Generally speaking, Lin Sanzhi's calligraphy is based on the inscriptions in the Northern and Southern Dynasties, Jin and Tang Dynasties. He studied the calligraphy of Jin people from Ge Tie and took the calligraphy of famous artists in Tang, Song, Yuan and Ming Dynasties to get his meaning and rhyme. At the same time, he studied the famous steles of Han Dynasty for decades, so his book was very soft from the beginning, with the charm of steles and the simple meaning of Han Li. His books are not only creative, but also write inscriptions in various styles. Anyone with a strong style is often thin and hard. He believed in Du Fu's aesthetic idea, "expensive, thin and hard books are the basic characteristics of his book style".
Learning from Huang is of great significance to the formation and development of his calligraphy style. Huang's research on pen and ink skills is the highest in modern times. In Lin Sanzhi's essays, there is a saying that "the pen is straight from the curve and feels more square when it is round". This brushwork principle comes from Huang's guidance and influence on him. After that, he studied under Huang, not only entered his painting door, but also learned the method of writing. For a long time, his brush and posture were quite close to corpus luteum, seeking straightness in curve and square in circle. No matter whether it is vertical or horizontal, it does not go straight, and its disease is corresponding. It emphasizes the understanding of the leakage mark of the female leg in half. That is, although the font of the book in his later years is not like corpus luteum, the brushwork still maintains the essence of the yellow book, which shows that he is good at learning.
Lin Sanzhi said to himself, "Before I was sixty, I was swimming in statutes. After the age of 60, if you have a little knowledge, you will not stick to the law. " Look at his work, it is exactly as he said. Regarding the previous works, although the style and meaning are very good, the use of pens and words are in a highly rational grasp, and you can feel them when you look at them. After the age of 60, books can relax and give them a natural interest, which is called "not limited to law". For books written after the age of 70, emphasizing individuality and pursuing natural taste has become the dominant aesthetic tendency, and the pen has been greatly released in creation, so books in different States have different feelings to introduce people, so the works have a temporary atmosphere. After the age of 80, he entered the field of freedom. When he wrote a book, he couldn't realize it. When he writes, he is free to imitate, be fascinated and be interested. At this time, the pen and ink of the works change wonderfully, and the figurative forms such as stippling and word formation are often invisible. However, its ethereal and detached ink image seems to be inadvertently defined by the degree of observation, with endless connotations, unpredictable and interesting. This is the highest stage and realm of Lin Sanzhi's calligraphy art development. This is a unique realm in the history of China's calligraphy, which is different from all people in ancient and modern calligraphy circles.
The synthesis of Mi Fei, Dong Qichang and Huang is the basic feature of middle-aged running script. Then I learned Wang Duo's running script and cursive script. Regarding the age when he learned cursive script, he said to himself, "I didn't learn cursive script until I was sixty, and I had many bitter experiences." Without the foundation of writing a monument, there will be no achievement. "He studied calligraphy for decades and often wrote inscriptions, aiming at tempering the strength, astringency, coarseness and simplicity of his calligraphy lines. The so-called "learning cursive script after sixty" means that he specializes in cursive script after sixty. The existing cursive works in his thirties are quite successful, and the cursive works in his forties have formed the basic pattern of his personal style, which is probably due to the infiltration of the yellow brushwork and Huai Su's cursive style. After the age of 60, he turned his main goal to cursive script, making a final sprint to the cursive script with the highest difficulty and the strongest artistic lyricism. Climb the highest peak of calligraphy art.
In this final stage, he sought the integration of various grass methods, especially the adaptation of Huai Su and Wang Duo. He has a deep understanding of Wang Duo's cursive script. Wang Duo's cursive script inherited two kings and Huai Su, and combined with Mi Fei's brushwork. It's unparalleled to be familiar with it. If we follow its old path, it will be difficult to innovate again. So he did the opposite and changed the length method. It's hard to read through his book unless you know it deeply. With his profound Han Li skill, he transformed Wang Duo Grass Law, made a living by rejuvenation, and created Lin Sanzhi Grass Law. This is his unique courage and creativity, and achieved great success.
