Shen "wanted to imitate the valley since he was a child, so his heart and hands were always in a hurry and he could not get power." (and Ma Zonghuo's "On Yue Ji Building") But Linchi's ambition is still close. Before the senior high school entrance examination, learning books was mainly in the Jin and Tang dynasties, because the style of writing in Jiangsu and Zhejiang provinces was prosperous at that time, and most scholars implemented the so-called "pavilion style" for the senior high school entrance examination. Therefore, in his later years, Shen defended the "pavilion style", saying: "There was a classical life in the Tang Dynasty, a courtyard style in the Song Dynasty, a cabinet style in the Ming Dynasty, and a pavilion book since the Ming Dynasty, which was famous for its neatness, and the master was thinner than the operator. In fact, celebrity books are not horizontal and stable: push the Tang Dynasty monument and push it. Although the tablet of the Six Dynasties, although all factions wrote cursive calligraphy posts, why didn't it be horizontal, firm and vertical? The operator means that it is flat and has no potential. If you know the brushwork, there is no doubt about yourself. The eight methods of eternal words are the ears of Yan Shushi in the Tang Dynasty. I can't go beyond this range, but I can't. " At the same time, he had to write in Bao and take a path in Denghe. Shen Zeng once said in a poem, "If you want to overspend Wu Lao for a hundred years, you must learn eight methods." He also said, "If you protect yourself too often, you will see Wu Sheng drunk at night." (See "Remembering Teacher Shen Mei") What is revealed is the trace of learning books at this stage.
Later, he accepted Bao's idea that "preparing Wei" can "take Jin" and took Faber's tablets, especially calligraphy, and really practiced for a while. This is related to his becoming a scholar in Guangxu six years, becoming an official in the north, and starting to collect some inscriptions, which is the beginning of his "deep learning of calligraphy". Of course, his attitude towards inscriptions is not necessarily artistic, and sometimes the purpose of textual research on geography and historical facts is to have a positive impact on the evolution of his calligraphy temperament in the future. Even if it can't be a calligrapher's word, it can still be regarded as a scholar's word, which is consistent with his proposition of "the unity of scholars and poets"
Mr. Wang divided the evolution of Shen's calligraphy style into two stages: before the age of 60, "Sun Aiting was near the monument and rarely changed;" I also saw the Buddhist scriptures I wrote for my uncle Shen. At that time, those who were good at it could not cross the track of Wu An. " (See "Remembering Master Shen Mei") After the age of 60, "I have accumulated strength for a long time. Once I have an epiphany, I will rely on it and I can't change it. " In fact, Shen Xueshu's situation is much more complicated than this, especially in his later years. Judging from the works we have seen so far, there are some traces of Shen Shi's method of taking bamboo slips. The classics written by Ercong, Dr. Zhong Taifu, Yu Shinan, Chu Suiliang, Huang Gu, Ni and Huang Daozhou in the Tang Dynasty show that he has made various attempts and his inscriptions are all inclusive. It is worth noting that at 19 10, Shen Chun used Mi Fei's brushwork to write three suffixes: Yi Chuan Da Tu Ji, Cao Ke Bei and Mr. Li Lianyuan Tu Juan. Two messages can be revealed from this: Shen used Mi Fei's Phoenix to achieve the goal of "vertical and horizontal thinking", and his theory of "starting from the root and ending at the root" was greatly appreciated and verified; Secondly, Mi Fei is his brilliant plan to realize the ideal of "preparing Wei for Jin". Because his whole life's academic and life's theme were in Wei and Jin Dynasties. It was from Mi Fei that he realized the method of "attacking from all sides" and transformed Mi Fei's brush calligraphy into "turning over and hovering, dancing like a phoenix in Youlong, full of fun" (see Sha Menghai's calligraphy for nearly 300 years), which is the mystery of his calligraphy.
