Compilation and creation of double poems on the Tao - remembering calligraphy artist Shen Peng
One
Shen Peng was born in 1931 in Jiangyin, Jiangsu Province. His father, Shen Yuxiang, was a middle school teacher, and his mother also taught. Before the age of six, Mr. Shen Peng lived in his grandmother's house, his grandfather's name was Wang Yidan, and he sold his property to establish the earliest Jiangyin Chengnan Primary School in the local area, and served as the principal. Grandpa's younger brother was the principal of Nanjing Middle School, the only senior high school in Jiangyin. When he was a child, Mr. Shen Peng had severe whooping cough, measles, etc., and the Traditional Chinese medicine he took at that time seemed to supplement the body, but it was not symptomatic. Mr. Shen Peng was tortured by soup medicine every day and his body was extremely unwell. Later, looking back on his childhood, his feelings are still bitter.
From 1936 to 1937, Shen Peng studied at Seongnam Primary School. Like everyone else, the young Mr. Shen Peng also likes sports, playing table tennis and football, but as soon as he invests a little, he is "retaliated" by the drugs he used when he was young, and he always feels powerless. So he read novels, essays, poems, and learned calligraphy, painting, and musical instruments to enrich himself. He likes to draw and has studied the Mustard Garden Notation.
In 1943, at the age of twelve, Shen Peng entered Nanjing Middle School. During middle school, publications such as "Observations" and "Wencui" brought to him by his father from Shanghai had a great influence on him. He loved literature and published more than twenty articles during this period. In high school, he and his classmate Gu Mingyuan organized the school's progressive literary and art club "Shuguang Literary and Art Society", used their spare time to compile publications, founded the progressive journal "Shuguang", and also published a one-line book, the cover of which used Li Hua's woodcut "Roar, China". At this stage, Shen Peng learned ancient texts and poems from Mr. Zhang Song'an (Juren) and Cao Zhujun.
In 1948, at the age of seventeen, Shen Peng was admitted to the then National Chung Cheng University (now Jiangxi Normal University) to study literature, during which time he translated the English novel "Poor and Hungry At the Gate". When he was in the first year of college, due to his ideological progress, which attracted the attention of the underground party of the Communist Party of China at that time, a classmate gave some books to Mr. Shen Peng. Mr. Shen Peng recalled: "We did not know each other, and he quietly stuffed a booklet bound with raw paper wrapped in kraft paper into my pocket. My heart pounded, and I hurried to the small hill next to the school where no one was there, and when I opened it, it was Mao Zedong's "On New Democracy." In this way, I successively read some progressive books such as "Speech at the Yan'an Literary and Art Forum", Ai Qing's poems, and Zhao Shuli's novels. These books have opened up a new world in front of me. ”
Two
In 1949, Shen Peng was admitted to the Beijing Journalism School, a journalism cadre training class of xinhua news agencies, with the same academic strength as a university graduate. Zhang Yaojun, a classmate at the school, recalled decades later: "Shen Peng was recognized among his classmates as a great researcher in learning. During the break, everyone was talking and laughing, but he sat on the bed against the corner of the wall or sat on the matza to read a book and read a newspaper, and the brim of his hat was almost touching the book, so calm. ”
In 1950, Shen Peng was the head of the data office of the People's Pictorial. In 1951, Shen Peng was transferred to the People's Fine Arts Publishing House, when he was exactly twenty years old. At the beginning of the founding of New China, the People's Pictorial was managed by the People's Fine Arts Publishing House. The People's Daily published that the People's Fine Arts Publishing House was established on September 14, 1951, and in fact, in 1950, there were already many New Year paintings, propaganda posters, and comic strips published under the name of the People's Fine Arts Publishing House.
The People's Fine Arts Publishing House in the early days of the founding of New China was a brand new publishing unit, and everyone was working in their studies. Shen Peng began to work in the president's office, and later also worked in the editor-in-chief's office. Dealing with letters from readers and receiving visitors takes quite a bit of time. Moreover, drafting documents for leaders is a regular task.
