When and where did Huanxisha in Shen Peng become his hometown?

Mr. Shen Peng once pointed out in the article Tradition and "One Painting": "Calligraphy is based on characters, and characters are the first driving force of calligraphy ... The beauty of early characters is by no means inferior to that of later ones." He also said: "The aesthetic significance of' twists and turns' lies in consciously pursuing the transformation of the opposite of the unified object in contradiction, so as to achieve a profound, meaningful and memorable realm in art." It is true that Oracle Bone Inscriptions's integrity, sharpness, character, prudence, richness and charm are unmatched by official script and regular script on later Xuan paper. When it comes to cursive script, especially modern grass and weeds, its creative aesthetic value and artistic aesthetic significance can be said to be the ultimate. For example, Zhang Xu and Huai Su's wild grass, in Mr. Shen Peng's view, is Qu Yuan and Li Bai in the poem, which made cursive script reach the peak of romanticism, and it is still difficult to surpass it.

Besides being fascinated by Huai Su's Wild Grass, I also like Rainbow Xizhi's cursive script, Wang Duo's cursive script and Lin Sanzhi's and Shen Peng's cursive script. Their cursive works express their individuality with lyricism, embody the humanistic spirit with the strongest feelings in their hearts, and show the style of the times.

If we say, the aesthetic feeling of cursive script is mainly manifested as: rich and unrestrained brushwork, varied priorities, diverse structures, simple and sophisticated, elegant and hidden truth. Such as the strongest and most exciting melody in a symphony. Such as the most meaningful and tense language in poetry. Then, Shen Peng's cursive script seems to be more than that, such as the combination of poetry and calligraphy, the combination of pure heart and poetry in the soul of the book, thus showing a myriad of weather, elegant expression and profound artistic conception, such as ink moistening or anger or arrogance or restraint.

Such as Dou: "I still hate less waste paper, and half a sentence of new poetry is too much." (See the picture above) The key words "waste paper", "I still hate less", "new poetry" and "I admire more" are highlighted, especially one of them, "less" and "new". The former is driven by the center after two strokes, and the latter's last stroke is full of interest and special at the same time. Every word in the poem, every stroke in the text, the sense of rhythm and rhythm revealed with the change of emotion, and the pursuit of harmony and unity of inner beauty and outer beauty are vividly and deeply touching. It is not only magnificent, but also full of humanistic meaning, which makes the works have a strong bookish atmosphere and the breath of life of the times.

Mr. Shen Peng once said: "When it comes to emphasizing image, artistic conception and interest in calligraphy, cursive script cannot be extended to the extreme." In addition to these three meanings, I personally think that the most attractive aesthetic characteristics of cursive script are the three essentials: meaning, flying white and brevity. This is particularly prominent and wonderful in Huai Su's autobiographical posts. Pure central operation, because of the lack of ink and high speed, naturally presents the aesthetic effect of flying white. Even if the lines seem to be broken and connected, the feeling is so smooth, thick and powerful. The control between the lines, because after careful planning, often there will be a lot of words connected with each other, with magical beauty in one go.

Judging from Mr. Shen Peng's cursive script, it seems that he is still a bit coquettish in the "Three Musts". Take Du Fu's "Climbing the Mountain", Li Bai's "Luchuan Ballad" and Su Shi's "Shuidiao Song Tou" as examples, it is not difficult to see. Obviously, "simply running, simply running" is not enough. For example, the first two words "the wind is urgent" in "Ascending the Mountain" are entirely calligraphy; The three water points in Gordon and Lu Chuan's storytelling are biased, and some point operators, such as "turbid wine", "poor", "flowing", "rolling in the river" and "wandering", give people a sense of stagnation. And so on, its cursive strokes are numerous and simple, such as "Wan", "Bian" and "Jin", which are still among the cursive strokes. There is also a pen in the center that is mixed with the center front from time to time, and the lines make the turning too slow to get sick, not so white and not so continuous. I'm afraid the reason is either that the writing process lacks passion or that it is too strictly subject to the legal system.

It is very important to write cursive script with passion from beginning to end, to publicize personality, to drive the law with intention, to drive the spirit with backbone, and not to be arrogant or impetuous. Magic is out of artistic conception, but it is commendable that you should have a clear understanding of the connotation of written poems and sentences, and you can master the length of each individual in operation. Between the lines, there seems to be a soul rising and Xue Jing flowing, so it has a big mind, a big hand and a big aura.