Shen believes that calligraphy is superior to calligraphy, but it is a pity that he failed to write a systematic work like Kang Youwei. All I can see now is the inscription and postscript of Hai Ri Lou, the inscription and postscript of Sleeping, and a few words in letters to some friends, mostly from insightful experiences.
Shen's calligraphy thought has changed several times before and after: influenced by Bao in his early years, he believed in the theory of "starting from the root and ending at the root" and Bao Shi's theory of "painting is perfect in Chinese painting", and made great efforts in writing with a pen, and he loved the theory of "one stroke and one painting, meaning vertical and horizontal, with depression in the middle" in the Tang Dynasty. When I was middle-aged, I entered the tablet computer from the post office and was addicted to Zhang Yuzhao's calligraphy. I think highly of the inscriptions such as Zhang Menglong's Monument, Gao Zhan's Epitaph and Shi Jing Junbei, and I also attach great importance to the structure. After Guangxu abdicated, he gradually turned his energy to painting and calligraphy. But at that time, he was a little unfamiliar with the post, and thought that the "sex is not close" in the preface and postscript to the old extension of the holy religion could infer his mood. In his later years, inscriptions and inscriptions blended, paying attention to communication and sinking.
The evolution of ancient and modern times is exquisite, and it is often said that predecessors have not done it. For example, in his letter to master Xie, he mentioned that "the heart in winter opens before stubborn people"; Another example is that he mentioned in "Talking about Fungi Pavilion" that "Reese died of sealing, and Zhong Lang died of Apollo"; For another example, in "Related Pen of Hood Bottle Zhai", it is considered that "the stone carvings in the Western Han Dynasty are miscellaneous books"; Another example is the Chu people's book in Jin Wenli, which goes to the school official's tablet. Arrived, "Wu, the book has its own atmosphere, slightly closer to the middle road, and the upper hand." "Gulang" and "Northern Guangxi" are their charm "; For another example, he thinks that "Dear John and Sun's Book Score are variations of writing books, which originated from Screen Post." Wait a minute.
As a scholar of Han and Song Dynasties, Shen not only attached importance to the textual research of relevant historical origins, but also paid attention to the understanding of the form, quality and reason of calligraphy. Most of the calligraphy inscriptions left by him belong to notes to verify the origin of the inscriptions, from which we can still see a more systematic and unique view of calligraphy. In emphasizing the historical origin, we can see from the following postscript:
In Shangyu, Luo Shuzu developed the old version of □, which is the real face and style of writing. It is slightly similar to the scales of Liu Yu and Huangfu, and traces back to the source, covering the descendants of the Temple Monument of the Second Mausoleum in Beiyue, Zhongyue. 1 1. Epitaph and Postscript of Zhang Heinv.
Yesterday, it was said that the inscription in the Southern Dynasties was a rare biography, which was drawn up by the inscription in the Northern Dynasties. Then "Long Zang" is close to the right army, and "Ode to Qing Dynasty" is close to the big order. Like Xiao Yuan, Gai Yichun studied under China and India, but lost all traces. His character is between Huang Ting and Le Yi. One is enthusiastic, the front is far away from "Geliang", and the benefit is decorated with words, and the structure is the same as that of Luoshen. 1 1 "Zhang Menglong Monument and Postscript"
The method of opening the inscription on the North Monument should be based on Carving Gong Huizhi, Zhang Menglong Monument and this inscription. Diao is close to Wang, Zhang Bei is Xiao Wang. This inscription is spread from the outside, with a brilliant front and a simultaneous use. Some of them can prove Lanting, some can sign it, some can prove Chunhua's engraving and Geng Liang, some can open the European law, and some can open the Chu law. This is the reason why the north and south are connected, the official script system is cut, and the ancient and modern changes have taken place. 1 1 Your Majesty's Monument and Postscript
