Let's start by admiring a couplet:
The pen and ink are ethereal like the breeze, empty and have their own qi flow. Liquor cloud liquid, stream bottom snow, that is, this kind. The strokes of the axe and the tight and loose knots on the inside are like the sharpness of the "Guifeng Monument", and the ethereal is even more ethereal than this monument.
This association (above) is based on Liu Gongquan's "Xuanmi Pagoda Stele", according to his own calligraphy to pursue moderate changes, the style of writing is more dangerous and clear, with the clarity of the willow bone, the wind bone of the Six Dynasties, like the breeze, the cold snow, as if like the birth of the High Priest.
Who is the author? The fallen paragraph wrote: Pu Ru is not wrong, it is the last emperor Sun Pu Xinshe.
Pu Xinshe, born in 1896, died in 1963, known as Confucianism, the character Xinshe, the number Ofishan Yishi. He was the grandson of Prince Yi of Qinggong. Since childhood, he has suffered from the pain of the old king and grandson. After the age of thirty, he immersed himself in painting and calligraphy. In 1950, he went to Taiwan, where he studied as a disciple, and later became a professor at the National Samwan Normal University, where he was known as "Southern Zhang Beipu" with Zhang Daqian and "Southern Wu Beipu" with Wu Hufan. He is the author of "Han Yu Tang On Painting" and so on.
In calligraphy, Pu Xinshe learned the "Xuan secret pagoda" in his early years, and then learned Pei Xiu to work the hardest on the "Guifeng Stele". Pu Xinshe has taken the path of pure thesis all his life. After crossing to Taiwan in the south, he was known as the "first person to study the thesis in Taiwan"
Looking at the path of his life' calligraphy, this compilation believes that it gives us the following enlightenment:
First, many of the works left by Pu Ru are temporary works. Combined with some of his views in "On Painting in Han Yu Tang", it is enough to say that he pursued tradition and insisted on Linti all his life, and did not claim to have his own things until his old age. This is the same as the success path of calligraphy, which points out the direction for our calligraphy lovers.
Second, Pu Ru's life to the theology as a self-proclaimed, and most of us now are different: although his calligraphy is based on Tang Kai, his calligraphy introduction is by no means to write "willow body" as soon as he gets started, but he started with the seal and then entered the line book from the letter.
Third, in the practice of calligraphy, Pu Ru has always advocated in his book theory that to write small characters, you must first write large characters, and you can write large characters first in order to fully appreciate the posture of the pen and the book. In particular, the combination of "practicing big characters" to exercise the ability to press and "double hook" to improve the ability to move the pen can lay a solid foundation for the script.
Fourth, Pu Confucian calligraphy has emphasized "using the pen to get its bones" throughout his life. Gaining its qi and bones means that you can't blindly imitate the words, but you have to experience the charm of the Fa Ti, just like many people learn Yan Liu to write the words to death, because they can't get the result of their charm by apprentices learning their watches.
Pu Ru uses his pen decisively, angularly, and strong bone strength in his works, especially in his later works, the pen and ink are ethereal, and the dot painting is more agile at the same time.
V. Another point that Pu Ru emphasized in his book theory is that the pen of calligraphy, whether it is written in large characters or small characters, must pursue two words "fine", and whether the true grass is "fine" is the first priority. How should this be understood? In fact, it is reflected in the writing that requires "pen and pen delivery", which is not only a rigorous attitude to learn calligraphy, but also a further step only when it is refined, such as the pursuit of imagery. Proficiency is a necessary condition for calligraphy, otherwise it is absurd and lawless.
His small letters are also, word by word are very clear to explain the difference between strokes, and the spacing of words is also very well grasped. The most exquisite thing is that in such a need to pay attention to the glyph (small letter) of writing, Pu Xinshe did not forget to express the meaning of good calligraphy. This is the shining point of Pu Xinshe's calligraphy.
His calligraphy content is also mostly the poems he has written, which makes it easier to express personal feelings through calligraphy. Looking at the current calligraphy collage, paste, and dyeing, it can be said that there are many forms, and copying a few ancient poems can only make calligraphy more artistic. Pu Ru was born in a chaotic world, and in the context of the era when epigraphy became the mainstream, he did not bother him all his life, and from the Second King to Tang Kai firmly stepped out of his own path of theology, giving us profound enlightenment. Appreciation of PuRu's works▼