Contemporary acceptance of Lu Xun's calligraphy has undergone a process, from incomprehension to understanding, from understanding to deepening, Lu Xun's manuscript calligraphy has become the two benchmarks of literature and calligraphy art of that era. In the book "Catalogue of Lu Xun's Handwriting Treasures Exhibition" published by Xiling Printing Society, 48 Lu Xun's handwritings have been listed as national first-class cultural relics.
Lu Xun (1881—1936)
In 2013, at the 2013 China Guardian Spring Auction of Rare Books, a one-page manuscript of Lu Xun's handwritten book "Ancient Novel Hook Sinking" was auctioned for 6.9 million yuan. On December 5, 2015, in Kuang Shiqiu's auction "ChengDao - Chinese Calligraphy Night Show", Lu Xun's four-sentence verse of less than a square foot, with only 16 characters, started at 750,000 yuan, and auctioned 3.0475 million yuan, equivalent to 190,000 yuan per word.
From another aspect, it can be seen that Lu Xun's calligraphy not only has documentary value, but also has profound calligraphy value. The love of Lu Xun's calligraphy is not because he is a celebrity, but his calligraphy has indeed reached a height!
Lu Xun's Letter to Hu Shizha 1922
The height of calligraphy, the law and the inability, the tangible and the traceless, intentional and unintentional, this height of synthesis in that kind of pure calligrapher is difficult to see, and it is precisely in Lu Xun's manuscript that you can strongly feel, and even feel the kind of blood and bone contained in Lu Xun's elegant calligraphy, the kind of strength and background from the deep Chinese cultural tradition.
Lu Xun never considered himself a calligrapher, and he often threw away the inkblots of his manuscripts, which can be seen in the memoirs of Xiao Hong and Xu Guangping. But his calligraphy reveals a wealth of calligraphy information, both the merits of the seal and the rhyme of Wei and Jin, both the methods of Tang Kai and the state of the Ming and Qing dynasties, and the different styles of this calligraphy are integrated by him.
For example, Guo Moruo, who is constantly quoted, commented on Lu Xun's calligraphy: "Mr. Lu Xun also has no intention of being a calligrapher, and the handwriting he has left behind is his own style." Rongye Seal is subordinate to a furnace, allowing the heart and wrist to respond, simple and not cramped, free and lawful, far from the Song and Tang Dynasties. Straight up Wei Jin. The treasure of the world is not because of people. Guo Moruo's evaluation of Lu Xun's calligraphy is indeed a ken, a word from the heart.
Lu Xun to Cai Yuanpeiza 1923
From the 1960s and 1970s, the card lists of many places in the country, the titles of some magazines, could not find suitable fonts from the published Mao Zedong fonts, and they all chose to find fonts from Lu Xun's inkblots, although they were found from different letterheads and diaries, and when they were combined, they were very harmonious and natural, and the atmosphere was solemn.
Even the most accomplished calligraphers of our time, the title of the plaque inscribed, compared with Mr. Lu Xun, immediately dwarfs people. The atmosphere of Lu Xun's calligraphy is the natural expression of that font and book rhyme, and the accumulation of single characters can be completed, which is a must of Lu Xun's ink! I don't think it means calligraphy, who expects to become a plaque in the future.
Lu Xun to Xu Guangpingza 1926
Lu Xun to Shu Xinchengzha 1929
Beijing Lu Xun Museum now has more than 5,100 kinds of gold and stone rubbings collected by Lu Xun, more than 6,200 pieces, the number of which is second only to the number of books he collects, and the rubbings he purchased are also included in the annual diary book account.
The "Lu Xun Ji School Stone Carving Manuscript" published by Shanghai Calligraphy and Painting Publishing House in 1987 includes the original stone carvings copied by Lu Xun, as well as eyebrow criticism, clip notes, case words, etc. When Lu Xun made the Jinshi Catalog, he specially made the "Pseudo-Carved Tablet" for identification of forgery, and renamed the "Catalogue of Tomb Names of the Six Dynasties" after revising and deleting it, and renamed it "Catalogue of Tomb Names of the Six Dynasties".
Lu Xun to Wei SuYuanza 1929
Zhou Zuoren said in the "Zhitang Retrospective Record of Jinshi Sketches": "When I was in Shaoxing, because of my relationship with Lu Xun in collecting jinshi takuben, I also received a little bit of jinshi physical objects... There are ancient coins and ancient mirrors in metal, and ancient bricks in stone, all with good text patterns. ”
Wang Hezhao once went to the Shaoxing Stone Buddhist Temple with Lu Xun, and when the two men talked about the stele, Mr. Lu Xun taught him, "First wash the stele clean, then coat the stele with a layer of light paste, and then lay the Lianshi paper, press it with a brown brush, so that the literal paper is trapped in the hollow, and then gently brush it with ink, and then it is expanded." ”
Lu Xun's words are completely the experience of an expert. The Lu Xun here is no longer the Lu Xun in our textbook, but an old-fashioned Lu Xun, just like Ye Changchi who wrote "Yu Shi".
