In the early years of the Republic of China, the book world was known as "Southern Shen and Northern Yu". He and Yu Youren represent the two peaks of Theology and Epigraphy, respectively. In his later years, he devoted himself to calligraphy education, and was revered by posterity as the enlightener and enlightened figure of modern thesis.
Shen Yinmo
1883-1971
Formerly known as Junmo, Qiuming, Junmo, Zhejiang Wuxingren, famous scholar, poet and calligrapher. The master of the "Second King" and Mi Fu and other thesis masters, mixed with the northern stele and epitaph, used the pen Qing Jian Xiurun.
Shen Yinmo studied in Japan in his early years, and after returning to China, he successively taught at Peking University, Beijing Women's Normal University, and Fu Jen University. Shen Yinmo is both a principal and a teacher, working hard and making silent contributions, and his educational achievements are remarkable.
Shen Yinmo's "Xingshu Lu Xun Poetry Joint Sentence", a book on paper, collected by the Shanghai Municipal Museum of Literature and History.
After liberation, Shen Yinmo devoted himself to the education and popularization of calligraphy art with a more lofty attitude, and cultivated a large number of calligraphy talents. In the Shanghai book world, many of Mr. Shen's students are still active. His proud protégés include Xie Zhiliu, Hu Wensui, Weng Minyun, etc., all of whom are influential calligraphers.
Shen Yinmo's calligraphy, whether it is a calligraphy or a calligraphy, has a history and is very clear. But what is less known is that his myopia was as high as 2,000 degrees, and he was almost blind in his later years.
When writing, he asked his wife Chu Baoquan to dip the brush in ink, handed it to him, put it in the upper right corner of the paper, and after writing one line, he put it on the second line. Is it "To meet God is not to be taken by sight?" ”
In order to wash away the tacky atmosphere, from the post into the monument hard research for 30 years!
Shen Yinmo was born in 1883 in Xing'an Province, Shaanxi Province, and was originally from Wu County, Zhejiang Province. His grandfather and father were officials, and they were also good calligraphers, Shen Yinmo had been deaf and blind to the family style since he was a child, and under the guidance of his father, he studied books, and at that time he copied Huang Ziyuan's "Quan Ming" and Ye Shengtian's engraving of "Cultivating Tian Guan Ti", unconsciously mistakenly entering the sweet and vulgar habit path.
Shen Yinmo, "Sun Yuxing's Epitaph" (partial)
He moved back to Zhejiang with his family from Chang'an, Shaanxi, and during his time in Hangzhou, he became acquainted with Chen Duxiu. After watching his calligraphy, Chen pointed out to his face, "You wrote a poem, the poem is very good, and the words are vulgar in the bones. A "vulgar in the bone" is like a blow to the head, waking him up. Shen Yinmo later recalled, "When I first listened, it was really a bit harsh, and then I thought about it carefully, his words were very reasonable, I was poisoned by Huang Ziyuan, and then I was contaminated with a little bit of the habit of Qiu Lao( Qiu Lai). At that time, he was not good at hanging his wrists, and he liked to use long blades, and he seemed to be procrastinating and not being looked at. And this is precisely the real starting point of Shen Yinmo's path of calligraphy.
In 1908, Shen Yinmo painfully changed his former wrongs, learned again, and immersed himself in "entering the monument". During this period, he carefully read the part of An Wu's "Art Boat Double Tree" several times, and where he could understand, he did it. First of all, from the finger real palm virtual, palm vertical wrist flat, starting from the pen, with the big sheep dipped in light ink, before writing the Han monument... In 1913, he came to Beijing and began to write the North Monument, starting from the "Twenty Pins of Longmen", especially loving to write the "Zhang Raptor Monument", but he was intent on painting flat and vertical, so he took the "Great Dynasty Huayue Temple Stele" and deliberately copied it for three or four years. Later, Yuan Wei newly unearthed stele, such as "Yuan Xianjun" and "Yuan Yan" Zhu zhi, all of which were loved.
Shen Yinmo, a famous calligrapher at the age of 80, gave children a demonstration of brush holding and explained how to use wrist strength when writing.
He also described himself, "During this period, in addition to writing letters, he did not often respond to people's requests with writing, and most of them were written in the main book. This is the reason why it is necessary to thoroughly wash away the tackiness of the previous grass. I kept writing the Northern Dynasty Monument until 1930, when I felt powerful under my wrist. ”
Shen Yinmo asked about the Dream of the Red Chamber
Kung Fu pays off. Shen Yinmo's hard work is 23 years. From the age of 25 to 48, he took the Fa from the Han and Wei Dynasties and the Northern Tablets, and since then laid a relatively deep foundation in calligraphy.
Out of the monument into the post and out of the post, into the post to learn the opening of the character!
As a prominent figure in the modern book world, Shen Yinmo's path of calligraphy is different from that of Wu Changshuo, Kang Youwei, Yu Youren and others. He did not enter the stele and post, but went out of the stele and entered the post, and eventually entered the post and posted again, becoming the founding figure of modern thesis.
According to Shen Yinmo's "Memories of Self-Study", after that, he began to learn to write xingcao, passing through Zhiyong, Yu Shinan, Chu Suiliang, Huairen and others from Minang Palace, and going back to the Book of the Second King. Because during this period, he bought the authentic photographs of Mi Lao's "Seven Theses"; he also obtained the photos of the "Mid-Autumn Festival" dedicated to him, Wang Xun's "Boyuan Thesis", and the Japanese Collection of the Right Army's "Kong Shizhong"; he could often go to the Palace Museum to see the handwriting of the Law Books since the Tang and Song Dynasties, get enlightenment, and benefit a lot.
In the 1960s, Shen Yinmo, who had already published a post, also pursued the changes of his later years, "using wild grass, chapter grass, and penmanship to remedy the beauty of his writing; using thirsty ink to remedy his lustrous abundance; and using a seemingly faster pen to remedy his quiet introversion." ”
Seventy years of study and calligraphy, Shen Yinmo has never stopped posting. It can be said that "live to be old, learn to be old", can be called the most willing calligrapher!
More calligraphy to appreciate
New see Linzhang Xu's "Records of Langguan Stone Pillars" (partial).
"Four Kinds of Manuscripts of Shen Yinmo's Handwritten Manuscripts", first edition in 1984, only 4150 copies were printed, and the ink was small.
Source: The owner of the Qingyun Pavilion sorted out the taste of calligraphy
Editor: Shen Jie
Editor: Yu Tao, Wang Yilin Final Judge: Zou Fei Producer: Wu Xuekang
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