Since the publishing house was newly built, Shen Peng participated in the formulation of many rules and regulations of the People's Fine Arts Publishing House, and the original method of payment of remuneration of the People's Fine Arts Publishing House was drafted by Shen Peng. In 1956, the state formulated the "Forty Articles of the National Agricultural Development Program" to vigorously develop productive forces, and the People's Fine Arts Publishing House also formulated a development plan accordingly, which was also drafted by Mr. Shen Peng. At that time, although Shen Peng was young and only in his twenties, he humbly asked for advice from his elders and leaders, and the development plan involved the People's Fine Arts Publishing House to publish a series of books on ancient Chinese art. In the 1960s, he had already begun to consider planning and publishing the Complete Works of Chinese Art.
While doing his own work well, Shen Peng studied a large number of philosophical and aesthetic works, as well as Chinese painting theory, literary theory, book theory, poetry theory, etc., and worked hard to write many articles, becoming the "pen pole" of the People's Fine Arts Publishing House. From 1949 to 1966 alone, he published about 80 articles, which were scattered in important newspapers and periodicals such as People's Daily, Fine Arts, and Literature and Art Daily.
From 1958 to 1959, Mr. Shen Peng was sent to Work in Gaoyou Rural Area, Jiangsu Province. In his spare time, he participated in the establishment of art schools in Gaoyou and Yangzhou to cultivate the backbone of local cultural centers. During the Cultural Revolution, Shen Peng was sent to the Shijiazhuang Cadre School of the State Council to work.
The job of editing is to marry people. After the reform and opening up, Shen Peng edited and reviewed a large number of art books and periodicals in the publishing house. In 1979, Shen Peng was appointed deputy editor-in-chief of the People's Fine Arts Publishing House by the Press and Publication Administration. In the same year, Shen Peng founded and edited the eight-folio journal "Chinese Calligraphy and Painting", and he grasped the positioning of the journal very well, from column setting to printing and binding, there are high quality requirements. Chinese Painting and Calligraphy had a huge influence on the art world in the 1980s, and many painters were proud to publish works in this journal.
In 1980, Shen Peng's "Chinese Stone Carving Grand View" (thirty-three volumes) was published by Tongpengshe in Japan, and in the same year, the "Lishu Inscribed on the Eastern Han Dynasty" that he was responsible for won the Cover Design Award for Outstanding Works of Book Binding in The National Book Binding Competition. In 1982 and 1983, Shen Peng successively founded and edited the professional art periodicals "Friends of Fine Arts" and "Art Guide", the former is a publication in the art publishing industry, which unites a number of art publishing houses; the latter is a popular art professional journal, enjoying a high reputation among art workers and enthusiasts.
In the late 1980s, the People's Fine Arts Publishing House, together with several publishing houses, published a 60-volume large-scale picture album "The Complete Works of Chinese Art", in which Mr. Shen Peng undertook some important work. In 2015, the People's Fine Arts Publishing House re-edited and published the 60-volume popular edition of the Complete Collection of Chinese Art, and I read the "Complete Collection of Chinese Art, Calligraphy and Seal Engraving 4 Song Jinyuan Calligraphy" edited by Mr. Shen Peng, and still had full respect for the passion and rigor of his work that year. This set of books won the Honorary Award of the China Book Award.
In 1986, Mr. Shen Peng served as the editor-in-chief of Chinese Art, and co-edited the Collection of Paintings of Chinese Dynasties and the Palace Museum (8 volumes), which won the first National Book Award in 1993.
In 1993, Mr. Shen Peng was elected as a member of the Eighth National Committee of the Chinese People's Political Consultative Conference for five consecutive terms until his retirement in 2018. Today, he has left his job at the publishing house, but he still pays attention to the development of the People's Fine Arts Publishing House.
Three
In today's market economy, especially when the calligraphy and painting market is at its most prosperous, Mr. Shen Peng is best known for his calligraphy art. Today, Mr. Shen Peng's cursive writing is well-known in the world, and it is difficult to find a piece of paper. Mr. Zhao Puchu praised his calligraphy as "a masterpiece that does not allow Mingxian to be admired". Mr. Qi Gong said: "The servant has been handed over to Mr. Shen Peng for more than 30 years, and he has a unique point in his art criticism. Qi Gong spoke highly of Mr. Shen Peng's "grass, none of the old times, the art is noble and innovative, Mr. Shen has it."
