The contemporary book world has a very high evaluation of Lin Sanzhi, some people call him "contemporary grass sage", some people praise his cursive writing as the highest achievement in three hundred years since the Ming Dynasty... And so on.
In the history of calligraphy, there are not many people who can be called "holy", only Wang Xizhi, Zhang Xu and a few others, and the famous calligraphers of the same period as Lin Sanzhi also have Fei Xinmei, Qi Gong, Zhao Puchu and others, why is Lin Sanzhi the only one who is highly respected among the people, is his cursive art really enough to be compared with Wang Xizhi, Zhang Xu and other ancient books "holy", or is it in vain?
As we all know, Lin Sanzhi is a disciple of the master of calligraphy and painting Huang Binhong, Huang Binhong attaches great importance to pen and ink techniques, and the use of ink methods is particularly outstanding, and Lin Sanzhi is deeply influenced by Huang Binhong's concept of "the way of calligraphy and painting is based on pen and ink", and he is thirsty for pen and ink in the creation of calligraphy. When composing a book, it is full of thick ink, and then it is broken with clear water, so that the work creates a misty and ethereal realm.
The famous scholar Qiu Zhenzhong once said in an interview: "Lin Sanzhi created a new kind of pen and ink... From painting. ”
Lin Sanzhi combined the ink splashing technique in painting with the ink technique taught to him by Huang Binhong and introduced it into calligraphy, Lin Sanzhi won the realm of his master's pen and ink, and Li Keyan got the thick and dense real scene of Huang Binhong.
Lin Sanzhi deserves to boast about in cursive writing in "pen and ink", objectively and fairly speaking, he does have unique features in this regard.
But the words of praise should be stopped here, because too much praise for Lin Sanzhi's cursive writing is exaggerated. Lin Sanzhi's cursive writing is really lackluster in other aspects, and it is even rarer in terms of line and font structure.
Some people use the phrase "dead snake hanging from a tree" as a metaphor for the lack of texture and lifelessness of the strokes in Lin Sanzhi's book. Although this statement is evil, Lin Sanzhi's cursive writing does have the disadvantage of weakness and powerlessness. The arrangement of Lin Sanzhi's cursive writing is monotonous and tedious, and it does not reflect the beauty in the slightest, which is another major drawback of his book, so some people criticize that he wrote an ugly book.
At this point, some people will refute the techniques used in Lin Sanzhi's cursive writings, such as "house leak marks" and "folding stocks", believing that this reflects the superiority of his penmanship. In fact, if calligraphy can not bring people a sense of beauty, even the advanced brushwork is useless, and "house leak marks", "folding stocks" these ancient people have long played rotten things, and did not see how clever Lin Sanzhi used, look at the Ming Dynasty Zhu Yunming's cursive, almost every stroke is cone painting sand, and Zhu Zhishan is still a low-ranking figure in the history of cursive writing.
When evaluating the position of a calligrapher in the history of calligraphy, from ancient times to the present, it is usually necessary to compare it vertically and horizontally, and to test his gold content in the long river of calligraphy history.
From a longitudinal point of view, the cursive calligraphy in history, the Han had Zhang Zhi, the Jin had the second king, the Sui had the monk Zhiyong, the Tang Dynasty had the upside-down Drunken Sun Guoting, the Song had yellow rice, the Yuan had Zhao Deng, and the Ming had the Zhu King. Among these people, one of them randomly picked out a cursive writer who was a founder of the founding sect, and said that Lin Sanzhi could be compared with which one? Compared with these people, Can Lin Sanzhi be called "holy"?
Lin Sanzhi once commented on himself:
"Zhu Zhishan is talented, and in terms of skill, I can bow my head to Wang Juesi."
Lin Sanzhi thought that his cursive writing could be compared with Zhu Yunming in the Ming Dynasty, and putting the works of the two of them together shows how far he is from Zhuzhi Mountain in every aspect!
In horizontal comparison, although Lin Sanzhi's cursive writing appears to be outstanding among the scholars of the same period, it is also a "general in the box".