Shen's calligraphy in his later years was greatly influenced by Bao, especially Zhuang, and he was less influenced. In a letter to Wang Guowei on June 5, 9 16, Luo Zhenyu mentioned that Shen "pacified Anwu and vilified Zhao", which can prove it. Xia recorded in Volume II of Tianfengge's Diary of Learning Ci: "When you get old, you will feel sleepy and say: Your writing style is sincere and strange, but you just think it's a cover. Mei Lao patted him on the shoulder and said, "This peace can be humanitarian to outsiders. "This is another proof. Wang Guowei has a poem praising Shen's calligraphy: "The ancient meaning is prepared, and the close view is mixed." As a contemporary scholar, this sentence is very pertinent. Shen's wandering in his middle-aged and old age is just looking for a way to express his "ancient meaning". We should not only innovate, but also be prepared for retro. Therefore, he chose Huang Tongzhou and Ni, two people who are famous for their "new ideas and different attitudes", as the objects of study. Huang Qianqian also pointed this out in "Memories of Flowers". He also often studies some rare inscriptions, which is exactly the same as Kang Youwei's view in Guang Yi Er Zhou. He often claims that "his calligraphy is deep, but his calligraphy skills are shallow". In his later years, he visited inscriptions all over the world to make up for his "shallow calligraphy skills." In fact, he didn't fully finalize the design in the end, and he is still exploring.
Shen is brilliant, rich in ideals, introverted and persistent, and his artistic passion is surging behind his "clever hiding". In his later years, Shen Shi lived in seclusion in Shanghai, frustrated in his official career and depressed, and spent his days with poems and songs. 192 1 year, he officially made a living by collecting books in Shanghai, so as to solve the difficulty of making a living. "Book seekers at home and abroad are limited to wearing houses." At present, most of the works circulating in the society are written in recent years: however, few of them are similar in style, which shows his mentality of not sticking to one family and collecting widely. He advocated "three customs" in his poems, and the last one was "Yuanjia". How to get through Yuan Jiaguan? He mentioned in the book "On Gold and": "But you should read the poems of You Jun and Kang's landscape in the Preface to Lanting Collection together." It can be seen that its realm is in the "Six Dynasties", and "the vulgar people fall into the branches of Xie Tao, which contains the push of elegance." (See Preface to Anban) This idea also exists in his calligraphy, but unfortunately it is not revealed. Or does he think that he is not in this situation and it is not convenient to bring it up? Unknown. Later, Mr. Lu was deeply immersed in the North Monument all his life. In his later years, he lamented that it was too late to know the true meaning of the word Wang. It can be said that great minds think alike Shen (Mei Zuo) (1850- 1922), a native of Jiaxing, Zhejiang Province, whose name is Pei,No. B 'an,No. Xunzhai, etc. , alias B Gong, and number. Metzo was born in Jiaxing, Zhejiang. Born in a family of poetry, calligraphy and painting, he was a scholar, poet and calligrapher in the late Qing Dynasty. Knowledgeable, good at temperament, history, poetry, calligraphy and painting. His book was originally written by Bao, and later it was written. There are two tablets and inscriptions, both of which belong to the Northern Wei Dynasty. Zeng Qing Xi commented on his calligraphy: "The works are clumsy, the beauty lies in life, and the victory lies in instability." The running script works of Qifa are "extremely colorful" and occupy an important position in the book world.
Shen's calligraphy is good in all aspects, especially cursive. Bao studied under Deng when he was a beginner, and later under the famous calligraphers Huang Daozhou and Ni in the late Ming Dynasty. His calligraphy style changed from time to time. Most of his books use Fang Bi, and his style is quite vigorous. Mr. Sha Menghai commented on his book: "Turning over and hovering, like dancing the phoenix in Youlong, is full of fun." At the end of the Qing Dynasty, the official went to Anhui as a political envoy, and in the Republic of China, he regarded the old man himself.
Although we can see a trace of conservative, rigid and outdated color in the image of the old man, Shen Meizuo is a master of bold innovation in calligraphy. On the basis of inheriting the tradition of the North Monument, Shen Meizuo went deep into the deep content of the artistic expression of calligraphy (formal expression and line expression), and resolutely made a successful attempt with Fang Bi in cursive writing. His Fang Bi is incisive, sharp but not steep, thick but not sluggish, showing a strong mastery. But what is more exciting is that he used Fang Bi's frustration to drive the coherent consciousness of cursive script, and divided the concrete coherence into a group of coherence according to frustration. Among them, there is a certain sense of cohesion in ancient Cao Zhang, efforts to open the space horizontally, and the beauty of convergence and coincidence of square lines and sharp points in the process of continuous alternation. It is worth noting that all these outstanding effects are naturally presented in the process of fluent writing, rather than.