Shen Peng has loved calligraphy since he was a teenager, and when he arrived at work, he still used a brush to write letters and articles when he had the opportunity. Drafting the rules and regulations of the People's Fine Arts Publishing House, he often wrote with a brush.
In the early 1950s, Shen Peng worked in the editor-in-chief's office, and many documents needed him to draft, and when it came to the drafting stage, he wrote meticulously with a brush. He writes with a brush because he "wants to make the work more serious and perfect." Soon, I read a conversation by Guo Moruo, saying that practicing brush writing can cultivate meticulousness and patience, and then treat people with this spirit. This is quite true, in fact, I have come into contact with the relationship between word practice and aesthetic education."
A few years ago, I accompanied Ms. Su Ge, the wife of Zou Ya, the former vice president and deputy editor-in-chief of the People's Fine Arts Publishing House, to Mr. Shen Peng's house and asked Mr. Shen Peng to talk about Zou Ya. Zou Ya was one of the founders of the People's Fine Arts Publishing House, and was later transferred to the Beijing Academy of Painting as the president, and at the age of fifty-eight, he went to the Yangquan Coal Mine in Shanxi to experience life, but unfortunately was killed. Mr. Shen Peng missed Mr. Zou Ya very much, and he recalled in an interview that in the early 1960s, Mr. Zou Ya called him to the office and said to him, you like calligraphy so much, the publishing house has so many calligraphy, you should study it seriously. Since then, Mr. Shen Peng has treated calligraphy as an art and strengthened his learning.
Talking about the editing work of that year, Mr. Shen Peng told me that before the "Cultural Revolution", when he worked in the office and the editor-in-chief's office, he often had to write materials, hold meetings, and run study classes, and a lot of time passed like this. Some old comrades told me that many people take a nap when they are running study classes, but they can see Mr. Shen Peng constantly drawing words on his legs with his fingers. This reminds me of many ancient artists who forgot themselves precisely because of their obsession with art.
As the leader of the People's Fine Arts Publishing House, Shen Peng often interacts with the old gentlemen in the field of calligraphy and painting, and Shen Peng has benefited a lot. For example, he recalled that in his interaction with Mr. Zhao Puchu, there was a small episode. That day, "I took a copy of the Selected Calligraphy from my sleeve and asked him for advice. He scrutinized the upper and lower sections I had written on the title page, and I didn't expect to look at it with a magnifying glass, and I felt blushing. I already knew that Zhao Pu's old instrument weighed my brush words, but these words were not written by real brushes, but I hurriedly wrote them with a plastic imitation 'brush' given by others before I went out, so it was very wrong, and I felt that I was not serious and solemn enough. Since then, I have never had to be a 'substitute' for plastic except for a last resort."
Mr. Zhao Puchu used a magnifying glass to see if the signature was written with a brush, and his serious attitude infected Shen Peng. Since then, he has attached great importance to details that ordinary people do not pay attention to.
Shen Peng is an editor with a strong sense of quality. He is very picky about the text, the design, and the work, and pursues perfection, which has a great influence on Mr. Shen Peng's calligraphy creation. For example, everyone is familiar with the social calligraphy and painting, which is a common phenomenon in the industry, in this regard, Mr. Shen Peng believes that "there are many works of outstanding calligraphers and painters in ancient times who have 'paid' and 'deserved', and they have finally been handed down because they have exceeded the word 'socializing' in our daily sense when they are created." Even so, the outstanding figures of ancient times also had a bad reputation because of the large number of "socializing", and later generations commented that they were ruthless." "Even if it is socializing, we can't cope with it casually." Calligraphers and painters must have this spirit, and every work that is completed is a creation. We must have a serious and serious style, and we cannot write casually." The influence of the rigor of his editorial work on his calligraphy can be seen.
