion that it is consistent with the overall artistic feeling and the post. If we compare the two "Thousand Character Texts" of Huai Su and Mr. Shen Peng one by one, we find that the word posture, knot body and detailed treatment of each word have obvious inheritance relationships. In the comparison, we also found that many words of Mr. "Thousand Character Text" also carried out Italian transformation of the original work according to their own penmanship, and some words even replaced the cursive method in the original post with the line of writing, which was natural and naturally arising with the author's penmanship habits and aesthetic pursuits. Therefore, in the creation or study of Mr. Shen Peng and the Tang Dynasty everyone Huai Su, from the main spirit to the calligraphy body reached a perfect fusion; Mr. Wei body, with the Great Seal, LiShu, Jian Shuai penmanship, and more than a thousand years ago, the amazing masterpiece of cursive cursive water and milk blended, chemical changes, resulting in a new cursive appearance that belongs only to Mr. Shen Peng and belongs only to our times. Because he has widely drawn nourishment from the works of the "Two Kings" to the Tang Dynasty, from the Song Ming to the modern and modern masters, he has produced cursive works with various meanings in the establishment of the basic style. His self-composed poems "Returning to Li", "Qinyuan Chun Angkor Grottoes", "Du Fu Sending Han Advice", "Li Zhao's Attendant Banquet Princess Dongzhuang Yingzhi", "Qin Shaoyou Is Like a Dream Makes the Night Sink Like Water", etc., its breath, artistic conception, pen and knot seem to have been directly extracted from Huai Su and his own two cursive "Thousand Character Texts", but the number of words in the line is less than the cursive, but the line writing is often enlarged and the ink is thicker. In the whole chapter, the scribble is almost covered with the whole paper, and several heavy ink lines are placed at the eye of the book, so that the whole work is like a rhythmic music, according to the unique beautiful melody, undulating and beating, full of musicality, enhancing the artistic charm. Achieving this effect is directly related to mr. Li's profound musical literacy, a variety of instruments, and a clear understanding of Chinese and Western famous music. In addition, because Mr. Shen Peng has taken a wide range of methods from the classics, his cursive works also present a variety of styles, such as the self-composed poem "Frontier Field" with a calligraphic meaning close to Yan Zhenqing, which is full of knots, thick lines, and more turns; "Nine Ranks and Remembrance", which has chapters and breaths and Yang Ning's style of secret combination; and "Qu Yuan's Departure from Sorrow" sentence with penmanship, knot body and Yu Youren's secret combination. Inspired by the feelings he felt when he wrote his own works, or after he had just studied or admired the masterpieces of his predecessors, he naturally created different styles of works with his hands. But no matter how the style changes, the specific artistic code in mr. Li's mind will always be revealed in the work. Mr. Li's works are cast in hundreds of families, a collection of ancient and modern masterpieces, forming a bold and elegant style of writing, all of which are concentrated in the Great Hall of the People's huge cursive work "Mao Zedong 'Qinyuan Spring Changsha'". This work is about two meters high and more than five meters wide, and the whole work is based on the grass between the rows, the momentum is grand, the artistic conception is vast, the ink is divided into five colors, and the pen is astringent, and it is painful. From a distance, it looks like a masterpiece of landscape painting with overlapping layers, and in the near view, the line is like a dead vine coil bending and vigorous, which is shocking. Mr. Li said that when creating this masterpiece, it is necessary for an assistant to pull the paper, so that the writer can control the text with affection, the pen with the intention, and the whole text, so that the work will show a radiance full of great artistic charm, and introduce the viewer into the artistic conception created after the integration of the book and the text. He also said that the difficulty of creating large works is far greater than that of writing small works, and it is necessary to integrate a lifetime of knowledge, experience, cultural accumulation and the ability to control the metaphysical calligraphy ontology freely, while writing cursive is more necessary to skillfully grasp and integrate these two styles of writing.

