Life perception of Lu Xun's calligraphy characteristics

Lu Xun is not only a great writer and thinker, but also an excellent calligrapher. Because of his great achievements in thought and literature, people often ignore his achievements in calligraphy. Guo Moruo once said that his calligraphy "far surpassed the Song and Tang Dynasties and climbed straight to the Wei and Jin Dynasties." Lu Xun's calligraphy is mostly running script. Looking at its style characteristics, Yan Zhenqing's "Competing for Seats" was published, which combined the meaning of seal script and Cao Zhang, and the calligraphy of Song people in Ming and Qing Dynasties and Hanzha method, forming an artistic style of simplicity, softness outside and rigidity inside, elegance, elegance and convenience. A large-scale calligraphy work, which pays attention to discipline, steady structure, dignified and simple brushwork, important details, slow and broad charm, and straight into Wei and Jin Dynasties, shows its profound artistic accomplishment in calligraphy. Small letters and small drafts are handy and familiar with each other. Due to the variation of the times, they are often naive and interesting, which shows the richness of their early calligraphy.

Lu Xun's calligraphy can be divided into early, middle and late periods, each with its own characteristics. Early 190 1 years ago, calligraphy was the main patriarchal clan system in the Tang and Song Dynasties. At first, I looked at the calligraphy of the two kings, but at the same time, I mixed the brushwork of people. The font is slightly relaxed, Xiuwa's brushwork is more relaxed, the brushwork is more slender, the brushwork is also revealed, and the structure is more dense. During this period, there was juvenile blood at the end of the pen, so the charm was slightly inferior. 19 1 1 to 1927, the calligraphy style mainly adopted the method of Wei and Jin dynasties, and was mixed with the method of Cao Zhang and seal script, and the calligraphy style changed to simplicity, simplicity, lightness and sparseness. However, there were many books in this period: some were in small letters in Wei and Jin Dynasties; Some YanHang mixed with two kings; Some strokes are round and muddy, the style of the book is simple and the rules are sparse; Some are integrated into seal script, which has the style of Cao Zhang; Some of them are the return of their early book style and so on. All this can be regarded as a transitional book. In the later period, from 1927 to 1936, calligraphy has matured. On the basis of Lu Xun's early solid foundation, mid-term aesthetic choice and long-term exercises and copying, Lu Xun's practical calligraphy style has matured and stabilized from technique to aesthetics, forming a unique style. In terms of techniques, the thick lines that turn around with the pen as the center are the main ones; The structural characteristics are word formation, sparse form and dense meaning; Elegant and elegant style, slow and easy-going, free and easy nature are the main characteristics. Aesthetically, its goal is simplicity, elegance, naturalness and antiquity.