The editor's duty is to be the right person to the author, no matter how important the author is, in front of the manuscript, the editor must dare to question. This is also why Qian Zhongshu admired Zhou Zhenfu, the editor of Zhonghua Bookstore, and was willing to hand over his manuscript to Zhonghua Bookstore. This responsibility and spirit of the editor is embodied in Shen Peng's calligraphy, that is, while respecting art and the creation of the ancients, he dares to challenge the ancients, dare to think independently, and say different words. He also has a higher pursuit, that is, to create his own unique spiritual wind and bone, and to establish his own academic theoretical system.
For example, Shen Peng has said many times that the calligraphy is not only Ou, Liu, Yan, and Zhao, but also other models of calligraphy, and each person should choose to study according to his own characteristics; everyone often talks about the calligrapher Zheng Banqiao, and Shen Peng also bluntly put forward his own criticisms on this.
Shen Peng has integrated the essence of ancient calligraphy into his calligraphy works and formed his own unique style. When he first learned calligraphy, he believed that while "punching in", he should have the intention of "playing out"; at the same time of "playing out", he should continue to "punch in" to strengthen the foundation of creation. The so-called "punching in" is to study hard, and "playing out" is to find your own characteristics and gradually form a personal style.
Shen Peng is proficient in calligraphy. Among his calligraphy bodies, I personally prefer his calligraphy, which has the meaning of the calligraphy and a kind of agility. Twenty years ago, I saw a headline in beijing daily, and I felt that the word had a strong sense of beauty and was deeply attracted. Looking closely at the signature, I knew that it was written by Mr. Shen Peng.
Among the calligraphy bodies, Mr. Shen Peng's greatest contribution is cursive writing, which is flowing and colorful, vertical and horizontal, and has a unique personality. Since the Ming and Qing dynasties, Wang Duo, Zodiac Zhou, Ni Yuanlu and others have emphasized individuality and strengthened the line of the stele, which is a large grass based on the post. I think that Mr. Shen Peng also continued this route to carry out original exploration. Mr. Shen Peng's big grass is based on the thesis method to participate in the majesty of the stele, to the stele, the lines are slow and flowing, the bones are solid and strong, the knots are flexible and vivid, and the rules and regulations are wanton.
If you use sixteen words to evaluate Mr. Shen Peng's calligraphy, it is: flowing and agile, frank and flying, skillful and clumsy, and old people. Shen Peng's calligraphy is flowing and flexible. It seems that there are often unexpected brushstrokes and structures, especially his ink lines, which are often unexpected and in the rules. His words are difficult to imitate, and the imitators only know the conventional copying, but they cannot imitate the inner feelings of the writer. Therefore, the words imitating Mr. Shen Peng are easily recognizable.
Shen Peng's calligraphy is frank and divine. Most of his calligraphy works are his own grammatical poems, and the content and emotion have long been deeply appreciated. Self-written mind, do not have to write over and over again. He pursues willfulness, innocence, and fun.
Shen Peng's calligraphy is ingenious. Shen Peng grew up in Jiangnan when he was a teenager, and the spiritual beauty of Jiangnan nourished him, making him have a natural femininity in calligraphy. He spent the second half of his life in the north, and the majesty of the north made his calligraphy clumsy in dexterity, which was the biggest difference between his style and that of many southern scholars. This clumsiness makes his calligraphic lines not frivolous in their ethereality; and his dexterity makes his clumsiness not rigid.
Shen Peng's calligraphers are old. This is a realm that ordinary people cannot reach. Old people not only refer to age, but also the fullness of learning and the cultivation of character, and the "old" of calligraphy at this time is already a realm of doing whatever you want and not exceeding the rules. What is valuable is that in mr. Shen Peng's calligraphy over the years, there is no decline in physical strength, and the pen is still in place and free to wield.
As the leader of the state-level fine arts publishing house, Shen Peng stands at the top of the world's art, explores the art of calligraphy and painting, and has a unique and profound insight into the overall situation of calligraphy art. He has a unique understanding of art, but at the same time gives full understanding and respect to various art genres. His calligraphy not only follows tradition, but is not limited to tradition; he dares to innovate and develops on the basis of conforming to aesthetic laws.
