The phrase "Shi Yan Zhi" comes from the ancient book "Shang Shu Shun Dian", and the original sentence was "Shi Yan Zhi, Song Yong Yan". "Poetry" means that the poems created by people can fully express the author's thoughts, feelings, and interests, and express the author's world view and aesthetic ideals. For example, the poet Qu Yuan's poems pinned their own sorrows and sorrows on their homeland, and even later poets directly used poetry as a medium to express their emotions and views on the world. The Preface to Mao's Poems also emphasizes this "chanting disposition" or the functional role of expressing the will in poetry. Therefore, in the Preface to Mao's Poems, it is said:
The poet, the one who is determined, is the one who is in the heart, and the speech is the poem. ”
And further pointed out that "emotion is in the middle and form in words". The modern poet Ai Qing also believes that poetry is a living sculpture of the mind.
The same is true of Chairman Mao's poems, expressing his own sentiments, even the sentiments of the Chinese revolution. At a meeting of Chairman Mao in Chongqing in 1954, when the poet Xu Chi once asked Chairman Mao about how poetry should be written, Chairman Mao wrote three words for Xu Chi's inscription to answer these three words: "Poetry and Speech".
The inscription was changed to a vertical writing system, and the dot painting was longitudinal, which was quite Chairman Mao's calligraphy personality style. Although its stippling is oblique, the vertical axis is vertical, and the original work maintains the solemnity and calmness of the inscription.
The left side of the word "poem" is picked up with a thick stick figure, and the right half is echoed in a reverse bow shape, coupled with the thick ink of the pen and the thick dot painting, making this word particularly prominent in the whole work. On the one hand, this also expresses what the author thinks and thinks, and its intention is to say "poetry". From the perspective of chapter law, the thick ink of this word, and the falling inscription and the blank space in the lower right, constitute an extremely sharp contrast. This makes the whole work both varied and harmonious, very vivid.
The word "yan" is mainly in italics, and the overall left is suppressed by the right, and the center of gravity is biased to the right. The first point is interspersed with the word "poem" at the bottom right, and the word "poem" forms a whole. The left side of the horizontal painting and the upper right side of the "poem" character "earth" form another relationship. The emphasis of the two words and the "mouth" part of the word "speech" can not be described as ingenious, unique and unique.
The word "Zhi" has adopted a staggered approach of upper, left, lower and right. This itself is based on the glyph configuration and character characteristics of the original character, which seems to be strange, but in fact it is bold and exquisite, magnificent and magnificent, and it is breathtaking. The right shift of the two points of the word "heart", especially the last point, which is almost horizontally drawn horizontally, can be described as a surprising victory.
Looking at the work as a whole, the first two words are mainly square with pens, thick and simple, natural and generous, and the word "Zhi" is the opposite, with soft Kegang and round pens, but compared with the previous two words, it is not weak. In particular, the interspersed and avoidance of the three characters of "Mao Zedong" in Zuo Ze's fallen style is harmonious and unified, which further strengthens the momentum of the word "Zhi".
The strength of the word "poem" constitutes a wonderful contrast. It is not an exaggeration to call Chairman Mao a master of calligraphy space construction. Admiring his works, he is amazed, feeling his great talent, and his exuberant boldness and these six words can also be seen in the superiority of his heart and talent.
Chairman Mao's calligraphy is related to his intellectual wisdom on the one hand, and more importantly, to his revolutionary career for the liberation of China, and perhaps it is precisely or precisely because his calligraphy works have the courage and charm of incomparable and transcendent in ancient and modern times. The stroke of a large pen is a reflection of Chairman Mao's heart and spirit.