Deng Sanmu
Deng Sanmu (1898-1963), formerly known as Pure Iron, Dung Weng, etc., was renamed Sanmu after the Anti-Japanese War. Shanghainese. Learn from the ancient mud. In the 1940s, a lecture on golden calligraphy was held in Shanghai, which had a great influence. He has published "Four-Body Simplified Character Genealogy", "Interpretation of the Thirty-Six Laws of Ouyang Knot Body", "Cursive Writing", "Seal Engraving", "How to Linti", "Calligraphy Hundred Questions", "A Brief History of the Evolution of Chinese Calligraphy", "Selected Calligraphy of Deng Sanmu", etc.
The five words of the book are linked
The "Two Kings" style, which has almost become a model of traditional calligraphy, has accumulated the "orthodoxy" of Chinese calligraphy aesthetic psychology. For more than a thousand years, calligraphers have been meticulously and attentively following this example of calligraphy style, ashamed of themselves in the face of "perfection", reflecting the closedness and continuity of the mentality of national traditional culture. Occasionally, the warriors who have passed by have either fallen into the reputation of "wild turmoil" or have to carry the banner of the "second king" of the division to secretly cross Chen Cang--verbal inheritance, in fact, rebellion. Because of this "orthodox" cage cover, coupled with the lack of personality of the latecomers, throughout the history of calligraphy after the Jin and Tang Dynasties, few people can jump out of the "circle".
Lishu Mao Zedong Lou Shan Guan word vertical axis
A history of calligraphy is, in no uncertain terms, a history of the evolution of writing styles. However, due to the particularity of the calligraphy of the species country, the change in the visual form of the history of calligraphy as an art is more subtle than that of its art department. If there is no deep experience in the category of traditional cultural literacy, it is obviously difficult to perceive it in the appreciation of calligraphy. Lin Yutang is very calligraphy can best represent Chinese culture, which makes sense. Its national character is innate. From this innate attribute, the prospects for the "dialogue" and "integration" of Chinese calligraphy with international art are not as optimistic as some people think.
Seal Book Five Words Lian, 146x37.5cmx2
Interpretation: Taketo Hide Creek Pine Pavilion Stone Peak Twenty-second Spring Snow Ji Dung Weng Collection Sentence
This kind of calligraphy "orthodoxy" style, which lasted for quite a long time, was impacted by the aesthetic system of the Northern Monument Puye in the middle of the Qing Dynasty, and since the Republic of China, it has basically formed a situation of combining stele visits and stele posts. That is to say, people's style performance tends to be stable in the new order, and different aesthetic ideals can do their own thing. The epigraphic frenzy stirred up by the Nguyễn, Bao, and Kang clans gradually calmed down, and people found that any overcorrection was not as good as mutual integration to get the satisfaction of the reward. After that, in the creation of calligraphy, it is difficult to see the inscription at the end of the single sticker - the struggle between Gang Rou and Xiongxiu. Deng Sanmu, a book figure who was active in the period before and after the founding of the People's Republic of China, is a representative calligrapher that we are willing to observe. The profundity and comprehensiveness of his traditional skills and techniques need not be repeated. His own appearance has been established in middle age, and it is presented with a relatively diverse eyebrow. As a modern calligrapher who has established a more individual style on the basis of inheritance, if we do not measure it from the standard of creative scale and make a historical assessment, we will have only respect and nothing else. The problem is that the demands of calligraphy criticism are: rational value judgments give historical figures the historical position they should take. Deng Sanmu calligraphy is no exception.