Shen Peng also has a unique understanding of calligraphy, that is, he has a keen sense of the layout of calligraphy and a unique understanding of the structure of each word. Shen Peng believes that the Tang Dynasty Zhang Huaihuan mentioned that "qi is interlaced" has profound significance, but he has not yet mentioned the relationship between "column", and the relationship between "line" and "column" lies in breaking. Shen Peng's understanding of black and white gray and the size of the blank space composed of lines have their own unique creativity. For example, in "Calligraphy, In Comparison", he talks about the mutual influence of calligraphy and painting: "The center of the Bada Shanren calligraphy uses the pen, the ethereal response of the composition, the cold and transcendent feelings, it is difficult to say where the interaction between painting and calligraphy begins and ends." We can even appreciate the calligraphy of the Eight Greats as painting, or the painting as calligraphy. ”
Mr. Shen Peng took stele and post, such as seal: "Yu Jizi White Plate", "Sanshi Pan", affiliation: "Yangquan Messenger She Fu Furnace Inscription", "Shimen Song", "Ceremonial Instrument Stele", Xingcao: "Orchid Pavilion Preface", Wang Duo, Fu Shan, Kai: Ouyang Inquiry, Mi Fu, etc. When I discussed the Han Monument with Mr. Shen Peng, he highly praised the "Ceremonial Instrument Monument." "Ceremonial Tablets" has both a strict and flexible side, and the brushstrokes often have unexpected wonderful points. Guo Zongchang of the Ming Dynasty commented on the "Ceremonial Instrument Stele" in the "History of Jinshi": "The magic of its calligraphy and paintings, not the pen and not the hand, the elegance is endless, if the divine skill is obtained, it is not man-made, and the so-called 'star flow electricity, fiber over hair transplantation' has not yet been described enough." The fate of the Han monuments can be as if, and this monument alone is like the River Han, which can be expected to be out of reach. "These evaluations, which are used to evaluate Shen Peng's calligraphy, I think are also appropriate.
Shen Peng's calligraphy is a model for contemporary books!
Four
Shen Peng has written about a thousand art reviews and calligraphy reviews. Since the beginning of the 1960s, he has written prefaces or commentaries for the albums of Huang Yin, Liu Wenxi, Wang Chaowen, Shao Yu, Jiang Zhaohe, Liu Haisu, Zhao Puchu, Xie Wuliang, etc., which are concise and concise, and radiate the brilliance of thought.
In the articles included, I think that the calligraphy reviews of the painter are the most characteristic, and the analytical angle is novel and unique, and it is thought-provoking. Shen Peng's understanding of calligraphy is far beyond the times, beyond time and space. In "With a Fresh Feeling - Preface to 'Decorating Landscapes'", he discussed the Chinese and Western aesthetic views in this way: "Linking beauty and science, there is a long history in the West, and the Pythagorean school at the end of the sixth century BC, under the premise that 'the principle of numbers is the principle of all things', came up with the proposition that 'beauty is harmony and proportion', and here 'harmony and proportion' is inextricably linked to numbers, and Leibniz of the seventeenth century said that 'music, as far as its basis is concerned, is mathematical As far as its appearance is concerned, it is intuitive", directly taking mathematics as the 'foundation' of music, and in the ancient Chinese theory of calligraphy, "the difference is a millimeter, a thousand miles is lost", "a stroke and two strokes are long and two", "a wave and three folds", etc., also talk about beauty and beauty from the perspective of numbers. ”
Artists have different expressions about the difference between "pretty" and "beautiful" in art. When Wu Guanzhong was a student in France, he showed the work to the teacher, and the teacher said, "Hum! Beautiful! Wu Guanzhong strongly felt that it was not praise, but a kind of irony, and since then, he has pursued beauty and given up beauty.
