* * * loves calligraphy very much. No matter in the war-torn era or in the period of peace construction, he always finds time to practice calligraphy in his work day and night.
He said: "Practicing calligraphy is a good rest, an active pastime and a fitness method to nourish the heart and strengthen the brain."
From * * * * calligraphy, the origin of writing, the origin of format, etc. Especially from his cursive works, he has done a lot of rubbings and made great efforts. He tried to learn from the experience of his predecessors, learned from others, and was not bound by his predecessors, so he formed his own family. With broad mind, leader's temperament, superhuman talent, noble education and heroic spirit, he formed his own unique calligraphy art style. His cursive art is elegant, profound in artistic conception and extraordinary in momentum, which is hard to be compared with among modern and contemporary calligraphers in China.
In the half century from 19 15 to 1966, * * left more than 450 calligraphy works in the world, and its calligraphy has high artistic and aesthetic value.
As far as calligraphy is concerned, * * *' s calligraphy can be roughly divided into three types: running script, running script and cursive script.
* * * *' s running script works are smart, handsome, natural, heroic and unique, and generally have the following characteristics:
First, the slope of horizontal painting to the upper right is large. Most people's horizontal drawings are slightly inclined to the upper right, while the horizontal drawings written by * * * are particularly inclined to the upper right. It can be said that almost every word written by * * * has this feature in horizontal painting. For example, the handwriting of "Huanxisha and Mr. Liu Yazi", "Spring and Snow in Qinyuan" and "Seven Laws and the People's Liberation Army's Occupation of Nanjing" are all unique italics, and each word is independent and inherited.
Second, the glyphs are mostly horizontal. The running script of * * * is obviously different from the psychology of "seeking stability" of ordinary people. It seems that most words are tilted to the left, giving people a feeling of "danger", but when you think about it, each word maintains its own gravity balance. This kind of word potential is what people often say. For example, Mr. Beidaihe, Mr. Huanxisha and Mr. Liu Yazi in Langtaosha, Mr. Chixiantian, Mr. Huanxisha and Mr. Liu Yazi, all of Yan's first-class calligraphy has left-leaning characteristics.
Third, the strokes are relatively exposed. The running script of * * * likes to use dew peak, especially when using paper and pen. This kind of dew peak pen looks lively and energetic. For example, this feature is very prominent in calligraphy such as "Spring and Snow in Qinyuan" and "Seven Laws and the People's Liberation Army Occupy Nanjing".
The fourth is to strengthen the echo between strokes with ties. The pulse is smooth and natural, which makes each independent word compact and become a whole; It strengthens the momentum of the work and shows the overall beauty of the work. At the same time, the font size is thick and thin, each with its own merits; The layout is ingenious and patchwork.
For example, the "Nine Schools", "Wine Drinking" and "Heart Tide Drive" in the calligraphy of the Bodhisattva Yellow Crane Tower are connected with each other, and the strokes echo, like flowing clouds, soft and smooth.
"Spring and Snow in Qinyuan" is a masterpiece created by * * * on February 1936. He wrote many times before his death, or gave it to friends or entertainers. There are six kinds of handwriting that can be seen at present, which is the most self-made poem written by * * *. The handwriting selected in this book represents the mature style characteristics of * * * running script art, with a large number of words in the whole word, which is written vertically and independent from word to word. The structure of the word is inclined from the upper right to the lower left, and the horizontal drawing is low left and high right. The left painting is combined with the right painting, and the vertical painting is reversed, so that the words are inclined without the feeling of overturning.
The cursive script of * * * has profound attainments in pen use, layout, verve and expression of feelings.
The so-called cursive script is the perfect combination of cursive script and cursive script in a work.
This kind of works are often connected by strings, which are smoother and more imposing than running script works. For example, 196 1 The book "Qingpingle Liupanshan" presented to Comrade Ningxia on September 8, 2008 is an outstanding combination of calligraphy and painting. The number of words per line varies from two to five, and the glyphs vary greatly. The uneven levels are full of images, but each line of words is top-down, looking around and echoing each other. On the same central axis, it is straight and not skewed, showing a beautiful layout, with momentum and charm throughout.
