In the second half of the 20th century, Mr. Fu Baoshi and Mr. Lin Sanzhi, traditional painters and calligraphers in Jiangsu, a cultural province. Lin Sanzhi is a great calligrapher who links the past with the future. He is known as "the contemporary sage of grass", "the top ten calligraphers in the 20th century" and "the top ten outstanding calligraphers in China in the Millennium". He is also good at Chinese painting, poetry and so on. In today's art market, his paintings and calligraphy works are more and more popular.
Lin Sanzhi claimed that poetry was the first, painting was the second, and books were the third. But now "looking back", especially his cursive art achievement is the highest. He made great efforts in calligraphy all his life, which can be roughly divided into the following three stages: when he was young, he began to learn regular script, starting from the Tang Dynasty tablet, and then, under the influence of epigraphy, he changed the hanging wrist writing method of Bao in the Qing Dynasty, and learned Wei Bei such as Zhang Menglong tablet and Jia Zhijun tablet, then wrote tablet and waited for Han tablet, and then copied Yan and Liu. The second stage is to learn calligraphy from the age of 30, absorb the essence of Mi Fei, Zhao Mengfu, Dong Qichang, Wang Duo, Huang and other sages, learn from others' strengths and change the style of calligraphy; In the third stage, after the age of 60, he specialized in cursive script, and studied the calligraphy and rhyme of "Two Kings", Huai Su, Zhu Yunming, Dong Qichang and Wang Duo. And to draw into the book, know white and keep black, count white as black, and study hard for a long time to form your own style. After the age of 72, he accidentally burned his little finger and ring finger in the shower, then changed to writing with three fingers, and finally "gathered thousands of meters to make a pot of rice", reaching a perfect state. In his creation, he advocates that calligraphy and painting are of the same origin, entering first and then leaving. He not only learned from the ancients, but also learned from nature, emphasizing understanding and seeking innovation. In particular, he emphasized the style of writing, and thought that the center should be the most important thing. He liked to use verbose sheep hair, integrate inscriptions, and use uneven ink and wash, combining rigidity with softness, creating wonderland with agility and incisiveness. His brushwork is slow and often penetrates the back of the paper. His cursive script is like dragon and phoenix dancing, like sage like type, old and tough, round and vigorous, and fruity and elegant. It can be described as "powerful from a distance, quality from a close view", and there is quite a kind of bookish spirit of "becoming an immortal". People can also appreciate the rhythmic beauty of music and the lyricism of poetry from the ups and downs of cigarettes and clouds. Mr. Zhao Puchu has a poem praising: "The Three Weng's are also called the Three Musts of the Contemporary Age, and the calligraphy especially cherishes the house leakage;" The old pen is perfect, and every time I see it from the real place, it is ethereal. "Japanese book giant Aoyama Sugiyama also gave a book:" The legacy of the sage of grass is here ". "