There are also many original opinions on emphasizing the sense of form in calligraphy. For example, in Wang Xun's postscript, "Yuan Botie's ink is divided into two parts, and the play is based on quicksand bamboo slips. It is a famous artist and has a unique charm." It is pointed out that there are similarities between northern and southern calligraphy, but in the Six Dynasties, the popularity of the rhymes of Jiangnan names was even worse, which is quite in line with historical facts. Another example is "Songjiang Old Wine" in Tang Lin, where there is no doubt that there are traces of mistakes, but there is no wrong feeling. By analogy, he is a good scholar. This theory embodies his spirit of doubting the past, and "knowing by tracing" is his way to grasp this theory. Another example is that he thinks in "The Monument and Postscript to the Pagoda is the Title of Xie Fuyuan" that "the book originated from Yin and his son, and then got the brushwork, and was trapped in Henan, tired of throwing chickens at home. "However, such a arsenic deposit can't compare with Pei Jingmin's monument. This kind of extension is absolutely unique. It can be found by drawing purple strokes with pen power, which is by no means comparable to those who are bald when they come out. " This postscript is extremely refined, and you can't understand it unless you have the calligrapher's righteous ability and true vision. The so-called true skill and true vision means that they can imagine the writing situation of the ancients, and they are in the same realm, and there is no gap between God and it. Shen is much better than Kang Youwei in this respect. In the Song Dynasty, Su Dongpo-Cheng proudly said that "although he is not good at writing, he is still not good at writing", which would be more appropriate if he were replaced by Shen.
Shen's understanding of the form, quality and feeling of calligraphy mainly focuses on the following three aspects: First, the emphasis on potential, such as "the division of Chua's family, that is, the rational method of Zhong", says: "The solid is not short but thick, and the waves are mutually complementary, so it is impossible to show its meaning." Another example is "On the Change of Xing", which says: "Chuan can participate in the official position, and Li Can can participate in the official position, which is almost the same as today. It is very old to participate in this situation, and it is also very old to participate in this situation. This is similar to ancient thought. " This is his unique concept of "different materials with the same potential, ancient and modern mixed shape", which belongs to a new theory in the Qing Dynasty's stele study movement. The second is reshaping. For example, he thinks that "the best thing to learn from Zhong Shu is cleverness and density." Another example is that he thinks that "the thinness of' entering the mountain' can prove' Hua Du' and pass the cursive script' Qian Wen'". Another example is his admiration for the sixteen characters in Wei Heng's Narrative, "short but complementary, different materials with the same potential, ... thin waves and thick points, scattered in the middle", which is exactly his calligraphy style in his later years. Third, he attaches great importance to pens. He agrees with the sentence in Wei Heng's book that "I am diligent in writing lightly, but I don't stop". He has a lot of understanding of the ups and downs and hidden front of the pen. He mentioned many times that Lisi died of seal script and Cai Yong died of official seal, which can be roughly inferred by observing the writhing pen in his later works. He also thinks that Zhong You's pen is the most melodious, Wang Xianzhi's pen is the straightest, and Wang Xizhi's music is the most appropriate. Zhong You's music is very important to the formation of his book style in his later years, which is consistent with his learning elegance and throwing caution to the wind.
