Lu Shen, a calligrapher with outstanding achievements in the middle of the Ming Dynasty, and other backbones of the Songjiang book circle, consciously acted as the mainstay of the Yunjian School of Calligraphy, and his calligraphy idea of "taking the law from the top and reading the book outside the book" played a crucial role in the re-emergence of the Yunjian School, and influenced the prosperity of the Yunjian School represented by Mo Shilong, Dong Qichang, and Chen Jiru.
In the dynasty is a famous courtier, in the opposition is a famous scholar
Lu Shen (1477 – 1544), originally known as Li Li ( ) , was a chinese poet who was given the title of Zi Yuan (字子源) and the number of Yu Shan (俨山). A native of Huating (Yangjing Town, Shanghai County, Songjiang Province, now Lujiazui, Pudong New Area). In the eighteenth year of Koji (1505), he was promoted to a scholar, changed to a Shu Jishi, and was given the title of editor. Jia Jingzhong was a tai changqing, concurrently a waiter, and later a scholar of Zhan Shifu and a bachelor of Hanlin Academy, a gift department attendant, and a tan wenyu.
Appreciate the boya, for the word of the crown
Lu Shen was a scholar with high academic achievements, and the Ming History called him "appreciating the liberal arts and making him a champion of words". The university scholar's friend He Liangjun believed in his "Four Friends Zhai Cong" that Lu Shen's collection of books was "tens of thousands of volumes", and the library built by Lu shi on the earthen hill in Korakuen was named "Jiangdong Mountain Building".
Lu Shen's academic research is profound, his writings are equal, "his articles are highly respected by historians, famous words and deeds, and the world's eyes are exemplary", and there are thirty-two kinds of "Yushan Collection", "Shi Tong Lingzhi", "Book Series" and so on, about 1.8 million words, and most of them are works of practical use through the ages. The "Four Libraries complete book" compiled by Qianlong in the Qing Dynasty contains twenty-one kinds of Lu Shen's writings, which is unique among Shanghainese in the Ming Dynasty.
The beginning of the country calligraphy, Wu Song tasted the world
The history of calligraphy in the Ming Dynasty is the Songjiang School of Calligraphy (Yunjian Shupai - Yunjian is the ancient name of today's Shanghai, the Ming Dynasty set up Songjiang Province, under the jurisdiction of Huating, so the Songjiang Shu school is also known as the Yunjian Shupai, Huating Shupai) and the Suzhou Shupai (Wumen Shupai), representing the history of the mutual growth of calligraphy in the two regions.
In response to the situation between the two factions of the Yunjian Shu School and the Wumen Shu School, Lu Shen sighed in his "Yushan Collection" volume 86 "Chibi Fu after the Inscription Book": "The calligraphy of the beginning of the country, Wu Song tasted the world."
Huang Wei pointed out in the History of Chinese Calligraphy (Yuan Ming Scrolls): "Lu Shen and Wen Zhengming were contemporaries, Wen Zhengming's goal was to imitate Zhao Mengfu all his life, and Lu Shen began to cross the Zhao clan to get rid of the radiation effect of Wen Zhengming, the leader of the Wumen Sect, in this area. "From the beginning of Lu Shen, the Yunjian Shu Sect had a sense of competition to get rid of the Zhao clan and break through the Wumen Shu Sect's exclusive family.
The proposal of the calligraphy genre concept of "Wu Song Tastes the World" shows Lu Shen's clear understanding of the inheritance and development of the school of calligraphy. Without this unique insight into the development of the school of calligraphy, his influence on calligraphy in his hometown would not have been so profound.
Books chase jin tang, do not learn when people
Li Beihai (李邕), the master of Lu Shen calligraphy, has exquisite penmanship and profound skills, showing a style of stability and solemnity, peace and grace, and exudes the unique bookish atmosphere of the literati calligraphy of the Thesis School between the lines.
In the late Ming Dynasty, He Sanwei made this comment in the book "Yunjian Zhiluo": "Deep truth, grass, and writing, such as iron paintings and silver hooks, Vigorous and Law, Jie Qi Beihai (Li Yong), and Bo Zhongzi Ang (Zhao Mengfu), a generation of famous pens." ”
Lu Shen's "Rui Mai Fu" is partial in the first volume
Lu Shen's masterpiece "Rui Mai Fu" is now in the Palace Museum in Beijing, and the work presents the remarkable characteristics of the book style, dense knots and majestic strokes.
