After 1910, there were three great calligraphers in China who made great contributions to the art of cursive writing, one was Yu Youren, who standardized the font type of cursive; one was Lin Sanzhi, who refreshed the face of cursive; and the other was Mao Zedong, who, due to his special political status, great personal talent, and outstanding achievements in the practice of calligraphy art, revived the art of cursive calligraphy and inherited the study of extinction.
Let's take the two handwritings of Chairman Mao's "Qinyuan Chun And Changsha" as an example to taste the calligraphy art of the great man from the perspective of calligraphy.
One:
Second:
Attached: Handwriting two stitching diagram
There are now six handwritten works of Chairman Mao, each with different styles, and only two of them are appreciated here. The first is written on two pages of eight-line paper; the second is written on five pages of unlined paper (with a stitched drawing of the author).
Chairman Mao's early calligraphy was due to Zhong and Wang, and was deeply beneficial to the inscriptions of predecessors such as han wei, Sui stele, zhang cao, jin and Tang kaishu, laying a solid foundation for his calligraphy art. Whether it was in the glorious years when "the sky was white, the marching situation in the snow was more urgent", "the rushing and rushing, and the ten thousand horses were still fighting", or in the peaceful years when "the red rain turned into waves at will, and the green mountains turned into bridges" and "cold eyes looked at the world to the ocean, and the hot wind and rain sprinkled the rivers and the sky", Chairman Mao never stopped his calligraphy practice in every period, often reading the inscriptions and reading books with his pen.
Chairman Mao left a large number of ink marks, and when he compared two of them, he often looked very different. Here are two handwritten pieces of the same poem, which also show great differences. These two inkblots, many words are also written in different ways, such as "Standing", "Cold", "North", "See", "All over", "Man", "Through", "Ship", "Stream", "Fish", "Pity", "Hou", "Zhong", "Hit", "Boat", "Ask", "Float", "Learn", "Qi", "Fang", "Point", "Excitement", "Dung", "Dang", "Water", "Wave", "Curb", "Fly" and so on. "Soldiers are impermanent, characters are impermanent" (Yu Shinan's "Pen Marrow Theory • Interpretation of Grass"). Chairman Mao's calligraphy is hand-to-hand, the chest is full of millions, the interest is adapted to events, and the writing time, environment, conditions, and thoughts are different, resulting in a scene of thousands of ink images.
We carefully taste Chairman Mao's cursive writing, Wang Yang is wanton, ups and downs, full of passion and rationality, rigorous in law, magical in knots, handsome and flowing, writing like a god, with a strong sense of visual beauty. Chairman Mao's calligraphy is not a formal rule, has an extremely distinct sense of innovation and distinct personality characteristics, the ancients are not bound to the law, the novelty is in the law, rooted in tradition, broad and profound; the introduction of the old, the leading style, with extremely high artistic value of calligraphy works and unparalleled aesthetic characteristics, is a towering monument in the history of Chinese calligraphy, known as "Mao character" and "Mao body". It can be said that Chairman Mao's calligraphy is full of unparalleled talent, arrogance, aura, domineering spirit, and divine spirit, which can be described as one breath, and the breath runs through changhong, which is breathtaking and admired. Appreciating Chairman Mao's calligraphy, we can feel the beauty of the calligraphy art of flying dragons and snakes, magnificent atmosphere, and boldness, and we can feel the great man's style of pointing out the country, exciting the text, looking at the world and the world, and leading the way.
Chairman Mao never evaluated his own words in his lifetime. The American R. Trier wrote the biography of Mao Zedong, and in this book, which has been hailed as "the most important work on Mao Zedong in the world", Trier wrote: "He was more of a poet and artist. His poetry is imaginative, bold, and profound; his calligraphy is unbridled, arbitrary, and self-exhilarating, and it is no less than to rank him among China's most outstanding poets and artists. ”
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