The time of writing of the Scrolls of the Book is unknown, on paper. Xingshu, where six lines, count 85 words.65×32 cm, Duoyun Xuanzang
After a longitudinal comparison of Deng Sanmu's calligraphy, it is concluded that he, as a representative of a generation of famous artists who can match the classical style, has not yet achieved breakthrough achievements in creating a historical aesthetic style. Therefore, we are thinking about why many calligraphers who do not lack traditional skills and women's skills are finally difficult to break through the boundaries of the traditional aesthetic style of calligraphy? Or to the highest level of aesthetics? A writer like Mr. Deng Sanmu does not lack a strong personality in personality quality and elegant appreciation ability and profound cultural accumulation. The answer is only that because of the traditional literary cultivation possessed by these writers, while they are at ease with the traditional artistic style, they are unconsciously easy to fall into an aesthetic psychological stereotype, and the accumulation of national, regional, and traditional is easy to cage the traditional literati. Originally, the pure national and even regional cultural accumulation should often be completed as artists with greater human cultural significance, but once the inertia of this culture is linked to the conservative quality of individual consciousness, the situation is not optimistic. At its source, the artist's personality traits do not develop apart from his personality attributes. The cultural archetype of the artist's deep psychology, although the most hidden, is an important artistic driving force. The prescriptiveness and tendency of this artistic dynamic can greatly affect the development type of artistic creation. As an inheriting calligrapher, Deng Sanmu has more comprehensively realized his return to the traditional highest standard "two kings" style and deafness, which must be affirmed. His profound and solid calligraphy, especially Xiao Kai Kung Fu, his understanding and mastery of the neutral aesthetic requirement of "elegance and moderation", and the knowledge of calligraphy necessary for achieving a traditional calligrapher, such as primary school, philology, epigraphy, calligraphy history, etc., are gathered for his image of a comprehensive "orthodox" scribe. Shi Inheriting Xiao Hui'an and Zhao Guyi further enhanced this temperament and direction. Unfortunately, he finally ended the stage of "aligning" with the "Two Kings" tradition in the traditional aesthetic category. Like modern scholars, this period is still far from the true meaning and charm of the Two Kings Law. At this point, such writers have to live in the second and third streams.
Cursive Six Words Interpretation: Embrace the ClearNess of the Forest Ridge And enjoy the Piano Book to dispel worries
If Mr. Deng Shanmu is not so comprehensive and versatile in artistic expression, perhaps it is more conducive to his exploration of the depth of calligraphy? The author suspects that the tradition of striving to shape a comprehensive calligrapher in secular habits will indeed affect the deep pursuit and single-minded pioneering of calligraphy ontology by calligraphers to a large extent. Such a statement does not mean that we are willing to separate the two. But as a criticism of art, our boiling point ultimately falls on the study of the creative value of art's form and style. The common and the special, the watershed between mediocrity and creativity, lies in the degree to which the individual spirit is freed from inertia! The value judgment of modern meaning focuses on the height and depth of art—the strength of expression, rather than the breadth of its foundation. We are modern people, and we cannot speak without standing in a modern standpoint.
Cursive Five Words Interpretation: Drunken Chanting, Jade Pen Cold Wind Blowing Residual Clouds
Deng Sanmu calligraphy is easily annihilated in the history of calligraphy, it should be said that what makes Mr. Deng's name in the history of art and worthy of capitalization is Mr. Deng's seal engraving art and the seal book works in his later years. The reason is that even measured by the traditional standard of criticism, Deng Sanmu's calligraphy is not first-class among his contemporaries in terms of overall standards. Mr. Deng's cursive calligraphy does not raise the "linear" creation of dot painting to a level of historical significance, and the knot and the overall artistic spirit are also more generalized.
The seal carving of Mr. Is directly inherited from the style of Master Zhao Guni, but after all, he pushed this decorative aesthetic style to a certain extreme height. His seal book is one of the main factors that make his seal engraving appearance. Although he is very interesting, the meaning of the seal of the knot is obvious.
Prosan disk
Mr. Is proud of himself and has a bumpy life, but his calligraphy is gentle and graceful, and he does not lose the temperament of Jiangnan people. It seems to be incompatible with it. It seems that the book, like its own arguments, also has something to publish. Mr. Li's calligraphy is "elegant" and the wood is "high" and "easy", and it is not enough nonsense.