Mr. Shen Peng mentioned the theory of the Qing Dynasty painter Dai Xi many times in the articles included in the "Comprehensive Volume", and there are similar theoretical discussions. He said: "Dai Xi regards 'surprise', 'joy' and 'thought' as the three aesthetic levels from low to high in the aesthetics of painting. Of course, calligraphy has its particularity, but does it have a similar nature? Does calligraphy as an aesthetic object contain different levels from the process of acceptance? I thought it was unmistakable. Yan Zhenqing's "Sacrifice nephew manuscript" and Su Dongpo's "Huangzhou Cold Food Poem" are recognized as epoch-making calligraphy masterpieces, because they have entered people's deep aesthetic consciousness, and the attraction to the viewer is not simply to stay in the stage of intuitive feeling. While it is impossible to demand that all works of calligraphy contain multiple aesthetic layers, those works of art that are truly enduring and exciting are not always single, let alone shallow. "Surprise, joy, and thought, the three realms of art." Like technology, art, Tao. Technique, that is, skill, at a glance, is amazing, and it is also what Mr. Wu Guanzhong said is beautiful; art, perhaps not so beautiful, but it goes straight to people's hearts and is moved; Tao, can make you reminisce for months, the kind of thing that seems rough, but can reflect the authenticity of art, lingering in the heart for a long time. It makes people "think", which is also the pursuit of Mr. Shen Peng's calligraphy.
Recently, Zhang Gongzhi proposed the topic of calligraphy "integration", which aroused discussion in the calligraphy community. In fact, as early as 1982, Mr. Shen Peng talked about the issue of ligature characters in the "Painting Method Guantong Calligraphy Jin - Preface to the Selected Works of Zhang Zhengyu". "The integration of individuals by a bookmaker because he has mastered a variety of book styles can be seen as an inevitable trend. I think it is more important that Zhang Zhengyu pays attention to writing the heart and pursues vivid rhyme, which makes the fusion of various book styles have a conscious nature, and the above-mentioned 'four seas churning clouds and waters, five continents vibrating wind and thunder' is based on the seal book, taking both the book and the cursive method, the letter pen, that is, his unique 'grass seal' (or called 'crazy fence'). If this character is written according to the general seal with uniform body and neat strokes, it will certainly not have the effect that can be achieved now, and the change of the glyph shape is, in the final analysis, inseparable from the author's writing intention."
In Shen Peng's early art theory articles, many people talked about the characteristics of painters' characters, and the relationship between painting and calligraphy was talked about very thoroughly.
Shen Peng said of the calligraphy works of the painter Liu Haisu, "Painting Method Guantong Calligraphy Jin", as a painter and calligrapher and proficient in the theory of "six laws", Liu Haisu, in terms of vivid rhyme, ancient method pen, business position, transmission of mold writing, etc., can communicate and infiltrate the basic principles of calligraphy and painting. Painting nourishes calligraphy, and calligraphy provides the basis for the brushwork and composition of painting.
Shen Peng said of the calligraphy of the painter Sun Qifeng: "The calligraphy seal engraving, which is closely related to painting, has also been persevering for a long time in Sun Qifeng. The golden stone flavor in his calligraphy is clearly related to the antithetical unity factors of painting, such as speed, and stagnation. ”
Shen Peng commented on the calligraphy of the painter Lin Kai: "Lin Kai is full of emotional modeling language, permeated with a unique poetic soul. His calligraphy inscribed by Shangzong Han Wei, which is old and spicy, thick and simple, is used for inscription painting and used as the basis for painting brushwork, which adds to the special character of art. When calligraphy is not inscribed on the painting, but appears as an independent work, his painstakingly conceived couplet 'Wheat tumbling wind has a state, the warbler is boring', not without traces of deliberate management, but still maintains the style of old and spicy, frank and consistent..."
Five
In addition to marrying people, Mr. Shen Peng loved traditional Chinese culture, originally loved new poetry, and after the age of forty, he turned to old style poetry and published poetry collections such as "Three Yu YinCao", "Three Yu Continued Yin", "Three Yu Re Yin", "Three Yu Poetry Selection" and so on. He admired dong yu in the Three Kingdoms era: "The winter is the rest of the year; the night is the rest of the day; the rainy one is the sun." He has a poetry cloud: "If you can follow Lao Tzu under the pillar, you will earn more than three years of age." ”
Lu You has a poem: "Poetry is six arts and one, is it cunning to use resources?" Ru Guo wants to learn poetry, and his work is outside the poem. "Mr. Shen Peng is using poetry outside the work, multiple cultivation, poetry and book phase and nourishment, the mountain peak looks at each other.