This is a very interesting example: Shen Meizuo, as an old man, attached great importance to the value of epigraphy in Qing Dynasty, and he could not go beyond this historical rule. However, as an artist, he has an instinctive hope for development, so he tries to find a gap in development under the regulations and get out of a gap in the style of being confused. For a time, Shen Meizuo's grass-walking style on the North Monument became a banner in the early years of the Republic of China.
Fang won Shen Meizuo and Yuan won Wu Yuanlu. Shen Meizuo's original intention is spicy, and Wu Youlu's purpose is alcohol. Shen Meizuo sees the big from the small, and sees the whole from the local; Wu Youlu is from big to small, from whole to part. You two can mark two different paths in the early years of the Republic of China, and of course there are high paths.
In the past, calligraphy was handed down from generation to generation, and I was placed between three kings and two hexagrams. Sunset is everywhere, falling flowers are like snow and tears are like rings. In addition, my elder brother Wang Junmi often talks about the quatrains written by his teacher Shen Meizuo. Wang Jun was taken to apply for a job by his father Jia Rong when he was in his teens, but he was too sleepy to discuss his studies with his father. He briefly told me the secret of calligraphy. He wrote his original works at the age of ten, and I recorded them in my hand. This manuscript no longer exists and can be recited correctly.
Calligraphy is not only calligraphy, but also calligraphy, which is closely related to people's knowledge, career, success and characteristics of the times. Especially in calligraphy itself, poor source has been endowed with great achievements and self-innovation. But it can be unprecedented, such as sleeping, so it is honored as the first person in 300 years.
Mei Zuo was the 24th Gong in Chen Geng in the sixth year of Guangxu in the late Qing Dynasty, the third in palace examination and the third in 97th. With a scholar's background, he ranked second in the imperial examination. He made friends with clever scholars and became famous at home. Metzo was born in the Qing Dynasty. He discovered ancient antiquities and newly discovered literary treasures. With the help of the rule of law, he studied the geography of Liao, Jin, Yuan, Northwest and Nanyang, especially Oracle Bone Inscriptions and Dunhuang, and he did not study the mind, but merged into one smelting. Talking about learning with Mr. Luo Zhenyu and Mr. Wang Guowei has opened up a new trend in my life, but Luo and Wang are not as broad as insomnia, and they are especially good at calligraphy and painting outside of academics, which is beyond Luo and Wang's reach. As for contemporary scholars, they are still tied with Mr. Zhang Taiyan. However, he is too eager to believe in Oracle Bone Inscriptions and Oracle bones and tends to study them. As soon as he returned to the mid-Qing Dynasty, there were more than one generation of games. If he innovates in the cloud, he is inferior.
Mei Zuo went into politics all his life to study, busy in and out, and lazy in writing. The masterpiece Notes on the Origin of Mongolia was published in woodcut form. The Notes on the Secret History of the Yuan Dynasty printed and published by Zhonghua Book Company has many other titles, or only a few pages. Simple books are miscellaneous, often written on the back of books or miscellaneous papers. Although marked as books, they are just unread reading notes and short comments. Yu's Funeral Care Office was compiled according to the examples of Records of the Day and Ten Newly Recorded Records, and so was Yan's Rihailou Miscellany. Although this book is an abnormal anthology, it does not fully show the breadth and depth of Mei Zuo's scholarship, but it is not impossible to see it at a glance.
Calligraphy is a combination of many people, which was inspired by Zhang Yuzhao when he was a teenager. Later, it was engraved on the tablet, melted from north to south, unearthed pre-Qin cultural relics, and wrote scriptures in the Tang Dynasty, which was different from me. In the era of Mei Sao's life, jade people called Wang Quchang, Mei Sao's eldest son, contemporary Wang Xizhi, and his disciple was Shang Ran, several times higher than his disciple. Is it unnecessary to treat Sister Mei with a sarcastic attitude?
This year, the Jiaxing municipal government collected Mei Sao ink, selected its fine works and published them in Book Fair, which was also a great event, so this is the whole story.