Zhu Suizhi, 1952 was born in Shanghai and graduated from China Academy of Fine Arts (formerly Zhejiang Academy of Fine Arts) with a master's degree in Chinese painting. At present, he is the director of the calligraphy department of China Academy of Fine Arts, a member of the seal cutting committee of China Calligraphers Association, a member of the presidium of Zhejiang Calligraphers Association, a director of the calligraphy creation committee, a director of Xiling Printing Society, and a vice president of Zhejiang Calligraphy Education Research Association.
Zhu Suizhi was one of Sha Menghai's favorite students and also Sha Menghai's right-hand man in his later years. In the process of learning calligraphy, Zhu Suizhi inherited the ways and methods of learning from tradition from his teacher Sha Menghai. Under the guidance of Sha Menghai, he devoted himself to calligraphy creation and calligraphy theory study, and experienced internal cultivation. This can be said to be one of the reasons for Zhu Sui's success. This unique relationship between teachers and students, coupled with his tolerance, talent and diligence, enabled him to accumulate wealth and possess extraordinary knowledge; When you put pen to paper, your hand will be high.
In reply, A Qing Ren Liang said: "There are three essentials in reading: first, you must be talented, second, you should read more, and third, you should write more. This conclusion is also true. " Then he added: "I added two things to the rest: first, I want high quality, high quality, and I will write elegantly without falling dust;" First, you should learn to be blessed, and your chest is full of things. The spirit of the book is naturally beyond words. " Then he said: "People in ancient times were prepared for this, and there was no saying that they could escape without a little ink." This passage is very insightful and captures the most essential thing of calligraphy creation. It is really unique. Zhu Suizhi focused on cursive script and seal cutting, wandering among seal cutting officials, learning the method of cursive script, and wandering among seal cutting squares, forming his unique artistic style of "moistening", "rounding", "flowing" and "thick".
Zhu Suizhi's works have a good grasp of "potential". "Potential" is an important aesthetic category to evaluate the art of calligraphy. Zhang Huaiguan, a calligraphy theorist in the Tang Dynasty, said in "Ten Methods of Using a Pen": "The first step is to use a pen, the second step is to recognize the potential, and the third step is to wrap a pen. Here, Zhang Huaiguan clearly put forward the importance of grasping "potential" in calligraphy creation. Zhu Sui's profound understanding of truth. Whether creating small works or big works with four feet of paper, he has a good grasp of "potential". Although cursive script can easily reflect the artist's talent, it is particularly important to master the "potential" of calligraphy creation in order to make the visual space of calligraphy have the nature of time movement and a sense of agility and elegance in silence. Between words in Zhu Suizhi's calligraphy works, the meaning of strokes is constantly broken, and every word and stroke echo each other, thus connecting the whole work with momentum.
Zhu Suizhi is a relatively pure calligrapher. He attaches great importance to the study of calligraphy tradition. While other artists are trying to keep pace with the times, while creating modern calligraphy, Zhu Suizhi is ahead of the traditional calligraphy world. In calligraphy creation, Zhu Suizhi attached great importance to the copying and research of ancient calligraphy. "Resist ambition and learn from the past" is the golden rule that Sha Menghai taught him, and now it has become the inscription of his calligraphy creation.
When calligraphy was in ancient times, the ancients had set many excellent examples for today, and it is difficult for people today to surpass this height. In today's impetuous society, if you want to make achievements in the field of calligraphy, you can only compete with the ancients. Zhu Sui knows the meaning of Sha Menghai and understands the stakes of these four words. He not only demands himself, but also demands students in teaching. Zhu Suizhi often warns students to strengthen copying, not to compare with the people around them, but to compare with the ancients. Only by passing laws can they improve their artistic level. But his attitude towards the explored calligraphy forms is also more open-minded, which is the quality of a scholar calligrapher. Zhu Suizhi once said: "Now some explorations are mostly utilitarian. This phenomenon is varied and foggy. But one thing is clear to us, that is, all exploratory things should be given a certain amount of time and space for time to test. After time screening, some problems that seem lively now will gradually become clear in the future. "
As the old saying goes: Metaphysics is Tao and Metaphysics is technology. For artists to have more outstanding achievements, theoretical research and practical creation must be organically combined. Zhu Suizhi has also made unremitting exploration on this. He paid attention to both internal and external calligraphy creation, and helped Sha Menghai compile and publish the History of Calligraphy in China and the History of Indian Studies as early as his student days. We also attach great importance to the study of philology, archaeology, literature and poetry, philosophy, history and other disciplines. In today's impetuous society, it is very rare to have such a distraction to learn calligraphy. We will wait and see, and Zhu Suizhi will bring us more wonderful things.