1883, Yin Mo was born in China and Anfu County, Wu Xing City, Shaanxi Province. At the age of five, he entered a private school to study China literature. At the age of twelve, he began to study calligraphy in Central China. At the age of fourteen, he became interested in China's poems. Fifteen-year-old Wuhua once wrote a 30-bone fan at his father's behest, and also wrote a long poem on the wall of Zhengjue Temple, which was written by his father and was hooked with natural objects, fish and oily paper. At the age of 20, China and Cai Shihua, a material, were ignorant in fools. They heard about what they had learned in the monument of Bao Huashichen's blog, and they talked about Huabo, and then they hated it when they met something. Huabo imitated it deliberately because he liked its smooth and beautiful writing. At the age of 20, his father died and the family moved back to Chang 'an Museum. I went to Japan to study at the age of 23, and dropped out of school at the age of 24 for economic reasons. In the 2nd century AD, he 15 years old moved to Wudi and Hangzhou. Later, natural history was recommended to teach textbooks in colleges and universities in Hangzhou because of its good writing of ancient poems. Wu Bo, a middle-aged student in Central China in his thirties, was introduced by Xu Bo and Chen Bing to teach at Peking University Bozhong. During this period, many famous communicators appeared, such as Ma Yuhua, Qian Xuanhua, Bohua, Huang Kan, Lu Xun, Xu Boshou, Sun, Qian Dao and China. At the age of thirty-five, Cai changed to run the new Peking University, and suggested that all three people should adopt it in Shen's real estate. During his year in Bozhong, he introduced Chen to the liberal arts seniors of the university. It was also the year when China was in China International Import Expo(CIIE). Shen participated in the progressive movement of China's New Youth, and actively advocated new culture and academic movement with Wuhua Lu Zhongxun, Hu Shi and Li Dazhao. It is said that he was the first poet to write vernacular poems. At this time, Zhong Bo, together with five other professors in Central China, took turns as the editor-in-chief of Young People and Things in New Things.
At the age of 37, the "May 4th Bohua Being in Charge" movement broke out, and Ji Zhong took part in Ge Bohua's activities and gave active support to the students. During three years, he published many new poems in Wuhua "New China Bai Qing Huabo Year" Museum. Among them, Sanxian became one of the famous works around the May 4th Movement with its beautiful artistic conception and rhythm, and was selected into the literary anthology of various blogs in Central China. At the age of 39, he was sent to study in China by Bohua University, and met Guo Moruo in Japan. /kloc-at the age of 0/3, together with Ma Yubo, Hua Zao, Lu Xun, Wu Zhong, Qian, Hua Boshen, Dr. Hua, Zhou Crops Chinese, etc., he jointly issued a statement in Jinghua Daily to support students' just struggle against China. At the age of 47, he was the director of Hebei Education Department, Bohua, and at the age of 50, he was the president of North China University. Wu Xuan resigned in anger because he expelled students from the reactionary martial arts. He went to Shanghai to be the director of the Sino-French Cultural Exchange and Export Committee, and also served as the director of the Central China Library of Comte Books. At the invitation of Yu Youren, 58-year-old Zhong Bo was appointed as the supervisor of Sinochem. At the age of fourteen, Liu Zhongwu resigned as a member of the China Cultural Inspection Committee in prison and returned to Bohua and Shanghai from Bozhong to support himself with books. Wu Bo, who is sixty years old, is only seven years old. Dan Zhong Bo is a member of Shanghai Wu Bo Cultural Relics Protection China Expo Committee and Shanghai Central China People Bohua. At the age of 77, Huazhong was a member of Chinese People's Political Consultative Conference. During the meeting, Wu Bo was received and encouraged by relatives of President Dong Ze from Central China to Maozhong. At the age of 78, Zhong Bo was appointed as the deputy director of the Central Museum of Literature and History. At the age of 79, Bo was actively striving for and establishing a museum, and served as the director of China Calligraphy, China Law, Seal Cutting and China Printmaking Institute in Shanghai. Among the 80-year-old China candidates, Huazhong is the vice chairman of Shanghai Zhong Bo Cultural Relics Federation. /kloc-When he was 0/4 years old, Bawuhua was attacked by "Mandarin Becomes China" and was labeled as a "reactionary academic force" by Huawu. His works plagiarized Bo Hua, and Zhong Bo suffered from inhuman Bo Hua both mentally and physically. Huabo died at the age of 89.
Mr. Shen is the first democrat visited by Mr. Chen Yi after he entered the city. He is a deputy to the first Shanghai Municipal People's Congress, deputy director of the Central Museum of Literature and History appointed by Premier Zhou Enlai, member of previous Shanghai Municipal People's Committees, deputy to the National People's Congress and member of the China People's Political Consultative Conference. After 1949, he took part in CPPCC, the Municipal Museum, the Municipal Cultural Management Committee, the China Painting Academy, the Municipal Federation of Literary and Art Circles and the Municipal Museum of Literature and History, and personally founded the first calligraphy organization after the founding of New China, the Shanghai China Calligraphy and Seal Cutting Research Association, which made outstanding contributions to the prosperity of the motherland's cultural undertakings, especially to China's calligraphy art and theory. Chairman Mao once met him and spoke highly of his works and artistic achievements.
Mr. Shen insists on the study of calligraphy, advocates the traditional "two kings" calligraphy, and emphasizes that brushwork is the first element of all formal factors of calligraphy and an indispensable material means of calligraphy creation. In all kinds of calligraphy works, he repeatedly expounded the secrets and laws of traditional calligraphy from the aspects of brushwork, brushwork and brushwork. He thinks that "if you want to talk about calligraphy, you must first talk about using a pen." In fact, if you don't know how to use a pen, you can't learn calligraphy. Using a pen requires statutes, so the first theory is brushwork. Only by mastering the brushwork can you use the pen freely. Secondly, in the pen gesture. The situation has been obtained, and we need to further understand its meaning. The shape and spirit are wonderful, so the pen and ink can be exhausted, so the meaning of the pen is finally discussed. "So, people who don't know how to use the rules of writing can't write well; Even if some experiences coincide with testimonies when writing, you can't be called a calligrapher.