At the celebration of the 50th anniversary of the founding of the People's Fine Arts Publishing House, Shen Peng wrote a couplet, which I am still deeply impressed: "Every responsibility of reading is greedy, and reading the world is not too late." He used more than three hours to seriously study ancient poetry and Gelug poetry, and eventually became a poet.
Shen Peng's refining sentences have been perfectly refined, such as "a lamp accompanies self-reading, a hundred senses of police and a journey" ("Rainy Night Reading"), "Do not quit Yu yu article old, but cherish the beauty of the grass late" ("Suburban Trip"), "With high and wide view, birds are idle in the ancient mountains" ("Jingting Mountain"), "Three thousand waste paper still hate less, and the new poem is more than half a sentence". These couplets are thought-provoking and worth savoring over and over again.
Shen Peng's poems are rich in content, whether it is a change in scenery or a social problem, it is within the vision of his poetry performance. The words are concise and profound. Not only can it bring us poetic enjoyment, but it can also bring us a lot of inspiration. Shen Peng wrote in "Reading the Thoughts of Jia Wu": "The new book should not be seen as a fashion, and the blood, fire, wolf, smoke and smoke think of the country's death." The old man of history opened his eyes, and the foxes dreamed of yellow sorghum in the East China Sea. Although the earth is small and restless, the Zhou Dao Restoration needs to be carried forward. Mirror appreciation of spring and autumn is like rafters, pathos and search for glory. "His reflection on history and his concern for the well-being of the country are vividly expressed."
Shen Peng's poems come from life. In the 1970s, he created "A Cut of Plum": "One building is a big thousand." Except for the edge of the bed, it is Yan tian. Years of coldness have suddenly become poor. During pitching, during bittersweet. How far away the heart is not biased, not seeing the swing, but seeing smoke, the doorbell can not be hypnotized. After winter, there is spring again. The poem not only expresses the expectation of "winter has come, is spring still far away", but also delicately expresses the daily life.
Beijing has had smog in recent years. Mr. Shen Peng's absolute sentence "You think": "Launch a dusty and frozen rain window, and it is best to be in the spring light at four o'clock." The clouds are thick with smog, and the lost flowers are homesick. "Shows concern for the ecological status quo.
The "Huangshan "Ren" Character Waterfall" is written like this: "The first clear color of the long rain is new, and the surface of the mountains and mountains is layered." Lu Hui overheard the wind and thunder roaring, and the hundred-foot-high flying stream capitalized 'people'. "Allegorical scene, pun, and heroically express his sustenance."
Mr. Shen Peng's discussion of calligraphy and poetry is straightforward: "Fu Shan Gong at the end of the Ming Dynasty and the beginning of the Qing Dynasty, the Four Nings and the Four Immortals issued the Ao Purpose. Ning ugly is not charming, deaf, feminine and charming. (Excerpt from "The Song of Discerning Ugliness"). Mr. Shen Peng loves Fu Shan and Wang Duo, and I think he has a deeper understanding of Fu Shan's calligraphy theory. "Shu Xing" directly expresses the chest: "All paintings come from one painting, and the folding house leaks grass and snake ash." Vertical and horizontal opening and affection, coiled and scattered. Only then did he feel that The Chung King's shoulders were comparable, and he taught Hui Zhu to destroy in his hands. The carving insects do not go to the Ling Yan Pavilion, and rambling to climb the Long Live Platform. ”
Mr. Shen Peng's Seven Laws of "Xiaoxue" written in memory of his dear mother: "Farewell to Ci Rong Nine Years, so far every thought is clear. The grass in front of the tomb should be hairy in spring, and the old horse under the tomb has not slept. How can a family be tired like Ansheji? People don't forget to be close to Kenda. Every time the snow is blown, every drop must be able to reach the spring! "The scenes are mixed, real, and deeply moving.