Since the Qing Dynasty, the study of steles has been flourishing, and due to the shackles of epigraphy, there are fewer and fewer people who are good at grass, and Wu Changshuo once lamented: "Who today's people interpret it as cursive?" "During the Republic of China period, many famous calligraphers could not write a complete cursive work, even Shen Yinmo, who specialized in calligraphy all his life. This situation did not change for a long time after the founding of the People's Republic of China, and the emergence of Lin Sanzhi's cursive writing in his later years was related to this general environment.
Lin Sanzhi once said: "Don't learn your name for a while, you must be able to stand, you must stand for hundreds of years." ”
Whether his contemporary "book saint" name can stand, I am afraid that I do not have to wait for hundreds of years later, and we can draw conclusions now.
The fame of Lin Sanzhi's cursive writing should be said to have caught up with a good time and is a hero created by the times.
In the 1960s and 1970s, when calligraphy was regarded as a national art in Japan, there was a statement in Japan that the tradition of calligraphy had been moved from China to Japan, and that there was no calligraphy in China, which showed Japan's contempt for the current situation of Chinese calligraphy at that time.
At this time, Lin Sanzhi was only a retired local official, and he was hired as a full-time painter by the Jiangsu Academy of Painting because of his expertise in Chinese painting.
In January 1973, the Japanese edition of People's China magazine published a special edition of "Special Edition of Modern Chinese Calligraphy" to show The works of contemporary Chinese calligraphers to Japan, Lin Sanzhi's cursive banner was published on the homepage, in addition to Shen Yinmo, Fei Xinmei, Yu Liqun, QiGong and other people's calligraphy, xingshu, seal works displayed, the Japanese calligraphy community expressed praise for Lin Sanzhi's cursive works.
During the same period, Lin Sanzhi wrote a large number of cursive works with the chairman's poems as the content, making his calligraphy gradually known.
It is reported that during the break of a conference, Mao Zedong chatted with everyone about calligraphy, and he asked: "Tell me, who has the best calligraphy?" ”
Guo Moruo replied, "The first place should be Lin Sanzhi." His wild grass is unparalleled in contemporary times, and it can be called a contemporary grass saint."
In the early 1980s, when the Japanese calligraphy community sent a delegation to visit China, after seeing Lin Sanzhi's cursive works, the Japanese calligrapher Aoyama SugiYu wrote an inscription praising: "The grass sacred relics are here." Being able to frequently get the appreciation of Japanese scholars was a very remarkable thing in that era of extreme lack of cultural self-confidence, and since then, Lin Sanzhi has been looked at differently by the domestic book world and has been sought after by many famous artists.
In addition, there are rumors that the Japanese Prime Minister specifically asked for Lin Sanzhi's calligraphy, "Lin San's paper calligraphy is worth 10,000 yen, and he can change two cars" and so on. These rumors played a role in promoting Lin Sanzhi's calligraphy to the altar. It should be said that Lin Sanzhi's cursive calligraphy can gain such a reputation, which has a great relationship with the affirmation of Japanese calligraphers, and he also benefited from the historical opportunity of Sino-Japanese friendship and cultural exchanges in the 1970s.
When we evaluate a person, we should uphold an objective and truth-seeking attitude, neither unrealistically touting nor deliberately belittling, so as to draw convincing conclusions.
Objectively speaking, Lin Sanzhicao has written a high level and has unique features, and its worthy of reference and learning is manifested in the artistic conception of pen and ink. Lin Sanzhi used the long front as a big grass and wrote a new atmosphere, which deserves recognition and praise. But it is also true that Lin Sanzhi's cursive writing is flawed in technique, structure and rules.
Calling Lin Sanzhi a calligrapher, or even a contemporary "cursive master", presumably will not cause controversy and is more practical, but the name of "grass saint" is really ridiculous and generous, and it is not objective, and after many years have passed, I am afraid of becoming the laughing stock of future generations.
#2020生机大会 #