Zhu Lesan is a famous calligrapher, painter, seal engraver, and one of the important founders of higher calligraphy education in China. In terms of artistic creation and calligraphy education, Zhu Lesan was deeply influenced by his teacher Wu Changshuo, and was able to combine his own understanding to transform and innovate the inherited artistic style and creative characteristics, forming a unique artistic style, which is worthy of deep consideration by future generations.
Zhu Lesan Calligraphy couplet
Zhu Lesan was influenced by Mr. Wu Changshuo in art, and he first began to learn seal engraving. According to his brother-in-law Zhu Wenyun, "(Zhu Lesan) was first printed, mostly made of bricks, bamboo roots, and melon handles, and ground into a stamp to learn carving... Later, Wu Changshuo's "Cutting The Seal of The Seal" was used as a model for engraving, and one side printed it several times until it thought that the form and god were good."
In 1916, Zhu Wenyun went to Shanghai to serve as a tutor for Wu Changshuo's grandchildren, and for the convenience of teaching, Zhu Wenyun lived in the Wu family. At the same time, Zhu Wenyun also worshiped Wu Changshuo as a teacher and studied calligraphy and painting. Later, Zhu Lesan, who had just come to Shanghai, lived in the same room as his second brother, which gave him the opportunity to meet Mr. Wu Changshuo, and often served Mr. Wu Changshuo around and watched him swing at the scene. After a long time together, the two brothers of the Zhu clan and the Wu family have been very close in the past, and they are as close as a family. Wu Changshuo saw the hard work of Lesan in art, and gladly accepted the door, and the two brothers were both Wu's disciples, becoming a good story in the art world.
Zhu Le SAN Set oracle bone text connection Zhu Han collection
In the fields of poetry, books, paintings, and printing, Zhu Lesan was personally popular with Wu Changshuo, especially in the aspect of seal engraving, as he said: "My method of governing the seal and the process of learning are the paths that Mr. Wu Changshuo has taken, and later Mr. Wu Changshuo guided me to follow the ancient seals of Qin and Han, so that I understood that the transformation of Chinese seals led to various styles." Later, in practice, he experienced it particularly deeply, took the French and Chinese seals, and smoothly dissolved them all the way from the Chinese seals. ”
Zhu Lesan's hard work in the study of the ancients can be described as extremely profound, which can be seen from the several kinds of seal notations he has copied, which is also what he has been implementing and adhering to in the teaching of seal engraving since then. Zhu Lesan once asked Wu Changshuo, "What should we pay attention to when controlling the seal head?" Wu Changshuo replied: "Seal engraving is first and foremost in the chapter law, and the chapter law should pay attention to the virtual reality and the wide knot, and pay attention to the whole India can unite as one, like a family." "The unity of all India as a family is a very vivid metaphor. There are large and small families, old and young, and each person has a different personality and personality. In India, each character knot should have its own variations, but it can be imprinted with heart and mind, united as one, just like a painting, up and down, left and right can be consistent.
Wu Changshuo also said: "We must also pay attention to the all-Indian atmosphere, heavy intentions, qi, and seek simplicity." This makes me think of mr. Jin Jiancai's description of the Zhule Sanzhiyin in his article "Remembrance of the First Professional Education in Calligraphy": "In my memory, he often used the words 'tuan get together' and 'cangcang'. The former refers to the chapter method, requiring every word and even every stroke on the printing surface, regardless of distance, to look forward to and take care of each other; the latter refers to the knife method and brushwork, which requires a thick and ancient meaning, and must not be smooth. It is not difficult to see that what Miao Weng and Zhu Lesan said is the same thing.
Zhu Lesan "Penn Lan" is selected from "Selected Works of Modern and Contemporary Chinese Artists Zhu Le III" People's Fine Arts Publishing House
Mr. Zhu combined his long-term practice and creation, the understanding and transformation of Wu Changshuo's artistic concept, and further imparted to students, Mr. Zhu's rigorous academic attitude and practical education methods are undoubtedly extensive and far-reaching.
Zhu Lesan was hired by Liu Haisu and Pan Tianshou in 1946 to teach in Shanghai and Hangzhou, and from then on he began to copy the "Seal of The Silk Lu", and completed the first volume in 1947. Mr. Wu Mozhi saw this, and said: "Le Third Brother Lesson Hook Copy "Mu Lu Seal Cun" 156 squares, the polar original Tuo, and obtained its essence, not refined this way but familiar with the origin of the Tao, Yue Ke Zhen this. The poem "The former number master was from the back to the king", believe in it. Ding Hai grew to ten days after the festival, and Wu Mozhi's respect was spent on the lake. Zhu Lesan himself wrote on the cover of the hook facsimile: "This book has been painstakingly hooked for twenty-six or seven years. ”
Zhu Lesan '缶庐印存》 Ink Hook Book Selection Page
Between 1947 and 1973, Mr. Zhu completed four volumes of ink hooks, "The Seal of The Silk Lu". Even the seal of the same party, due to the different effects of modification and cover, hooked two or three sides. Next to many works, there are also detailed texts.
For example, the "Seal of Junqing" of the two parties reads: "The seal engraved by the elder Is often based on the different weights of the time of the expansion, and there are many changes, and the two seals of the two sides are also the same seal, which can be proved." Next to the seal of "Broken Lotus", it is written: "These two seals were hooked out in the seal of the Master of The Silk Master, and I thought that at that time it seemed to be real and false, but I modified it, and I felt that the flow was sparse, so that I can know that the old man of The Silk Lu was completed without hesitation, and it was beneficial to see the carefulness of his hesitant management." Therefore, they are hooked together to refer to the evidence. ”
There are many such examples, all of which reflect Zhu Lesan's meticulous observation and careful study of the seal carvings of his master Wu Changshuo. It is precisely because of such a solid and in-depth imitation of the seal that Mr. Zhu Lesan later became familiar with all kinds of printing styles in seal engraving, forming a variety of artistic forms.
This article is selected from Calligraphy Education, No. 04, 2019
"Jin Shi Qixin Tao Li Zhengyan - Remembering Mr. Zhu Lesan, the pioneer of Higher Calligraphy Education in China"