When we admired and studied thousands of works by Mr. Shen Peng, we found a long scroll of "Nineteen Ancient Poems" and "Long Scrolls" in cursive and cursive works. These nineteen poems are the works of the literati of the late Eastern Han Dynasty, and mostly write about the bitterness of the wanderers. His works are somber, tragic, affectionate and sincere, and are praised by Liu Xun as the "crown of five words" and have a lofty position in the history of Chinese literature. Mr. Li has had a profound understanding of this poem for many years, and after a long period of brewing, he created this long volume of works. The work is imposing and the text is intricately matched. The knot characters are mostly taken from the "Book Spectrum", and are integrated into the meaning of chapter grass, and exude the charm of the Jin people. The pen is mainly a round pen center, and there is no lack of flying and ethereal in the thick lines. With ink thick in the moist, occasionally see flying white. The overall view is like feeling a symphony, every musical note and melody, every harmony and instrumental change, rich, colorful and shocking. This can be described as a masterpiece of Mr. Wang. After writing these nineteen poems, Mr. Ran was still unfinished, and he wrote his book "The Long Scroll" later. This glyph is slightly smaller, and the lines are more italic, which is in stark contrast to the first nineteen works, the size of the characters is different, the style is also different, but the two are the same. When we appreciate Mr. Huang's "Nineteen Ancient Poems" and long scrolls, we suddenly think of Huang Tingjian's title Of Su Shi's "Huangzhou Cold Food Post", Mr. Su Shi's work has the same magic as Su Huang's work, ancient and modern writers are "Shangyi", indulgent and measured, see the sex into volumes, we can also borrow Huang Zhizhi style to say: Try to make Mr. Su Shi may not be able to do this, I don't know if Mr. Huang thinks so? In addition, Mr. also has a part of the book, the main body is cursive, followed by a large explanatory text and a fall of the text for the line of books, grass rows juxtaposed, visual effects are rich, such as "Tropical Jungle" four screens, banner "Long Sounding Alarm", Zhongtang "National Day Night", etc., the text content is self-composed poetry, I think Mr. considers the popularity of the work, in order to read and appreciate.

In addition to Mr. Shen Peng's creation of calligraphy, calligraphy and cursive writing, his more important writing style is cursive, including large grass and wild grass. Cursive writing is the art of genius. The reason why there are few people who practice cursive calligraphy in history, because they want to engage in cursive writing, especially the creators of big grass and wild grass, must be broad-minded, ambitious and artistically talented, and at the same time, only the era full of grandeur and great creativity will produce cursive everyone. We can also call such an era the era of big writing, an era full of Chia Tai weather. The cursive writing in the entire history of Chinese calligraphy, especially the big grass and wild grass, does not occupy much weight, and the Sheng Tang Dynasty is the best period for the production of a magnificent and emotional cursive art, and the wild grass of Zhang Xu and Huai Su pushes the spirit of freehand to a peak that will be daunting to future generations. Since the Song and Ming dynasties, only Huang Tingjian, Xu Wei, Zhu Yunming, Fu Shan, and Wang Duo have inherited the Sheng Tang Dynasty and created a unique cursive style that only belongs to that era. In the Qing Dynasty, where thought was imprisoned, under the high-pressure policy, people failed to set foot in cursive writing full of crazy spirit, let alone big grass or wild grass, and cursive writing had no place in a society that was guarded or even closed. The modern and contemporary calligraphy circle broke through the situation of epigraphy dominating the book world, resulting in various cursive calligraphers such as Yu Youren, Lin Sanzhi, Shen Peng, etc., but the yushu characters were independent and could not be continuous, only Mr. Lin Sanzhi and Mr. Shen Peng broke through the imprisonment of hundreds of years of thought, and showed a unique artistic style different from those of their predecessors in cursive art.