At the end of 1972, People's China magazine selected Modern China Calligraphy to introduce Japan. Lin's cursive script was highly praised by Guo Moruo, Zhao Puchu and other authoritative figures, ranking first, representing the highest level of modern calligraphy in China, which has important historical significance. That work can indeed be regarded as the representative work of Lin Sanzhi's calligraphy in the early stage of reform. Intentionally or unintentionally following and breaking the rules, free and easy, just right, amazing.
However, Lin Sanzhi was not satisfied with the honor he had won. He ignored more and more praises and higher social status, and pursued his higher realm silently and persistently, which made his calligraphy enter the realm in an all-round way at the age of 80. At the age of 70, he wrote a poem: "Don't go your own way with the world, be proud of the pen and ink over the years." Write to the deepest part of the soul, I don't know if there is me. "It can be seen that his pursuit of spiritual realm is unambiguous. He regards calligraphy as a natural thing, and he is proud that he can "write to the deepest part of his soul", which is purely the embodiment of true spirit. This is a realm of "heaven".
At the age of eighty-three, he wrote a poem in the book: "I robbed the magic man of drawing, but I was willing to be an ordinary person at the end of my heart." Xi Xi 'an Xi Sheng Xi Jin Fang, no one is without my sovereignty. An ethereal spirit seeks not to be ignorant, and several wonderful phases realize the truth. I don't know how much fun I have left. I recognized the grass in the green hills. "This is also the voice that can only be deeply realized after entering the realm. He wrote this poem as a banner, which was impressive. The whole picture is full of charm, vigorous and unrestrained, round and square with a pen, rigid and restrained, and unpredictable. Its rising ink and thick ink are not stagnant, its dry pen is scattered and thirsty ink is like smoke, its glyph strokes are loose and meaningful, and its internal force is stronger. After decades of management and research, Changfeng's Yang Hao has created a unique brushwork, which has turned the front of one painting into a superb realm.
Brush and ink painting interact with each other. He learned the wonderful method of "adding ink" from Wang Duo's calligraphy, and inherited Huang's painting methods of "thirsty for ink" and "keeping ink", and applied them to calligraphy creation at will. After the age of 80, his works are sometimes painted with thick ink, where the ink gathered is black and bright and the expression is fascinating. The dry ink has dried up and dried up, and the ink seems to have dried up, but the pen is still being wiped. Only the ink has become a virtual silk, and now there seems to be no room. Sometimes it's Su Mo, sometimes there is thick ink condensation in the ink halo, which is the true trace of the pen, and sometimes it becomes dry and light, and the meaning of the pen turns over, and it becomes moist and heavy. He made full use of the characteristics of Changfeng lanolin, such as more water storage, slow betting and convenient continuous writing. If the water and ink in the brush hair are uneven, it will change endlessly with the rotation of the pen tip and the writing speed.
Because of these skills, it is difficult for Changfeng Yang Hao to make great changes in brush strokes and stippling forms, and this change has been wonderfully supplemented by the rich changes in ink and wash. The combination of brushwork and ink painting is a creative achievement provided by Lin Sanzhi's calligraphy for the treasure house of China's calligraphy techniques. And this magical skill has also become an important means of expression of his calligraphy.
Lin Sanzhi is a great artist of poetry, calligraphy and painting. A few years after his book shocked China and foreign countries, China entered a new period of reform and opening-up, and the development of calligraphy art soon appeared a situation of all-round prosperity. Lin Sanzhi's calligraphy, from aesthetics to formal techniques, has a great influence on calligraphy circles at home and abroad, especially on young people in Jiangning. Today, young and middle-aged calligraphers in Nanjing and Jiangsu have good overall artistic quality, strong creative level and high aesthetic knowledge. Some of them have become the backbone of China Bookstore, and they have been directly or indirectly influenced by him. Lin Sanzhi's contribution to China's modern calligraphy art can be described as "great contribution".
[This post was last edited by Lan Yu on April 7, 2009 13: 33]
attachment
99 AEC 737 caba 64 a4 ca 1 e3ba 78 1e 7 1b 15 . jpg(69.07 KB)
2009-4-7 13:29
3449565.jpg(94.45 KB)
2009-4-7 13:29
Lu You wrote a cursive script of Jianmen Road.
2008 10 189593443473 . jpg(62. 1 KB)
2009-4-7 13:30
2007 10 12 1 1272596877804 . jpg(33.89 KB)
2009-4-7 13:33
173.jpg ( 19.32 KB)
2009-4-7 13:33