Heavy | Century-old master: Lin Sanzhi's appearance of Rice Fu is thought-provoking

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Heavy | Century-old masters: "Grass Sage" Lin Sanzhi and "Tiger Fool" Mi Fu, which is the highest of the original post and the pro post?

Lin Sanzhi's "Two Long Scrolls of Linmi".

Lin Sanzhi (1898-1989), a native of Wujiang, Hexian County, Anhui Province. The original name was Lin, the number of the three fools, and later changed the name to Sanzhi, alias left ear, scattered ear, deaf sorcery, the old man on the river. The laurel of the "grass saint" is not self-styled; it is naturally formed and recognized by society. Mr. Lin Sanzhi is called Cao Sheng, which has its special social factors and historical origins.

In 1972, he became famous during the Sino-Japanese calligraphy exchange selection, and his calligraphy work "Sino-Japanese Friendship Poem" was praised as "Lin Sanzhi's First Cursive Calligraphy". Zhao Puchu, Qi Gong, etc. called poetry, books and paintings "the three masterpieces of contemporary times".

Mr. Lin Sanzhi's calligraphy is famous for his "Sange". The running pen posture, the penmanship like the sand folding strands, the knot body that follows the square and the virtual reality, and the momentum of the pound span and the openness of the pound, comprehensively constitute the artistic language of Mr. Himself. The penetrating, intimidating, infectious, and expressive power of this language is almost second to none in the second half of this century. His fine works exhibited in the 3rd and 4th National Calligraphy Exhibitions are the most representative of his calligraphy level.

The outstanding achievements of Lin Sanzhi's calligraphy have indeed greatly satisfied the psychological tendency of modern and contemporary appreciation--the dialectical unity of freedom and strength, lightness and strange change. There are many reasons for this phenomenon. However, one thing is worth affirming, the success of the forest body grass has more or less affected the re-reflection of the Thesis school in recent years, such as the "book style", "ruler wind", "feminine beauty" Of the depressed appearance, it is the after-effect of this return to the thesis. It can be seen that the significance of Mr. Lin's calligraphy has transcended his art itself and cannot be ignored.

The forest body and grass method is quite mature inclusivity, inheritance and creativity. It can be slightly won from the same as Zhu Xu and Su as if it were comparable to Zhu ZhiShan and Fu Shan. The cultivation of pen and ink skills influenced by Mr. Huang Binhong, a master of Naishi, is almost rare in modern and contemporary times. Here, the author believes that the pen and the "line" of "scattered" cursive writing are unique and have special aesthetic significance, and among those who have not been skilled in pen and ink in ancient times and can be reborn, the name of Lin Sanzhi should be recorded. In addition to the traditional brushwork theory of folding strands, house leak marks, and cone scratching sand, Mr. Lin's pen management skillfully explores the meaning of "wrinkle method" in some landscape paintings, and boldly borrows the ink method of landscape painting to subtly expand the expressiveness of brushwork, which is both new and ancient, close to dry rubbing and being released, but can be wrapped at will under the control of exquisite finger wrists, and become a novel tone, which is a historic breakthrough.

Lin Sanzhi's calligraphy is known as "scattered body" cursive. His writing is extremely particular about the use of the pen, and the emphasis is on the use of the pen. He used the long-fronted sheep to write a book, and kept the center forward with a pen to seek thinness, which not only required him to be good at choosing the strengths of ancient learning, but also needed to be refined and grasp the mystery of it. Lin Sanzhi's pen is varied, and according to those who witnessed his writing, he sometimes wrote slowly, such as writing a book, the lines were solemn, calm, and withered, like spring silkworms spitting silk; sometimes the pen was sharp, there was a tendency to cover his ears with lightning speed, and he turned sharply, like a vine eaves, in one go. It is this rich and subtle change that causes the majestic and flowing posture, the majestic and exuberant momentum, and the brush stroke of the sand folding strands, which has a strong artistic appeal.

Lin San's book focuses on changing the law. He said, "Judging things, there is no immutable one." The opportunity for the change to live, the death of the unchanging, the change of calligraphy is particularly remarkable. It was in this way that he maintained Changxin's artistic pursuits, from learning Tang Tablets to learning xingshu, learning grass after the age of sixty, and adopting all kinds of families. Since childhood imitation, white head. From the Qing Dynasty to the Republic of China period, the stele school of calligraphy was more prosperous, and everyone came out, in contrast, the Thesis school appeared to be weak. Lin Sanzhi joined the Thepian team and became a giant of Thesis. If some of the large strokes in the modern The school still retain the slenderness and weakness of a certain tradition, and pay more attention to the aesthetic characteristics of beauty, in Lin Sanzhi's calligraphy, it greatly strengthens the elements of strength, strange change and spiciness, thus strengthening a sense of strength, especially in the works of later years, with a natural simplicity and freedom. In this sense, Lin Sanzhi practiced his artistic concept of "the opportunity of change" and made certain breakthroughs and reforms to the modern cursive writing that appeared to be somewhat weak, and this creative effort has been successful.

The significance of Lin Sanzhi's calligraphy lies not only in the creation of the individual "scattered grass" and the creative value of the corresponding knots, chapters, and pens, but also in the enlightenment of modern and contemporary calligraphers on how to move forward with the new era on the basis of inheriting profound traditions, and whether they dare and can make changes that are gradual but constantly breakthrough.

Lin Sanzhi's childhood was fond of graffiti, he lost his father at the age of fourteen, introduced by the author's maternal grandfather Zeng Ziting, to Nanjing to learn gongbi figure painting with Zhang Qingfu and practice the basic skills. After that, he studied calligraphy with mr. Fan Peikai, a fellow villager, and Mr. Fan taught An Wu the method of writing, with double hooks hanging wrists and center pipes, laying a solid foundation. Thirty years later, he was introduced by Zhang Li'an, a jinshi of Hanshan, who was born in Shanghai, worshiped Huang Binhong as a teacher, and obtained the secret of "five strokes and seven inks". In 1933, he followed Huang Lao's teaching of "reading thousands of books and walking thousands of miles", and began to influence his lifelong journey of ten thousand miles.

In his later years, Lin Sanzhi counted his own learning process:

Yu began to learn Tang Tablets at the age of sixteen, learned to write and rice after thirty years old, and learned cursive writing after the age of sixty. Cursive writing takes the Great King as the Sect, Shi Huaisu as the body, Wang Juesi as the friend, and Dong Sibai and Zhu Xizhe as the guests. The initiator, Mr. Fan; the final one, Master Zhang and Master BinHong. The remaining eighty years of study are also roughly.

Teacher Qiu Shui said: "Scatter the old habit of changfeng sheep, dip in water, ink after the end, force the pen end, ink on the paper, ink blending, infiltrating and dispersing, there is an unexpected interest." The sharp length is strong, the ink content is more, he uses skillful techniques, presses the turn, astringent into the obstacle, like anyway, will be reversed, the curve is straight, the circle is square, the thick fiber length is moderate, dry and dry and wet is appropriate, but feel a piece of machine, full of wonderful paper.

October 1973 Lin Sanzhi Linmi Long Scroll "Kenshan Ming"

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November 1973 Lin Sanzhi Linmi Fu long volume "Hongxian Poems"

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Calligraphy Discover the beauty of the heart

Thinking of thousands of years, seeing through thousands of miles, the heart travels to ten thousand miles, and the eight poles are exquisite