There are running script, cursive script and cursive script in the works, which are used alternately; Running script and cursive script are naturally transitional and closely linked, giving people a sense of slow rhythm. The whole work is light and free, like flowing water. Through the works, we can observe the author's stirring feelings and magnificent mind after completing the 25,000-mile long March and determined to "tie the black dragon".
There is a great distance between "ten thousand" and "six" and "wind" and "present" in the works, but it is full of momentum from beginning to end. "Zhi", "Xing", "Er", "Six", "Pan", "Today", "Japan", "Being" and "Being" are different from "South", "Mo", "Wan", "Hand" and "Iron".
The calligraphy of "Huanxisha and Mr. Liu Yazi" is basically independent, except that few digital strokes are connected, but the lines are smooth and round, and the cursive style is still obvious. The features of cursive scripts such as Long Night, Dance, Billion, Rooster and Nothing More are very obvious, which reveals the author's excitement on the occasion of celebrating the whole world, and also shows the author's practice and exploration of cursive art.
"Water Turning Around" is also an outstanding work with alternating lines and grass. The font structure and stroke rhythm of the works have obvious ups and downs. In the last film, I wrote "I'm looking at the sky" and "I'm better than walking around", so the writing was beautiful and natural, and I wrote it easily. With the description of the great cause of socialism and the ripple of the future, the writing rhythm of the next film is obviously accelerated, the font is gradually enlarged, the composition tends to be dense, and the posture is full of vitality and momentum.
* * * wrote "Answering Li Shuyi" twice. The first time was on1May, 957 1 1 day. After receiving Li Shuyi's letter, the author wrote back to Li Shuyi, and under the condition of "feeling after reading the representative work", he presented the word "Answer Li Shuyi with flowers".
The third word of this handwriting is circled and the word "e" is omitted. The words "loyal soul dance" were added to the column, and were repeatedly erased after the period was found. This word was not written in reply, but when the old work was copied again. This is mainly because infinite emotions and surging * * * hinder the author's orderly conventional thinking. It can be seen that the inner feelings are the most valuable part of this ink. This book is mainly running script, with only a few cursive characters, and the running script strokes are relatively stable. Font size and white cloth density are relatively balanced and flat.
On September 1st, 1962, at the request of Mao Anqing and Shao Hua, * * * wrote "Flowers Answer Li Shuyi Recently" again. This work is mainly about running grass with big grass in the middle. In writing, the author wrote "Jiao Yang" as "Huayang", and "Tears fly" was misspelled as "Tears float". The last movie used a lighter pen, a smoother brush stroke and a more rigorous composition. It's just that the words "he" and "JIU" are heavy and thick, making a slight breakthrough. In the next film, I let my emotions run vertically. With the surge and eruption of emotions, my brushwork has become more powerful, the font has become larger, and the composition has opened up and closed, showing a magnificent momentum.
The author's deep and unforgettable feelings for Yang Kaihui have been fully expressed, and truly reached the lofty realm of "expressing feelings with books, expressing feelings with books" and integrating literati with people. Due to space reasons, this work is not included in this book.
Written on September 9, 196 1 year, The Four Wonders: Photo of Mount Lushan Fairy Cave is a banner scroll with ten lines. The word "twilight" at the beginning is a rigorous running script, oblique but not oblique, soft and decent. After the transition of the cursive word "Kan", the character "Jinsong" is thin, hard and strong. "Flying Cloud" is a big grass, just like image painting.
The first two characters in Fairy Cave are thick and graceful. The word "hole" expands the space with thin lines, showing the brightness and beauty of "hole". In particular, the word "Jing" suddenly leans to the left, contrary to the previous sentence, while the word "Feng" leans slightly to the right, forming a steep and rigorous artistic conception. The word "Feng" has the largest glyph and the strongest pen and ink in the whole work, thus suppressing the situation and bringing a stable and strong effect to the dangerous peak.