In 2021, the National Art Museum of China held the "Smelling the Tao Before It's Too Late - Shen Peng's Poetry And Books Exhibition". Most of the works in the exhibition are Mr. Shen Peng's self-composed poems. A small poem "Retrograde" makes the audience stop and linger: "Willing to be a retrograde, shame to listen to the wind." Retrograde is the truth, and the ear is insincere. "Its concern for current affairs, in a word, has the wind of the poem Saint Du Fu. I once told Mr. Shen Peng that it is difficult for northerners to master the rhyme of Pingshui, and to write gelu poems, they must also read the rhyme book. Mr. Shen said that when he was young, he often carried a rhyme book, and when he encountered some problems, he also had to read books, and this is still the case today. He also said that reading phonology books will also have new inspiration for writing poetry.
Reading Mr. Shen Peng's poems, you can always feel his poetry, poetry and poetic sense. His poems are broad in subject matter and have considerable depth. In today's poetry world, his creation has reached a new level.
Six
In the past 40 years since the establishment of the Chinese Calligraphers Association, Shen Peng has been participating in and presiding over the construction of the Chinese Calligraphers Association, doing his best and doing a lot of work. In 1992, Shao Yu, chairman of the Chinese Calligraphers Association, died in Shenzhen in the line of duty, and in August of the same year, Shen Peng was appointed acting chairman of the Chinese Calligraphers Association. At this time, Mr. Shen Peng raised the issue of "impetuousness" in calligraphy creation, and in 2000, Shen Peng was elected as the chairman of the Fourth Chinese Calligraphers Association. During his tenure as the chairman of the Chinese Calligraphers Association, he presided over the formulation of the Outline for the Development of Chinese Calligraphy, put forward the concept of "sustainable development of calligraphy", and made important contributions to promoting the benign development of Chinese calligraphy and promoting national traditional culture.
Today, Mr. Shen Peng has long been a peach and plum all over the world, but his students have their own facial characteristics, which I think is related to Mr. Shen's calligraphy concept. He believes that "originality" must be taken as the main criterion for calligraphy creation and criticism, and strive to create calligraphy styles with the characteristics of the times on the basis of inheriting traditions, and then form an artistic style that conforms to personal spiritual characteristics. In the calligraphy elite class of Mr. Shen Peng of the National Academy of Painting of China, he formulated a teaching policy: "Carry forward the originality, respect individuality, inside and outside the book, and the art and the road go hand in hand." "He is good at distilling the strengths and characteristics of students, respecting their individuality, and then going deeper, strengthening originality, and going their own way." It is necessary to emphasize inheritance and to create one's own calligraphic language in today's context.
Mr. Shen Peng attaches great importance to the calligraphy education of young people, and has repeatedly called for calligraphy to enter the classroom of primary and secondary schools on different occasions to carry forward the excellent cultural and artistic traditions of the nation. In 2014, the Ministry of Education issued the Guiding Outline for Calligraphy Education in Primary and Secondary Schools, stipulating that calligraphy education will be incorporated into the teaching system of primary and secondary schools, and students will practice hard pen and brush calligraphy in stages of age and stage. Regardless of the actual situation of old age and poor health, Mr. Shen Peng has been interviewed many times, hoping that calligraphy will enter the classroom of primary and secondary schools, popularize calligraphy knowledge, and improve the aesthetic quality of the whole people.
In 2007, the State Council appointed Mr. Shen Peng as a librarian of the Central Research Museum of Literature and History. Mr. Shen Peng has participated in a large number of work in the museum, and has actively donated, donated books and calligraphy works in many activities such as funding the Hope Project, earthquake relief and public welfare poverty alleviation held throughout the country. He donated the precious collection of famous calligraphy and paintings such as Qi Baishi, Huang Binhong, Kang Youwei, Guo Moruo to his alma mater, Nanjing Middle School, and donated his calligraphy works to the National Academy of Painting of China, the National Art Museum of China and other units, he donated millions of yuan as a publishing fund for the People's Fine Arts Publishing House, and did his part for young scholars to publish academic books on fine arts, and at the same time, he also set up a calligraphy fund in five units such as the National Academy of Painting of China to promote the development of contemporary calligraphy.
Today's Mr. Shen Peng is ninety years old, but he still has no quitting the pool, and the calligraphers are old and more pure. Mr. Shen Peng is still paying attention to the development of Chinese calligraphy and the development of Chinese art publishing, and I wish Mr. Shen Peng an evergreen artistic life!
May 2021
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