Lu Xun to Dun Nanza in 1929
Reading the manuscript of Lu Xun's letters, on January 25, 1935, he wrote to Masuda: "Writing is not too clumsy, it is not a matter of trouble. Agreed to write for what Masuda dai had asked for. On April 30 of the same year, he wrote to his colleagues: "My words are actually worth five yuan, which is really funny." ”
This is the only record that Can be seen of Lu Xun's pen. But here is the message that the Japanese had already liked Lu Xun's calligraphy quite much in that era.
Lu Xun to Zhang Tingqian Zha one of the tongs in 1929
Lu Xun to Zhang Tingqianzha one pass two
Our generation began to come into contact with Lu Xun's inkblots in the 1970s, and what we saw was the Quotations of Chairman Mao, and the "Quotations of Lu Xun" that were popular in different versions, many of which had Lu Xun's handwriting in many of the "Quotations" books.
Later, I successively saw the Three Compilations of Lu Xun's Manuscripts (April 1973 Edition), The Selected Letters of Lu Xun to Masuda (January 1975 Edition), and the Fourth Edition of Lu Xun's Manuscript Anthology (August 1975 Edition). He also published Selected Manuscripts of Lu Xun's Criticism of the Tao of Confucius and Mencius (October 1975 Edition) and Lu Xun's Poetry Manuscripts (August 1967 Edition).
Lu Xun to Zhang Tingqianzha One Pass No. 3
In that special era, there were not many inscription inkblots, but Lu Xun's inkblots conveyed a traditional and profound spirit, which played a potential edifying process for calligraphy lovers across the country.
Wang Peiyuan remembered the impression of Lu Xun's manuscript on himself: "In the mid-1970s, I was still a young intellectual in the Xiaoxing'anling Great Forest. A friend from a bookstore bought a copy of the "Three Editions of Lu Xun's Manuscript Anthology" on his behalf... Many of his articles must have been drafted before they were written. When I sat down at the desk and wrote it on the manuscript paper, I just copied the words and phrases that I had already thought out from my mind, one by one. ”
Lu Xun to Chen Junhan Zha one of the one passes 1929
Lu Xun to Chen Junhan Zha one pass two
Judging from Lu Xun's reminiscences of old texts and Zhou Zuoren's memoirs, Lu Xun started from drawing red, and paid attention to the use of pens and strokes and meticulousness very early on. Great-grandmother Dai's ability to write also had an influence on Lu Xun's use of pens. After entering the Sanwei Bookstore, Mr. Shou Jingwu was also a master of calligraphy at that time, and had a great influence on Lu Xun.
Lu Xun's study of calligraphy mainly comes from three aspects, one of which is that when he was a teenager, he studied with Mr. Shou Jingwu in the Sanwei Bookstore, and laid down the Tong Zi Gong based on the European body. Second, when I was in Japan, I learned "elementary school" from Mr. Zhang Taiyan, and I had a unique understanding of seal writing, and I also had a certain training. Third, he himself has a special intelligence and an intuitive grasp of art. Lu Xun copied ancient stele, and the study of stele, stone carving, and gold text played a subconscious externalizing effect on his writing practice.
Lu Xun to Li Jiyezha 1929
Zhou Zuoren described the situation of Lu Xun's copying books at home in "Lu Xun's Former Home": "The initial work done upstairs was to copy ancient Wenqi characters, starting from the small copy of the Kangxi Dictionary, and copying down the so-called ancient texts listed above one by one and ordering them into a book. ”
In addition, Lu Xun also copied the "Tang Poems and Bullet Collection", "Flower Mirror", "Tea Classic", "Two Chieftains Hall Series", etc., and during his studies abroad, he copied geography, plants, classical novels, miscellaneous notes, and so on. Especially at the beginning of the 20th century, when he was the chief of the first section of the Department of Social Education of the Ministry of Education in Beijing and the Ministry of Education, he experienced a period of ideological distress, was quite disappointed in social reform, indulged in collecting and researching and expanding books, proofread Xie Cheng's "Book of the Later Han Dynasty" and "Ji Kang Collection", and copied the ancient stele for seven years.
From the early 1903 manuscripts "Jinghu Bamboo Branches", "ErshushanRen Writing Plum Songs" and 1904 letters to his deathbed on October 17, 1936, Lu Xun has always maintained a very stable writing style.
The biggest feature of Lu Xun's daily writing is stability, no matter how his book style changes and how intense his inner emotions are, his pen has always maintained a state of high antiquity and unhurriedness, extraordinary concentration, leisurely and self-reliant.
Lu Xun to Li Jiyezha one of the first passes 1929
Lu Xun to Li Jiyezha one pass two
Lu Xun to Li Jiyezha one pass two
In the "Complete Manuscripts of Lu Xun" and the "Series of Manuscripts of Lu Xun", some of his manuscripts are low in color, red cocoons, and many flower letterheads are used, including plums, begonias, lotuses, peonies, morning glory, as well as characters, landscapes, etc., dazzling and colorful, invisibly in the quiet and Mu font has a background, a sense of form. Comparing his manuscript letters with the letters of the Ming and Qing dynasties, they are not inferior in any way.
Lu Xun to Xu Guangping Zha one of the first passes 1929
Lu Xun to Xu Guangping Zha One Pass Two