1962, the book "Qingpingle Gui Jiang is in power", which is both cursive and cursive, can best reflect the vigorous style of writing. The last film was dense and vigorous, but "you can race horses secretly." As soon as the next font is changed to a vertical rectangle, the ink will be thick, the font will become bigger and the blank will be enlarged, but "needles can't be inserted in sparse places"
The book trace is both grand and exquisite. Another example is "Go straight down Longyan to Hangzhou", which is Fang Bi's running script, and One Piece and How Busy the Field is. The words "reopening", "red flag", "crossing the Tingjiang River", "Shanghang" and "cleaning up the golden ou" are light and soft, especially the word "ou", which can be said to be picturesque.
Picking mulberry seeds for Chongyang was written around 1962. Generally speaking, fonts are staggered in size and stippled in thickness. In the dense lines, it is sparse and thick, the rough stippling is blank, the white is lined with black, the light is thick, and the composition is unique. For example, the three words in the second line are full of twists and turns, and the word "difficult" is relatively large, but they are well avoided, and none of them have been touched. The word "nian" in the third row is bigger, with the upper part inclined to the upper right, like a mountain, and the center of gravity in the lower part drooping to the left.
In the line "Yu Xiang", the word "fen" is heavy in ink, and the word "external fragrance" is thin in pen, with black characters on a white background, which strengthens the weight of the word "fen". In the next film, the word "Haohao" is the line, and the pen reaches the dragon and snake, and Wan Li is vast. Through the light transition of the word "Jiang Tian Wan Li", the whole volume was finally collected with the word "Frost", which was really magnificent and refreshing.
The cursive script is called the crown of calligraphy art in China, and the cursive script of * * occupies a large proportion in his calligraphy works. It can be roughly divided into grass and grass. Compared with running script, cursive writing is more convenient and the strokes are flying, but basically each word is independent and has less contact. The big grass is mostly connected by strings, and the brushwork is more obvious than the grass. The cursive script of * * *, whether it is grass or big grass, gives people the impression that the grass is not chaotic, well written, comfortable and successful.
For example, Qinyuanchun Changsha, which was written in calligraphy on 196 1 year1month 16, is a very successful cursive script. The whole work 100 words, the author's brushwork and ink color change with the situation of the book. For example, if the first line is thick, the writer's mood is relatively stable.
The word "independence" at the beginning is continuous, with the majestic gesture of monopolizing most lines, which leads to the grand momentum of the book. The word "cold" has a strange structure, with only four small horizontal lines under the left and right covers. The left hand side of the word "layer" extends straight down, covering the word "Zeng" next to the sound of "layer" and the word "Lin" below, making the two glyphs become the artistic conception of towering mountains. The word "freedom" is connected together, and the word "you" is not only extremely large, but also divides a large piece of cloth into three arcs to form a circle, which echoes the words "melancholy" and "class" in the upper left corner to form a loudspeaker.
Then there are big and small, ups and downs. Finally, the word "stop flying boat" was unstoppable. The word "fly" with a stroke of left and right is particularly beautiful, and it also produces the dynamic beauty of birds competing for flight. After "seeing the mountains everywhere", the strokes are accelerated and the gestures are flying. The excitement of enjoying the beautiful scenery of the motherland is beyond words. "Ask the boundless earth, who is in charge of ups and downs", the pen and ink are a little thicker, and the bookstore is restored to stability, giving people a sense of meditation.
Recalling "Classmates and Teenagers" and even "Hitting the Water in the Middle Stream", the words "spirit", "agitation" and "remember or not" are linked together, which makes the author's book seem complicated and lofty. The writing speed of the word "waves stop flying boats" slows down, and the pen and ink are thicker, which seems to make people feel the fierceness of the waves and the revolutionary spirit of "classmates and teenagers", and its charm is consistent with the first line, thus making the work produce an overall structural beauty.
In addition, this work has another feature: dry words, appropriate size and length, and patchwork layout. The author writes freely, and every word flies. Although the characters are independent, their styles are coherent, smooth and natural, giving people the majestic momentum of "flying over the eaves and walking over the walls", and the poetry and book sentiment of their works are perfectly harmonious and unified.