The calligraphy of the early Ming Dynasty inherits the retro style of the Yuan Dynasty, indulging in the gentle and feminine atmosphere of Zhao Mengfu's gentleness and fluency. In this regard, Lu Shen, who was in the middle of the Ming Dynasty, was influenced by Li Beihai's calligraphy concept of "like me is customary, and those who learn from me die" held by Li Beihai when advocating the inheritance and development of the relationship between ancient calligraphy and innovation, and formed a strong calligraphy idea of skipping the Zhao clan and going after the source of the Zhao clan - the Jin and Tang Dynasties.
Lu Shen once said: "To read the books of the ancients, we must work from our own subordinates, and we must not watch the field like a dwarf and drink with the crowd.", which shows his "not following the crowd" concept of reading; Lu Shen also said: "Although the article is a small skill, it wants the spirit of heaven and earth, borrows the pen of my leak, and does not come from the heart, what is a writer?" It can be seen that its "out-of-mind" is a literary view. This view of reading and the natural influence of the literary view supported his view of calligraphy and the practice of calligraphy.
Lu Shen's "Book of Poetry of Qianqi"
Judging from Lu Shi's "Book of Poems of Qianqi", under the gesture of participating in Tang Li Beihai, he used his pen to squeeze and converge, although it was more relaxed than Zhao Mengfu's pen, but his writing style was thinner and harder than Zhao Mengfu.
At that time, when Wu Menshu Paiwen (Wen Zhengming) and Zhu (Zhu Yunming) were all the rage, Lu Shen was faced with the trend of "still body", "good looking", and "inbreeding" and seeking to change and decline, and began to diligently seek another way. In the middle of the Ming Dynasty, on the book altar of the Song and Yuan dynasties, Lu Shen's calligraphy thought and practice of "learning Yan Shangshu from zhengshu and Li Beihai from calligraphy" played a role in carrying the flag and inspiring the deaf. The Yunjian Shu School rose in the early ming dynasty, and in the middle and late period of the slight decline, with the leadership of Lu Shen, it regained its unique position in the Jia Tianxia.
The mainstay of the Yunjian School of Writing
Lu Shen, a calligrapher with outstanding achievements in the middle of the Ming Dynasty, and other backbones of the Songjiang book circle consciously acted as the mainstay of the Yunjian School of Calligraphy, and his calligraphy idea of "taking the law from the top and understanding the book outside the book" played a crucial role in the re-emergence of the Yunjian School, influencing the prosperity of the Yunjian School represented by Mo Shilong, Dong Qichang, and Chen Jiru.
Lu Shen once said, "Shi Gui BoGu, also want to pass through the present." The study of the ancient without the present, the useless; the learning of the present without the ancient, the learning without the body. Its calligraphy proposition of "melting the past and casting the present, integrating and penetrating" directly influenced and dominated the Yunjian School of Calligraphy, which can absorb the essence of the "Two Kings" calligraphy and accumulate fruitful results at the same time, but also surge with innovative ideas, and strive to innovate in the art of calligraphy.
Dong Qichang once commented on Lu Shen's calligraphy as "almost no regrets, enough authenticity", and pointed out: "The valley of Ran Lansheng, how can you treat people and be rich?" "Meaning Lu ShenShu jia, originally so, is it good to wait for someone to launch it?" Dong Qichang's view that "the Book of Tang is inferior to that of Wei and Jin" was a further development on the basis of inheriting Lu Shen's calligraphic viewpoint of "writing after the Tang Dynasty and not learning from the people of the time," which made him a pioneer in the late Ming Dynasty who directly inherited the true meaning of calligraphy, the keen innovation, and the founding of the sect of "Shu Sheng" Wang Xizhi.
According to the research of calligraphy historians, from the perspective of influence, the Yunjian School spanned about one hundred and seventy years in the early and late Ming Dynasties, and with the great influence of Dong Qichang in the Qing Dynasty, the time was longer. Wumen calligraphy has influenced the Chinese calligraphy school for only one hundred years, and the Yunjian calligraphy school has a full seventy years more.
More than 400 years ago, Lu Shen, the sage of Pudong, inherited the past and the future for his hometown Yunjian Calligraphy School to regain its roots, leading the development and standing in the annals of Chinese calligraphy. Today's Lujiazui is named after Lu Shen's former residence and ancestral home, and the Oriental Pearl Tower erected in Lujiazui in the 1990s seems to contain a special memorial, but also seems to have a special indication.