Such patriots talk about calligraphy, of course, paying special attention to the writer's character and moral integrity. He emphasized the unity of writing and books. "Words come first, strange characters have existed since ancient times" is the most sincere and direct confession under this principle. As you can imagine, among many senior calligraphers, Yan Zhenqing, who is famous for his honesty, is the person Fu Shan admires most. He said, "I have been very close to Xi and have given it thousands of times. I don't care, but when I wrote the name Lu Gong, I felt awe. "
How about Fu Shan's calligraphy? Interestingly, this calligrapher, represented by Yan, takes cursive as the main axis of expression. Of course, all calligraphers have always developed their own styles on the basis of inheriting their predecessors, just as Fu Shan himself said, "There are advances and exits". But the transition of 180 degrees like this is unexpected.
This can be seen from Fu Shan's thought of "four nine four drinks" as the center of calligraphy aesthetics. He said, "Ning Zhuo is not smart. He is ugly, fragmented, smooth and straightforward rather than flattering. " . Politically, Fu Shan doesn't want to collude with others, and he doesn't want to bend his knees for fame and fortune. In calligraphy, he does not pursue the delicate, smooth and graceful style of Zhao Meng and Dong Qichang. Zhao and Dong's Beautiful Scenery is too easy. He thinks it will be true as long as it is "closer".
Indeed, Fu Shan's work Xuanyuanjian can fully show his profound classical basic skills and mature techniques, but this paper expression of "rough clothes" is incorrect, which also exposes his attitude of "not arranging music" and hides a deliberately ugly heart? This persistence in appreciating ugliness made him strongly replace "beauty" and "charm" with "clumsiness" and "ugliness", and interrupted his straightforward writing with frequent entanglement. Gong Yan's calligraphy is by no means "beautiful" or "charming". However, compared with Fu Shan's profligacy and Gong Yan's correctness and steadiness, it is obvious that there are few Lu Gong styles that make Fu Shan himself "awe-inspiring", and readers can only look for them from those round and thick lines that bend from east to west.
Because of poor kung fu, the characters are clumsy and ugly, which is of course much higher than pretending to be sensational. But if you pretend to be ugly for flattery, or even give up the basic structure and pursue ugliness for particularity and innovation, it is tantamount to going to the other extreme. It seems that as a monk, Fu Shan realized that "being a man" is more important than "writing", but he still has a long way to go to get rid of people's obsession.