1962 1 month 12 The Seven Laws and the Long March, written in calligraphy, is a scroll with banners. This book is a masterpiece of cursive script, heroic and detached, beautiful and smooth. The layout of the book is broad, magnificent and natural, which is very suitable for the epic and emotional content of the poem. The word "Red Army" at the beginning is written steeply. The phrase "Qian Shan is only idle when there are thousands of waters" is vigorous and powerful, which shows the potential of destroying decay.
The right vertical hook of the word "leisure" can hold up the sky. The word "cloud cliff" is like a river and a star, tall and stalwart. The last sentence, "Let the three armies make a glorious face after the war", is the most wonderful, full of enthusiasm and heroism, enough to retreat from all armies, poetic and bookish to the extreme. The word "three" has changed from the upper left oblique to the lower right oblique, which has become a vivid vocabulary to adjust the whole chapter. The word "Hou" is indomitable. The word "Hou" runs through most lines, which is both powerful and lofty, and its feelings are extremely proud. The beauty of poetry and books can be described as a perfect combination.
Yi Qin E Lou Shan Guan is a masterpiece in the history of modern and contemporary calligraphy in China, which marks the highest achievement of cursive art. The whole work, paper and clouds, is vast. Starting with the word "strong west wind", we tightened it up and down, enlarged the word "wind" and left a big blank in the middle, which changed the habit of emphasizing words in the past. In the second sentence, the word "day" was compressed to cast "geese call frost morning moon", which was written in one stroke. These three sentences, "first frost morning moon, broken horseshoe swallowing horns", were written in thick brush. "It's like iron, the road is full of glory, but now I'm striding from the beginning." Write smoothly, like a lifetime ago.
The handwriting of "Seven Ways and Two Poems to Send the God of plague" is a model of the perfect unity of artistic conception and poetic content in * * * calligraphy works. As the preface before the poem says, the author is addicted to writing under his own power.
Judging from the ink, the author doesn't seem to consider that the words are spaced and horizontal. The pen is quick and the lines are thin and round. It's all based on meaning and emotion. Words such as "float", "pen", "Song", "bridge", "iron", "paper" and "burn" are exaggerated to the extent of deformation, vivid and full of * * *. The words "destiny", "green", "crossing" and "wanting" are written like flying snakes, like gossamer, with the crazy pen of Zhang Xu, the sage of the Tang Dynasty, and Huai Su, the crazy monk.
As far as composition is concerned, * * *' s calligraphy is bold, bold and vivid.
China's traditional calligraphy pays great attention to rules and regulations, and calligraphers of all previous dynasties have pursued the beauty of form, artistic conception, charm and overall art of their works. The beauty of composition in the art of poetry and calligraphy is not only his inheritance of fine traditions, but also his own innovative contributions. It can be roughly discussed from the following aspects.
The first is the beauty of composition and form. 1April 29th, 949, The Seven Laws and Mr. Liu Yazi is a matrix book. After the text is written, the matrix is arranged. But the author is not satisfied with conventional writing. Then he wrote "Feng Heliu's Writing on March 28th", then he indulged in writing with a pen, wrote down the modest words of "praying and teaching rightness", and wrote down the words "* * *". In order to be more complete, the time of signing; The top line of this book reads "1April 29, 949", and at this point, The Matrix is completed. In this matrix scroll, the first word "drink", the second line "year" and "country", the fourth line "heartbroken scenery" and the fifth line "shallow" are more prominent, and the inscription is witty and clever, which makes the whole chapter shine.
The text of Comrade Li Jin's Four Musts is 28 characters, divided into seven lines. The first three lines are vigorous and tall, and the structure of each line is generally large at the beginning and end, small in the middle and changeable in the middle. These three lines are illusions. When writing Still Calm, the word "still" suddenly jumped out of sight and entered the author, just like a mountain.
