Under the guidance of his father, he carefully copied and studied the works of Tang, Chu, Yan and Liu. He once wrote in a poem: "You are full of graffiti, imitating the people of Sui and Tang Dynasties first. Sixty years later, several dreams have blossomed. " Tang Kai's works in this period have both form and spirit, and he is very skilled in mastering and applying the structure and brushwork. The degree of his efforts can be seen from the regular script of Ou and Yan that he wrote at the age of 60 and 80. The profound knowledge accumulated by copying Tang Kai in his youth played a very important role in the formation of his later calligraphy style. What Style written by his father has a great influence on him. He also studied He's calligraphy hard, and this influence can still be seen in his later years. Long before Shen, many calligraphers tried and practiced running scripts, such as Bao, Zhao, Kang Youwei, Li Ruiqing and Shen. However, most of them only focus on the improvement and integration of fonts or brushwork, but lack of drastic reorganization of accurate and square structure, and the other party's blunt pen has not jumped out of the trap of chopping with a knife. For example, Bao's understanding of Wei Ti Calligraphy is that the structure takes the side and the pen is mainly broken, which makes the pen path fluctuate in the flow, but it does not completely overcome the disadvantages of leveling the pen, pressing more and lifting less, lacking bones and muscles and weak sense of rhythm; Zhang Yuzhao pursues the square folding effect of chisel marks with soft pen, and pursues the brushwork of outer circle and inner circle with shaking pen, side front and side brush, which makes the lines lack simple, profound and broad charm; Zhao's running script is simple, vigorous, close to maturity, unrestrained and rough. Beibei's calligraphy has become moist and dexterous in his works, showing signs of moving closer to iron and blood, which is ridiculed by future generations. Kang Youwei raised a monument to suppress posts and fought against extremes. Although he took the flat arc as the keynote, he turned to Fiona Fang with both skill and thick lines, but also with the shortcomings of looseness, emptiness and haste. Li Ruiqing integrated the structure of seal script, Han bamboo slips into the North Monument, emphasizing the stagnation and twist of lines and exposing the disadvantages of deliberately pursuing vibrato changes. Shen entered the grass with a monument, his structure was strange, and his book style was magnificent, which inevitably made him regret that his pen was sparse but not refined.
feel
Shen once said to his students: "If you want to be harmonious with the ancients but different, you should first seek the combination of law and get its shape;" Follow the combination of seemingly gods, with both form and spirit; Finally, it requires harmonious appearance, innovation and self-contained style. "He is good at observing the merits and demerits of previous calligraphers from the perspective of the development of the times, finding breakthroughs on the basis of previous achievements, further strengthening and exerting them, and gradually forming his own personal appearance. In Shen's calligraphy works, we can not only clearly see the elegant and beautiful legacy of Jin and Tang Dynasties, but also fully appreciate the charm of Song Dynasty. His calligraphy pays little attention to the rules, but to the quality and beauty of every word. He does not pursue dull dry pen, but focuses on thick lines and full lines like leakage, tapered sand and broken hair. At first glance, some dotted lines in his calligraphy seem to be made by pretending to tremble on purpose. In fact, when he wrote, he was full of ink and color, and he had answers, and he wrote quickly and in one go. People often evaluate Wang Wei's poems and paintings in the Tang Dynasty as "there are paintings in poems and poems in paintings". I think Shen's calligraphy can also be called "there are pictures in the book and poems in the book". Those bold and exaggerated glyph shelf structures, even the masters who are good at freehand brushwork. Those strange changes in strokes and lines are enough for literati and talented people with splendid poems to feel those well-known beautiful poems from them.
The main artistic features of Shen's calligraphy are:
One is a tough and fearless husband. Judging from the traditional aesthetic consciousness of calligraphy, the appreciation of calligraphy should be based on elegance, rhyme, quietness and artistic conception, rather than arrogance, dew and dryness. Shen's unique view on calligraphy art is based on the denial of traditional literati calligraphy. His calligraphy combines the dense, compact, thin and strong frame structure of Ou Yangxun and Liu Gongquan, famous artists in the Tang Dynasty, with the vigorous and simple, free and exaggerated structure of the North Monument, forming his own unique characteristics of thinness, hardness, softness, coarseness, strangeness and unpredictability.
