Nowadays, the academic circles have gradually strengthened their understanding of Lu Xun's books, prints, rubbings and other collections, and have also begun a preliminary study of Lu Xun's art and calligraphy. "Painter Lu Xun" is devoted to Lu Xun's artistic talent and works, Lu Xun's talent in book binding and its design and binding characteristics, Lu Xun's binding year, Lu Xun's research on ancient book inscriptions and so on. However, it seems that there is still a lack of special collation and research on Lu Xun's calligraphy.
At present, there has been a debate about whether Lu Xun is a calligrapher, and now there are few articles about evaluating Lu Xun's calligraphy. In the absence of research, it seems that many people have doubts and unspeakable attitudes towards this subject. In this case, I think we can only make a concrete analysis and systematic study first, then we can draw an objective conclusion and determine the value of the subject, that is to say, how good Mr. Lu Xun's calligraphy is, whether he is a calligrapher or a scholar with good writing style, and we must make in-depth research before we can answer.
This sentence is worth pondering. "Not so beautiful" means that the font may not be elegant enough, but you can't say "bad words" just because it is not beautiful. There is a question about the taste and standard of evaluation. In fact, people who often read and copy inscriptions and people who never read and copy inscriptions have different tastes, which leads to great differences in the evaluation of quality, beauty, ugliness and elegance of words. In addition to the influence of taste preference, it also involves a person's appreciation level and actual writing ability. People who are always optimistic about calligraphy works (the original works of ancient calligraphers) naturally have a high eye. If they have actual writing ability and experience, the standard for judging Chinese characters will be different from that of ordinary people. "I have seen many inscriptions" shows that I have considerable appreciation ability, and "there is nothing wrong with the written words" thinks that I have confidence in the grasp and writing ability of Chinese characters.
Lu Xun is confident in his writing ability, but he doesn't value his handwriting. According to records, he likes the calligraphy of Hongyi, Chen Shiceng and Qiao Dazhuang. He once asked his Japanese friend Uchiyama to "ask Hony for a piece of paper"; His collection of foreign novels is for Chen Shiceng to sign the cover; There is also a pair of "Looking at the Tiger" to study in Beijing "Don't push; The couplet "I'm afraid of thrush singing first" was written by Qiao Dazhuang. These people's calligraphy has a * * * feature, that is, when writing, the paper they choose is smaller and the font is smaller, which looks more exquisite and elegant. From this, we can see Lu Xun's taste and preference for calligraphy.
Usually, when later scholars evaluate Lu Xun's calligraphy, they always quote a sentence that Guo Moruo said in the preface to Lu Xun's Poems: "Mr. Lu Xun has no intention of being a calligrapher, but his calligraphy is unique." Melting, smelting and sealing in one furnace, let the heart meet the wrist, simple and informal, free and easy. Far beyond the Song and Tang Dynasties, climbed the Wei and Jin Dynasties. The world cherishes it, not because of people. " Because Guo Moruo has high attainments in calligraphy art, most people think that this is a convincing evaluation of the characteristics, level and value of Lu Xun's calligraphy. Now it seems that this is indeed an expert's opinion. But I think, with the passage of time and the continuous excavation of materials, the understanding of people and things will have new changes, and calligraphy is no exception. With the deepening of understanding of Lu Xun's literature and thoughts, and the continuous expansion of understanding in other fields such as art and calligraphy, there will be a new understanding of the evaluation of Lu Xun's calligraphy.
Zhuang said in "The Cultural Significance of Lu Xun's Calligraphy and Its Contemporary Enlightenment": "Just as anyone's ideal and behavior are limited by the times, Lu Xun's calligraphy creation and aesthetic ideal are also branded with a specific era ... Because of the inertia of copying manuscripts that has been cultivated for a long time, artistic creation may not be its fundamental purpose, nor can it fully and clearly express the creative consciousness of calligraphy art, but its important artistic aesthetic value exists objectively." Since we evaluate the unique personality and aesthetic value of Lu Xun's calligraphy, we have to try to touch and perceive Lu Xun's mood and consciousness when writing at that time.
A few years ago, Qian Liqun said: "The breakthrough in Lu Xun's research may not come from within the research circle of Lu Xun, but from scholars from other disciplines who know Lu Xun. In fact, these years have begun to show such a trend. " For Lu Xun's study, this is a new field of development, which can not but be concerned; For readers who like Lu Xun, they may find a richer and more agile Lu Xun from their research.