"Born as a fairy cave", the word "cave" takes up a lot of space, but the lines are thin and there are many blanks, indicating that the cave is in front of you and bright. The first few lines of Infinite Scenery at Dangerous Peak, Scenery and Right Oblique are written as Left Oblique in turn. This betrayal has accumulated great flexibility and energy, and contains new artistic conception. The word "on a dangerous peak" suddenly releases elasticity and energy, opening up a new artistic conception, just like taking tourists to a dangerous peak with unlimited scenery. The word "danger" is a little left-leaning, as if it were going to fall, but then it is the biggest word "peak" in the whole article. Although it is dangerous, it will not be dangerous if there is a mountain to support it. Generally speaking, this hand scroll gives people a feeling of changeable situation. This feeling makes people enjoy the vast and changeable beauty of form and charm between scales. Appreciators can appreciate the excitement and heroic demeanor of the author who dares to climb the dangerous peak in the evaluation.
1February 5, 963, Man Jianghong and Guo Moruo wrote in calligraphy, which was magnificent and magnificent, showing the boldness and courage of the pen. The whole word 100 words, write 3 1 line. The original inscription "Man Jiang Hong" was tall and majestic, which fully showed the author's heroism. The last two lines suddenly become lighter and smaller, writing as light as cold smoke and floating as gossamer. From "a few flies hit the wall" to "an ant exaggerates the country", it is the first wave, and the peak is "several sounds". From "It is not easy to shake a tree" to "Flying cymbals", it is the second wave, and the peaks are "Shake a tree" and "Xiachang 'an". From "how many things" to "time is tight", it is the third wave, and the peak is "never". From "ten thousand years is too long" to the end, it is the fourth wave, and the peaks are "tumbling", "wind and thunder" and "invincible". The whole work presents a wave of unsettled weather, which is swept by waves, and waves and peaks come and go, which is amazing. Although the composition of this work is very dynamic, it is harmonious. There are six places where there are only two words in a line, accounting for one-fifth of the whole article, all of which are places with peaks.
The whole work, with many words in one line, appears smooth, bright and powerless; The few words seem to be jumping, black and strong.
The second is the wonderful changing axis and colorful line texture. In composition appreciation, paying attention to the change of vertical axis between lines can broaden our horizons and increase aesthetic interest. * * * With its broad mind, bold personality, bold brushwork and superb art, calligraphy works are elegant and natural, ups and downs, and stand out from the crowd.
* * * 1962 hand-written Xijiang Moon Jinggangshan is a work with swaying axis and strong sense of movement. The last four sentences are divided into nine lines, each of which is a black dragon swinging from beginning to end, which is particularly magnificent. The last four sentences are also divided into nine lines, one of which is only two words, accounting for four lines. Its jumping and swinging range is much larger than the previous work, and the change is much greater, giving people a magnificent, vigorous and unstoppable momentum in composition.
The calligrapher's experience captures the expression of line texture, that is, calligraphy. * * * The colorful lines in calligraphy constitute the core of his calligraphy art. For example, the lines of the Seven Laws Long March are fluent, vigorous and bold. "Wanshui Qian Shan is only idle", and the lines are thick and deep; "Wumeng Walking Mud Pill" has smooth and vigorous lines; "After the three armies, everyone will laugh", and the lines are bold and unconstrained.
The third is to use black and white contrast with ups and downs. There is a saying in China and calligraphy theory that "black is white". Counting black as white is the dialectical unity of black and white in calligraphy: writing black and leaving white. Calligraphy should not only be tasted in the dark, but also appreciated in the white, which is the mystery in composition. * * * Bold and elegant book style is often manifested in the contrast between black and white.
Written around 1962, the book "Qingping Music and the Battle of Gui Jiang" shows a strong artistic effect from the contrast between black and white. The first seven lines are wide, word by word, line by line, but spaces can compete. The last seven lines. Fonts are longer and have more space. This increase is not because the words are small and weak, but to highlight the dazzling place of the final composition: "One piece is really busy." This kind of thick ink and heavy pen treatment has doubled the spirit of the whole book.
"Picking Mulberry Seeds and Chongyang" was also written around 1962, leaving a large blank between the four lines, with dense and sparse. In the last nine lines, where the strokes are heavy, there are large blanks. This is an artistic technique of white to black and light to thick. In the strong contrast between black and white, seeking black with white and making black with white broke through the general concept of black and white contrast and artistic expression.
