Category: Culture/Art gt; gt; Calligraphy, Painting and Art
Analysis:
Huang Tingjian said: "See Yang Shaoshi's calligraphy, and then know Xu (Hao), Shen (Transfer) There is a dusty air. "Indeed, although Xu and Shen's Kaifa is good, it lacks strange air.
Master Shen, born in 769 and died in 827, was a native of Wuxian County (now Suzhou, Jiangsu Province). Tang calligrapher. Zi Yan. Dezong of the Tang Dynasty (785-805) was promoted to Jinshi at the end of his reign. He was the Prince's School Secretary, Hanlin Bachelor, Zhongshu Sheren, and Hunan Observer. In the first year of Baoli (825), he came to worship Shangshu Youcheng and the Minister of Civil Affairs. The work is upright, the line is straight, and the cursive work is all done in regular script. Zhu Changwen's "Sushu Duan" ranked it as a masterpiece together with Ouyang Xun, Yu Shinan, Chu Suiliang, Liu Gongquan, etc. Song Ouyang Xiu's "Sixty-One Inscriptions and Postscripts" said: "The calligraphy of Chuanshi is not one, and it is unrestrained and cute." Mi Fu in the Song Dynasty rarely approved other people's calligraphy, but he highly respected Chuanshi Shen. It is said that Shen's calligraphy is "like a dragon traveling in the sky, a tiger sitting beside a stream, with a calm spirit and pure bones." It is said that Shen's calligraphy was the best after the mid-Tang Dynasty. Mi Fu claimed that he mainly studied great calligraphy under Shen Chuanshi. Tao Zongyi's "Shu Shi Hui Yao" said that he was "good at regular script, official script, regular script, and cursive script, and he is famous for his calligraphy." The handed down writings include "Luochi Temple Stele", "Youdaolin Yuelu Temple Poems", "Liuzhou Stone Well Inscription", etc. "Luochi Temple Stele" was erected in the first month of the first year of Changqing's reign in the Tang Dynasty (821). Written by Han Yu, written by Shen Chuanshi, and stamped by Chen Zeng. He used to live in Liuzhou, Guangxi and has been lost for a long time. Only the sole copy of the Song Dynasty rubbings collected by He Shaoji of the Qing Dynasty has been handed down to the world. Japan Hakubundo has a photocopy of the Colo version. The calligraphy on this stele is beautiful, fresh and energetic. Although the font is thin, it has muscles and meat, not a bit barren, and is extremely cute. The late Tang Dynasty was a period of depression for calligraphy, but the "fat correction" school represented by Shen Chuanshi obviously brought some vitality to the dull calligraphy world, and also provided Liu Gongquan with valuable experience in creating "Liu style".
The "Liuzhou Luochi Temple Stele" in regular script was written by Master Shen when he was 53 years old. The inscription was written by the great writer Han Yu, commemorating and praising Liu Zongyuan's political achievements after he was demoted to Liuzhou governor. The stele was erected in Luochi Temple. The stele has long since disappeared. It is impossible to find out when it was destroyed. The rubbings we see today are photocopied from an original volume of Song rubbings collected by He Shaoji in the Qing Dynasty. Looking at the calligraphy on this stele, I can see that the breath is fresh and round, and the bones are strong. Although the characters are relatively thin, they are strong and beautiful. The flesh is hidden in the tendons, and there is no trace of sterility. At first glance, it looks similar to Liu (Gongquan) Shu, but upon closer inspection, there is a fundamental difference between Liu Shu and Liu Shu. That is, Liu Shu's palace is too restrained and so tight that people feel panicked. Shen Shu does not have this characteristic, although Zhonggong is also slightly It's restrained, but generally speaking, it's relatively loose. Another difference from Liu's calligraphy is in the structure. Shen's calligraphy is mostly low on the left and high on the right, and slightly tilted to the right. Of course, the calligraphy of this stele does have some similarities with Liu's calligraphy. Among them, the vertical The writing style of curved hooks, dots, skimming, napping, hanging pins and vertical strokes, as well as the structure of some characters such as "yan", "诏", "Liu", "Shi", "Bu", etc. are exactly the same as those in Liu Shu. After all, Who influenced whom? Please take a look at Wang Duo's postscript on this rubbing: "Shen Shu and Yu Yongxing are in the same family." If Wang Duo's words are to be believed, it is obvious that Master Shen inherited Master Liu. However, according to the biography of Liu Gongquan in the "Old Book of Tang Dynasty", it is speculated that Liu (Gongquan) is nine years younger than Master Shen. At the same time, there is an interesting passage in the biography, "Gongquan was a new student of Wang The book is full of modern brushwork, and the style is charming and unique." Maybe Shen Chuanshi is included in this "modern brushwork". For example, if you compare "Li Sheng Stele" and "Luochi Temple Stele" in Pick Liu's book, the brushwork and knotting of characters are quite similar. It seems that Wang Duo's Shen "Ben" Liu Gongquan needs to be discounted. When Huang Luzhi discussed the calligraphy of the Tang Dynasty, he once said that "in the early Tang Dynasty, the calligraphy was strong and strong, which was the style of the Jin and Song Dynasties. After the Kaiyuan Dynasty, it became thick and strong, and after the Yuan Dynasty, Liu and Shen's disciples regained the Qing Jin style." It can be seen that both Liu and Shen were calligraphers who strived to "correct the disease of obesity" and valued "purity and vigor" as their beauty. If we use today's terms, both Liu and Shen were very innovative calligraphers at that time. From this point of view, it is not surprising that Liu and Shen Shufeng are similar.