The previous article has discussed Mr. Cursive Patriarchal Law Huaisu's "Great Grass Thousand Character Text", this post is not like Huai Su's "Self-Narrative Post" and Zhang Xu's "Ancient Poems Four Posts" which mean wild and fast strokes, but the body is strange and melancholy, and the pen is tight and steep, although thick and smooth. The reason for this is that its Wei Yi Zhi Shu and the Great Seal Yi Zhi Shu play an important role in various factors such as pen use, shen yun, and artistic conception, so that its cursive has a different face from the cursive writing of previous generations and modern times, and is unique in the ancient and modern cursive series. Taking the contemporary Mr. Lin Sanzhi as an example, Lin Lao's cursive writing originated from the "two kings", and directly appealed to Wang Duo, Lin Cao absorbed Wang Duo's knot and continuity, and the ink color change originated from his teacher Huang Binhong's ink landscape, coupled with the emphasis on the coherence of the line, developed the tradition of the series from Wang Xizhi, Wang Xianzhi and Wang Duo, thus being praised as "contemporary grass sage" by the domestic and foreign book circles. Mr. Shen Peng has a great admiration for Elder Lin, in addition to absorbing his temperament, continuity and charm, he has opened up an artistic path that belongs entirely to him among the factors of the "metaphysical" calligraphy ontology that must be possessed as art. The advantage of contemporary people's study of books is that they are knowledgeable and wide-ranging, and any calligrapher can find from the entire history of calligraphy the artistic style, artistic language and the calligrapher he advocates as the object of his teaching. According to the law of artistic development, the formation of a new artistic style is the result of the recombination of different artistic languages selected by different calligraphers and different book styles. In order to pursue a unique artistic language, ambitious calligraphers will place themselves in the entire history of calligraphy, with a high goal vision, standing at the height of history and the times, and select various factors with the representative of the times to arrange and combine them, so as to obtain the recognition of the times and the transcendence of history. Mr. Shen Peng chose Huaisu's "Thousand Character Text" with rich and astringent linear variations with the aesthetic of historical fusion of personality, which is closely related to the linearity of the Hanmo Cliff carved stone that he loves from the heart, and also has a natural echo relationship with his fusion of Lishu lines and Wei Yi's calligraphy knot. I also found a detail, in Mr. Bada Shanren's study, hung a copy of the calligraphy works of the Bada Shanren, which was enlarged to six feet, and Mr. Bada Shanren looked at it day by day, and found from the bada shanren line that he had long liked but had not yet been integrated into his own works. Mr. Has written a long preface to the "Complete Works of the Eight Mountain People", and the admiration for the art of the Bada Mountain People for a long time and the depth of appreciation are probably unmatched by few people in the contemporary calligraphy world, but the integration of his cold and lofty artistic level into his own artistic creation is not a day's work, and the daily observation can see Mr. Wang's devotion to the elegant classics he admires. This kind of borrowing is silent, it is heart-to-heart, and it is a sincere admiration for the other party from the bottom of the heart. After such sincere worship, we can see that over the years, the meaning of Mr. Cursive has not only melted the peak works of Tang Cao, drawing on several cursive meanings of the late Ming Dynasty, but also integrated the meaning of the elegance and coldness of the Bada Shanren, which has distanced itself from many contemporary cursive calligraphy full of secular meanings. The kung fu in the hand determines the maturity of a bookmaker's skills, and the level of vision determines the elegance of the book's taste. The reference to the epigraphy series and the favor for elegant works, including the mutual integration of the Thesis series and epigraphy represented by the Great King (Xizhi) to the Later King (Duo), have completed the transformation and evolution of the two series of stele and thesis. Mr. Shen Peng's cursive writing is also unique in contemporary times.

Of course, Mr. Shen Peng's cursive writing is not a reference and inheritance of The Tang Dynasty by Huai Su, especially in recent years of big grass and wild grass works, we also see the shadow of Zhang Xu's "Belly Pain Post" and "Broken Thousand Text". These two theses are the essence of Zhang Xu's wild grass and the pinnacle of Chinese calligraphy. Mr. Han Yutao once called these two posts "the special of the wild grass of the ages" and "the wind power of the great seal". He also said: "Zhang Xu's greatness lies in the fact that he first put formal art, even royal art, the other side of the 'law', that is, heresy, that is, the aesthetics of 'madness', from practice to theory, pulling and singing like a song from the sky, and singing down, thus creating a great turn in the whole of Chinese art and Chinese aesthetics." He believes: "Zhang Xu's "Broken Thousand Texts" and Wang Duo's "Wen Dan" are the high standards of the glory of Chinese art and aesthetics throughout. Mr. Shen Peng has read Mr. Han Yutao's article, "The Sages Of Grass And I Am Crazy grass" is the program of Chinese aesthetics. From the reference of Huai Su's "Thousand Character Text" in his early and middle works to the worship and imitation of Zhang Xushi's earth-shattering works in the past ten years, Mr. Shen Peng has made earth-shaking changes in his cursive works. The norms of cursive writing in the early and middle periods, to the recent wildness, were all given a hand under the influence of the sages and the ideas of the times. Super broad, spontaneous, and single-minded, becoming the "super super xuanxuan" of Mr. Wang's thinking from the grass to the wild grass, the mind is liberated, and the work is also released. The uniqueness of Mr. Shen Peng's cursive writing is that the meaning of "madness" still maintains the thickness of the line, and the grandeur of the overall style and the freedom vaguely reveal the image of melancholy and simplicity, which is a realm that can only be achieved as a philosopher's thinking mind and can look at problems dialectically, and we can clearly feel this in a large number of his cursive works. Among them, the works dominated by astringent thick lines are still his representative styles, such as the Zhongtang Sadula's "Autumn Pond", his self-composed poems "Eight Laws", "This Body Fits Out", etc., and the meaning of Huaisu's "Thousand Character Text" is still very strong, and it seems that both the knot and the pen are posted from this. Won Ji's "Good Things Near", Xin Zhiyi's "Water Dragon Yin", Li Shangyin's "It Is Difficult to Say Goodbye when We See Each Other Untitled", Du Fu's "Beauty" and other works are integrated into Zhang Xu's "Broken Thousand Texts" wild meaning, the text is wide open, the size is staggered, the two or three words stretch long lines, revealing an unequal space, the viewer does not have to read the sentence, he will be conquered by the reckless mood and brilliance, abstract words have become the soul of the calligrapher, shocking and touching. In the works of Mr. Dacao and Wild Grass, we also feel the meaning of cursive writing by Ming people such as Xu Wei, Zhu Yunming, Wang Duo, Fu Shan, etc., which is a group that all those who write about Dacao cannot avoid. At the end of the Ming Dynasty, the ideological circles developed the word "crazy" to the extreme, which deeply influenced the cursive writing creation at that time. Mr. Shen Peng is gentle and elegant, but he has a huge innovative energy in his heart, so as to accept all the artistic factors in the tradition by which he can pour out rich emotions. We have this feeling, but also because in Mr. Cursive writing recently, we have found a large number of thin line works like steel wires, the thin lines with strong elasticity of the text often fill the whole paper, the text is full of momentum, the jump is very strong, is it absorbing the meaning of Toei kana calligraphy? Among his many works, we also found many works that were similar to Zhang Xu's "Belly Pain Post" in terms of chapter and meaning. Zhang Xu's post is fat and thin, and the knot body is strange and beautiful, which is considered to be the most exquisite and gorgeous representative work of the wild grass in the ancient times. This work mobilized Mr. Shen Peng's creative desire, before and after this intention to write a number of doufang works, such as "snow drowning before the stream", "dangerous building hundred feet high", "National Day Night" and Du Fu's "drama for six absolute sentences to cope with the difficulty of exaggerating the number of gong", etc., in the chapter method, the arrangement of the body are closely related to Zhang Xu's work, both take the law, but also take the meaning, the sketch is not small, in the small bucket square that only tolerates the absolute sentence, it accommodates the classic Chinese chapter method, the calligraphy, etc., and also accommodates the author's artistic orientation, pen and ink techniques, In particular, the contrast between the thick ink of the opening number of the work and the light ink and enlarged knot of the words "dream", "year" and "wei" in the text makes us feel similar to the size of the Chinese characters and the treatment method of the cursive method of "Belly Pain Post", which can be described as the double of ancient and modern cursive.