The fourth is the uninhibited overall layout. The coordination of the overall atmosphere is the key issue in calligraphy creation. * * * Poetry and calligraphy are bold and unconstrained as a whole. For example, the book "Spring and Snow in Qinyuan" written by 1945 is a calligraphy masterpiece with strong lines and unique structure. Although there are obvious differences in the size of the vertical lines in this book, the lines remain on the same axis, echoing up and down, and the pulse condition is well connected and patchwork.
The word "Rao" in the middle row of the whole work is eye-catching. In addition, the words "phoenix", "gone with the wind", "Xu", "she" and "Chao" are also big and thick, each occupying a corner and echoing from afar. There are small characters before and after each big character, which shows that the layout is ingenious and the structure is compact, and the rhythm of the author's emotional ups and downs jumps between the lines.
Although "Qin Xue" is a running script, its momentum runs through all the time. Its bold and vigorous spirit has both the momentum of Ma Benteng and the beauty of Qian Fan's competitive show. Graceful and vigorous, natural and unrestrained, the word potential and the text potential blend, the content and form are natural.
Qingpingle Liupanshan, written in 196 1 year, expresses the author's broad mind and overwhelming heroism with continuous lines, which echo up and down, combine the big with the small, and are full of colors, dense and scattered with white, indomitable spirit and consistent momentum and charm. This book consists of fourteen lines, each with two to five words. The font size varies widely, and it is flexible, colorful and colorful. At the same time, the rhythm of the book and the melody of the lyrics are also very harmonious. I began to write the image of "the sky is high and the clouds are light", and the pen is elegant and elegant. Looking south and flying geese gradually opened up and spread gracefully. "He who does not reach the Great Wall is a true man" is full of pen and ink, and it is written with both rigidity and softness. After a short pause and contraction, the next piece of paper falls in large quantities, highlighting the "red flag" rolled up in the west wind. The word "tie" written by painter Lian Bi will be even more fantastic if it is accompanied by a tie.
The book "The Battle between Qingping Music and Gui Jiang" is even more imaginative. The word "Longyan" is grounded, and the weather is magnificent. The brushwork of the word "really busy" jumps down and the word "block" is extremely imposing. Picking Mulberry Seeds and Chongyang shows the characteristics of being vigorous and detached. The word "difficult to get old" is full of twists and turns, which contains strong iron; The word "lingering fragrance" is black and white and easy to escape; The word "Jiang Tian Wan Li" flies with frustration and lofty sentiments; In particular, the word "frost" monopolizes two lines and stands tall, which really has the potential to swallow the sun and the moon.
Written in 1962, Yi Qin E Lou Shan Guan is magnificent. The word "west wind" begins with generosity and nature, and the word "wind" leaves a large blank, making "west wind" cold and empty; The word "frost morning and moon" was swept away gently, as if immersed in the vast west wind. The next three sentences, "first frost in the morning, breaking horseshoes and swallowing horns", are all over the world. "Xiongguan Road is really like iron", and the word "iron" is like Jinsong winding on the cliff. "This step starts from the beginning" four sentences, such as the black dragon going out to sea, clouds surging from the wind. The whole work embodies the heroic spirit of the author and makes people fall for it.
Finally, the title of the department of male amplification. * * * Calligraphy works are particularly indulgent, sometimes indomitable, unique and unforgettable. About before 1937, the title of his signature was not bigger than the text. Later, his donation gradually increased and became more and more generous. For example, Wang Yanqi 1950 10's calligraphy "Huanxisha and Mr. Liu Yazi" and 19561February 5's calligraphy "Water Turning Around" are larger than the main font and more cursive. 1may 957 1 1 butterfly lovers answers Li Shuyi, and1February 5, 962, Man Jianghong and Comrade Guo Moruo are all handwritten, and the signature "* * *" is bigger than the font of the text, and it is scribbled.
* * * The unique calligraphy personality and artistic style created by the great revolutionist's boldness of vision have injected special vitality into the modern and contemporary calligraphy circles in China and stood out in the calligraphy art world. Exploring and appreciating the calligraphy art of * * * is of great significance for further promoting the calligraphy art of China traditional culture.