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One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

author:Let the boat fly
One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

Mr. Shen Peng's big name is well known in the book world, even outside the book world, people who know Mr. Shen are not uncommon, of course, this is not in addition to his profound skill, unique style of cursive writing convincing, but also related to his important position in the book world and even other fields. Of course, it can also be seen from this that Mr. Shen Peng's social influence is great.

One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

Cursive writing was born at the beginning of the Western Han Dynasty. Wei Heng once said in the "Four-Body Calligraphy": "Hanxing has cursive writing, and I don't know the author's name." By the time of Emperor Wu of the Han Dynasty, cursive writing was already popular among the people. The writing on the Han Jian and Han tomb bricks unearthed in modern times can be verified. However, at that time, cursive writing was still based on the shape of the lishu in structure, and it was written quickly and sloppily, the so-called "disbandment of the lishu and rough writing". Later, through the collation and development of Du Cao, Suo Jing, Huang Xiang and others, it has undergone several evolutions from "Li Cao" to "Zhang Cao" and then to "Jin Cao". Especially Zhang Zhi of the Eastern Han Dynasty, he converged on the wave picking with subordination in the chapter grass, using the brushwork of the seal book to make the breath flow, the dot painting echo, the up and down implications, the posture of the word, a stroke, occasionally not connected and the blood veins are continuous. Therefore, Zhang Huaihuan said in his "Book Break": "Zhang Zhi became a present grass, such as the speed of flowing water, pulling up the grass and connecting ru, up and down, or borrowing the upper word below, and above the lower word, strange shape clutch, number and meaning and package." Because cursive writing contains all kinds of strokes of the body, and the gestures are flying, it is simple and difficult to identify, so it is not easy to learn and difficult to refine. And from a practical point of view, it doesn't make much sense. However, cursive is the most expressive special book type of personal emotion, even if it is more difficult to learn, it still wins people's love with its unique charm.

In the contemporary book world, since Mao Zedong and Lin Sanzhi, although there is no shortage of people who are good at cursive writing, the person who can really achieve higher achievements in cursive writing is Shen Peng. His cursive pen is thick, strange and vast, the dot painting processing is full of changes, both the traditional classic cursive atmosphere, but also the modern life of the unrestrained atmosphere of the times, the formation of a unique personal style, people face Mr. Shen's cursive works, even if covered up, can quickly know that it is from Mr. Shen's hand, which shows the strength of his style.

One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

All those who practice cursive writing are invariably influenced by Tang cursive writing, and Mr. Shen Peng is no exception. Because the Tang Dynasty was the mature period of cursive writing, but also the peak period of the development of modern grass, there were a number of cursive masters such as Zhang Xu, Huai Su, Sun Guoting, Zhiyong, etc., especially Zhang Xu Huaisu's wild grass, in the contemporary era when calligraphy has withdrawn from the practical field and its appreciation of aesthetic functions is increasingly strengthened, learning from the above people, it is most likely to publicize the personality of the calligrapher, so it is much favored by people. Mr. Shen has learned a lot about the grass method, in order to combine the strange qi and enrich the technique, but in terms of the knot body, he has benefited the most from Huaisu's "Dacao Thousand Character Text", especially the use of those longitudinal pens (that is, long vertical pens) is quite the magic of Huaisu's "Big Grass Thousand Character Text". But his horizontal knots and pen methods are derived from his own "grass" that is not very mature. However, Mr. Shen's cursive writing is always mixed with some lines of writing, although it is also written in cursive, but while increasing the contrast effect of the entire opening and closing ups and downs and dense changes, it also more or less weakens the purity of its cursive, and the weakening of cursive purity will inevitably affect the precise expression of cursive ancient meaning, and this kind of cursive collocation writing method reveals an increasingly complex life emotion of modern people. Everything must be gained and lost, and it should be reasonable to look at Mr. Shen's cursive writing in this way.

One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

In order to enrich and strengthen the quality of his cursive lines and thus strengthen the artistic appeal, Mr. Shen has made extensive use of the method of using the pen with a lot of twists and turns, but this kind of brushwork is actually not the first of Mr. Shen Peng, the initiator of this kind of brushwork is Song Zhihuang Tingjian, we just need to carefully appreciate his cursive masterpiece "Taibai Reminiscences of Old Travel Poems" It is not difficult to see. Mr. Shen's creativity lies in the fact that he orders this brushwork and appropriately strengthens the astringency of his cursive line, making it more refined and delicate, so as to transform the past into the present, transform him into me, and form a personal language with symbolic significance, write out the novelty, write the boldness, which is worthy of people's attention.

One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

Some of Mr. Shen's wonderful cursive works have indeed reached the ideal state of "between a painting, the ups and downs are sharp, and within a point, the special is frustrated at the end", which is not comparable to those who are straightforward and exposed. However, some of Mr. Shen's works also have places that are lost due to excessive use of pens, and there are places where they are lost due to the loss of control of the escape. I think that with Mr. Shen's academic skills, although there is such a deficiency, it is still a generation of cursive people.

One of the fifteen-person series of commentaries on the famous contemporary calligraphy everyone Shen Peng

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