1980, Mr. Sha Menghai put forward "the problem of the author and engraver of the inscription" in Pu Shu magazine, which caused a wide discussion in the calligraphy circle. On this issue, most calligraphers in Qing Dynasty paid no attention to it. In the Tang Dynasty, when Liang commented on Yan Gong Fu, he once put forward that "the relationship between calligraphy and painting is not refined." Later, Bao, Zhao and Kang Youwei did not see through the hand-carved factors behind the North Monument, but Shen had a unique eye and noticed the hand-carved problem of the Monument earlier. For example, in JI Wang's tablet and postscript, it is mentioned that "the carving hand is exquisite, so the pen changes its posture and suddenly appears": In the Northern Wei Dynasty's "Yanzhou Cishiyuan Kicks the Epitaph and Postscript", it is mentioned that "writing against the trend is quite interesting, but it is clumsy, and I am very sorry"; In the Northern Qi Dynasty's Postscript to the Epitaph of Yuan Xian, our time envoy, it was considered that "hands are too thick"; In the Northern Wei Dynasty's Epilogue to the Epitaph of Lexuyuan, it was thought that it was "scribbled"; In the epitaph and postscript of King Linhuai, it is believed that "this book is so bitter that it is not worth calling it"; In the epitaph and postscript of Yang Li in Sui Dynasty, it is believed that "at this point, calligraphy is a family, but seal cutting is clumsy". Not only that, he is also very concerned about the accuracy of rubbings. For example, he thinks the book "The Complete Book of Chinese Studies" is "extremely round, but rather light and weak". But the sculptor is extremely delicate and the fiber front is brilliant. "I think the sculptors in Lanting Laoyan can also spread well. It is almost impossible to run a mountain unless they are good workers in Tianshui era." I think the style of the ancient hall is not refined, which is a little boring. It is considered that the Book of Jade Scraps in Ink Pool is like a calligraphy with perfect ink color. ..... Feng Ying Li Feng, really can do ghosts with a knife "; It is considered that "Pu Men Jing by Xiao Kai in fengcun" is "meticulous calligraphy and exquisite carving" and so on. Shen's inscriptions in his later years are closely related to his keen perception of the problem of carving hands behind arsenic tablets.
In the late Qing Dynasty, the whole society was seeking change, innovation and self-improvement. Shen's calligraphy takes Tao as a change, takes the ancient as a new one, and is full of new ideas. Historically, Mi Fei and Zhao Zuoqian were successful practitioners of connecting the past with the future. Shen Zeng pointed out in a letter to Xie: "I don't think you can learn from the ancients." Now I suddenly say: it was a serious illness in recent times. What's the point? How about turning to the screen without stippling? Even being thin and ignorant is self-defeating. Mi Yuanzhang never left copying for life, and so did Duke Chu. From Geng Liang to Xie Anshi, there were quasi-laws. I feel uneasy when I come to the newspaper without saying a word. " However, compared with Mi Fei, Zhao Mengfu, Dong Qichang and others, Shen's retro consciousness is still very distinctive. Mi, Zhao and Dong encouraged themselves by orthodoxy, but the two kings did not learn, mainly taking Jin medicine, not "essays". Therefore, in Shen's calligraphy thought, it is difficult to see what he advocates, such as "different shapes and the same potential", "the rule of ancient and modern times", "the whole of Chinese painting" and "the emptiness of painting". Sun's so-called "learning from the past and learning from the present" means that Shen studied it and paid more attention to the change of calligraphy form and the result of participating in the current situation.
Shen is unique. In addition to the above-mentioned distinctive views, he also has a brave and diligent heart. He did not stick to calligraphy as Bao did, but advocated the combination of ancient and modern, north and south, in order to achieve the realm of common development. In practice, he boldly used such means as "painting front" and "lying pen". From an orthodox point of view, he feels a little superior; If we look at the effect of the new theory, it is just right. The achievement is comparable to that of Wu Changshuo. The combination of stele study and stele study has opened up the development road of cursive script, enriched the expressive force of stele study and represented the development height of stele study.
Extensive and profound knowledge, studying the history and geography of northwest China. Calligraphy is a collection of Han Li, Beibei and Cao Zhang, each with its own characteristics. Calligraphers in China have become great masters in the past 50 years. Intercropping landscape is small, elegant and charming, but not much. At the age of 71. Poems about the sea and the sun.
Since ancient times, there have been outstanding figures in all dynasties, who have taken the lead in setting the trend or contributing to cultural events. Shen Zipei in the late Qing Dynasty was such a figure. His friends, such as Wang Guowei, Yu, Luo, Zheng Xiaoshe, Zray, Zhu Zhenzhuang, Hu Puan, etc. At the moment, they are all masters; His friends are Zeng Nong Beard, Weng Tonghe, Zuyin, Wu Changshuo and Li Ruiqing. Its founder is Kang Youwei, a man of the hour; He has taught more than forty sons, including Wang Quchang in Shanghai. Not only did China respect the elderly in the late Qing Dynasty, but Japanese scholars also praised him as "a great scholar in China".