The second is the temple spirit of majesty and integrity. Xiang Mu, a calligrapher in the Ming Dynasty, said in The Elegant Words of Calligraphy: "The so-called upright people are restrained, arrogant and arrogant." Shen himself once said: "We should learn to be right, and then learn from Wei and Jin Dynasties. The positive change of structure depends on the courage of calligraphers, but people with poor courage and low vision can't be positive; People with poor skills and low skills are awkward but incorrect. " His calligraphy style seems to be correct, which is caused by the deep-rooted influence of studying Tang Kai when he was young. He learned from the strengths of various schools and factions, combined with the positive and negative methods, and kept in mind the wise saying of "having a right heart and a right pen". He did not take risks from the side and took advantage of it, maintaining the grandeur of integrity, sitting in danger without anger and arrogance.
Third, the vitality and vigor of Gu Zhuo. The most prominent feature of Shen's calligraphy art is that he fully integrates the traditional calligraphy style represented by the two kings and the calligraphy style of the Northern Dynasties represented by the Twenty Paintings of Longmen into his Running Script, which makes his works have ever-changing and colorful line art. This is his special contribution to the calligraphy of Beibei and an unprecedented breakthrough in the calligraphy style of China. Shen's calligraphy brush was completed on the basis of thoroughly understanding and mastering the "eight-character sequence" of China's traditional calligraphy brush. The eight-character sequence is vivid and profound, and most of the success of calligraphers in past dynasties came from this. The skillful "brush" method in Shen's calligraphy not only fully shows the strokes of horizontal, vertical, folding, hooking and skimming, but also shows the twists and turns of orchid leaves, anti-orchid leaves and hook strokes everywhere. His application and development of "brush" method can be said to be the pinnacle.
The fourth is to exude the transcendental spirit of being a master. Shen's calligraphy is eclectic, and his heart and pen are correct. Whenever he carries a pen, the palm of his wrist hangs upright, and the force of his elbow fingers is concentrated on the wrist end, twisting the tube and turning the pen, which is ups and downs. He hid the pen in front and the pen in the middle, turned the square into a circle, turned it over and over, and the pen was fun at will, forgetting things and forgetting myself, suddenly recovering, suddenly receiving and returning. Fiona Fang has both. There are hundreds of different forms and endless changes. Shen Feng is super powerful, and the pen of genius is on paper.
Fifth, the popularity of poetry books. The success of Shen's calligraphy is largely due to his profound cultural accomplishment. He is knowledgeable and proficient in literature and history, especially in writing old-style poems. During my tenure at the Shenyang Museum of Literature and History, I edited a Collection of Shen Shui Ji Ming, and collected 300 old-fashioned poems of nine old people in Liaoning. He wrote countless poems in his life, mostly for touching the scene and expressing his feelings, but he didn't arrange them after writing, so he lost a lot, and now there are about hundreds. Looking at his calligraphy, people will feel that there are beautiful sentences, vivid words and humorous words, and dragons and snakes fly away. Shen's calligraphy art is extensive and profound, inheriting the northern monument of Jin and Tang Dynasties and initiating the modern calligraphy school. It is the perfect unity of China's traditional calligraphy theory and modern aesthetic consciousness, and it is also a successful example of integrating Beibei regular script and Nanbei running script in the most harmonious and natural way. Whether Shen's calligraphy skill surpasses that of Kang Youwei, Zhao and Shen in the late Qing Dynasty and the early Republic of China is not the same, but it is not inferior to Yu Youren, Guo Moruo, Sha Menghai and Lin Sanzhi.
Finally, I ended this article with a seven-character quatrain from Mr. Shen's most cherished husband before his death: "The white mountains and green waters are lush, which makes the ancients resemble the earth and prevents Longmen from being good at Elo." Today Weifa is in Liaodong. "
In Shen's calligraphy works, we can not only clearly see the elegant and beautiful legacy of Jin and Tang Dynasties, but also fully appreciate the charm of Song Dynasty. His calligraphy pays little attention to the rules, but to the quality and beauty of every word. He does not pursue dull dry pen, but focuses on thick lines and full lines like leakage, tapered sand and broken hair. At first glance, some dotted lines in his calligraphy seem to be made by pretending to tremble on purpose. In fact, when he wrote, he was full of ink and color, and he had answers, and he wrote quickly and in one go. People often evaluate Wang Wei's poems and paintings in the Tang Dynasty as "there are paintings in poems and poems in paintings". I think Shen's calligraphy can also be called "there are pictures in the book and poems in the book". Those bold and exaggerated glyph shelf structures, even the masters who are good at freehand brushwork. Those strange changes in strokes and lines are enough for literati and talented people with splendid poems to feel those well-known beautiful poems from them.