In dealing with mr. Dacao, it is also necessary to refer to one or two large works written by Mr. Prajnaparamita (hereinafter referred to as the "Heart Sutra") written by Him at the age of seventy-seven. For the ancient and rare old man, writing such a masterpiece in large cursive is necessary to achieve the "whole body strength" as Bao Shichen said, in order to mobilize the hands, wrists, arms and the entire body to the full investment of the spirit, so as to enter the realm of free creation. At that time, he was at the time when his life experience, creative experience, and writing skills had reached maturity, and he had a deep understanding and understanding of the Heart Sutra, and after many intensive readings, he stimulated the emotions and inspiration of creation. For a gentleman who can deeply perceive the beauty, Zen, and realm of the Heart Sutra, it is far from being able to express the breadth of his thinking, the depth of his state of mind, and the wonder of his imagery with calligraphy, writing in calligraphy, and writing in calligraphy, and only by writing in cursive and wild grass can he pour out the air and madness of his heart, thus entering the empty and pure realm of "the realm of unconsciousness, ignorance, and ignorance". The two works of the "Heart Sutra" written by Mr. Li have thin vertical lines and obvious line spacing, which exude a spirit and beautiful atmosphere in the vast and simple, and show tranquility and ease as a whole in the movement of each word; the banner works are closely spaced, simple and vast, the size of the words changes greatly, the ink color is thick and strong, and the pen is pure and thick, and there is no lack of thickness in the coolness. On the whole, you can feel the calligraphy of Wang Xianzhi, Zhang Xu, Huai Su, Huang Tingjian, Wang Duo, and Fu Shan, but on the whole, it only belongs to Mr. Shen Peng, which can be described as the pinnacle of Mr. Shen Peng, and it is also the strongest voice in the book world of our time. I believe that in a few hundred years my conclusion will be recognized by history.

Mr. Shen Peng is a big book, this article only from his calligraphy creation ideas and the characteristics of several kinds of calligraphy, far from summarizing his grand and meticulous artistic ideas, poetry creation, literary and art criticism and other talents and achievements, but only this can also make a conclusion: Mr. Shen Peng is the best representative calligrapher of the contemporary era, good at Kai, Li, Xing and cursive, and especially The big grass is the most, which can be named with Mr. Lin Sanzhi, and is the two masters of Chinese cursive writing at the end of the twentieth century and the twenty-first century. This conclusion can be proved by his calligraphy works that are rich in tradition, a distinct sense of the times, and a strong personal style. Finally, let us excerpt a passage from Mr. Shen Peng to conclude this article: "Every contemporary calligraphy work carries all the historical genes of calligraphy and comes to us from distant antiquity. ”

November 2020