In 1999, Chinese Calligraphy magazine selected the "Top Ten Calligraphers of the Twentieth Century", including Wu Changshuo, Qi Baishi, Kang Youwei, Lin Sanzhi and others. Among them, one of them was called "the last 'master' of the Chinese book world" by Qi Gong, and he was Shen Yinmo.
Shen Yinmo, whose name is Qiuming, is known as Junmo and Guiguzi, was born in Hanyin, Shaanxi Province in 1883. He used to be a professor at Peking University and Fu Jen University, and the president of Peking University. Shen Yinmo was brilliant and highly praised for his poetry, essays, and calligraphy. Because of his ancestral home in Zhejiang, he is known as "Nanshen".
Contemporary writer Xu Pingyu praised Shen Shu: "Beyond the Yuan, Ming and Qing dynasties, and go straight to the four Song families without being ashamed." Calligrapher Professor Xie Zhiliu even praised: "For hundreds of years, there have been many calligraphers, and no one has surpassed them. ”
Shen Yinmo first learned Huang Ziyuan, and later changed to Ouyang Xun and Chu Suiliang, and thus chased after the "two kings". He also repaired the inscription, based on the penmanship of the Wei and Jin dynasties, and copied and learned Mi Fu, Lanting Eight Pillars, "Big Character Yin Fu Jing" and other calligraphy. During the Republic of China, there were not many people who could comprehend the essence of Wei and Jin calligraphy, so Shen Yinmo was known as the "master of the world".
Shen Yinmo has outstanding achievements in regular script, line script, and cursive script, especially his cursive script. He copied Ouyang Xun, Yan Zhenqing, Huai Su, Su Shi, Huang Tingjian and other masters, especially Huai Su's "Cursive Thousand Character Text", and based on this, he created his own "Cursive Thousand Character Text". This post was completed in 1947, and Shen Yinmo said: "Yu Huaisu Xiaocao's thousand-character writing, playing with it makes the subtle meaning of the ink line, and the wonderful reason of the wrist luck." ”
"Cursive Thousand Character Text" is finely dotted, the pen is delicate, not sharp, the gestures are continuous, and the words are full. Shen Yinmo's grass method has always been inseparable from the law of the Jin and Tang Dynasties, although there is the shadow of Huaisu, but it does not seek that the words are exactly the same as the original, "similar to God but not similar to form". His penmanship is rigorous and charming, and every word is worth savoring.