Guo Moruo's exploration and practice in calligraphy art lasted for more than 70 years. Young Guo Moruo's calligraphy has been recognized by the society since 19 1 1 year. 10 years later, his famous poetry collection Goddess and other works came out, which made his book style appear in front of a wider audience. In the late 1920s, Guo Moruo lived in Japan. Starting from Oracle Bone Inscriptions, he argued the history with characters and used history as a mirror, became familiar with the evolution of Chinese characters and calligraphy, and established a scientific model for the study of ancient Chinese characters. 1937 When returning to China for the Anti-Japanese War, poetry creation was often combined with calligraphy, which contained profound cultural heritage and national spirit of self-improvement. After the founding of New China, Guo Moruo engaged in more abundant calligraphy creation after heavy state affairs. He was generous and well-informed, and left countless inscriptions on Mo Bao for places of interest, industrial and mining schools and friends from all walks of life at home and abroad. His calligraphy works are so numerous and influential that few people can compare with others.
In his study book, Guo Moruo regards "going back to the front and going back to the flat" as the key to writing eight characters. His calligraphy style not only attaches importance to learning from others, but also dares to innovate, showing bold creative spirit and distinctive characteristics of the times, and is praised as "Guo style" by the world. Guo Moruo is good at cursive writing, with refreshing and free brushwork, flexible operation and endless charm; Although his regular script works are not well preserved, they are particularly skillful and fluent, with both form and spirit.
As another Sichuan scholar after Su Shi, Guo Moruo's calligraphy achievements are comparable to Dongpo, which is very important to the world. Dongpo's calligraphy has always been valued by the calligraphy circle and is the representative of advocating calligraphy in Song Dynasty. Guo Moruo's calligraphy, which originated in Song Sijia, has Song Sijia flavor in both pen and structure, but its personality is outstanding. Su Dongpo's calligraphy was once regarded as a "stone toad" by Huang Gu, but its horizontal trend has a history in the history of calligraphy, which is completely different from Huang Gu's calligraphy. As Mr. Qin Xiaokan pointed out: "There are two kinds of characters in Han and Tang Dynasties: horizontal and vertical." There is no need for Huang Heng to get sick. "Mr. Sha Menghai summed it up with" oblique tight knot "and" horizontal wide knot ". Guo Moruo's calligraphy and Dongpo's calligraphy belong to the category of horizontal painting and wide knot. During the Anti-Japanese War, when Guo Moruo was in Chongqing, he wrote a lot of calligraphy works. At the same time, he, Chang and others tried to excavate the Han tomb in Jiangbei, and found bricks with words, which contributed to the protection of cultural relics. Because he was then the director of the Third Hall of the Political Department of the Kuomintang and the director of the Cultural Work Committee, he United a large number of people in the literary and calligraphy circles and made contributions to the prosperity of literature and art. Guo Moruo's calligraphy research can be calculated from his research on Oracle bones and inscriptions, and the results are fruitful. In 1960s, Guo Moruo and Gao Ershi launched a great discussion about the authenticity of Lanting, which in any sense greatly promoted the deepening of calligraphy research and brought about the development of calligraphy during the Cultural Revolution. These achievements, especially several argumentative papers in Lan Ting's later period, undoubtedly fully reflected his profound academic education. Guo Moruo, who has gone through the ups and downs of life, fully shows his demeanor as a great scholar and writer in his calligraphy: every work, whether it is a long masterpiece or a short note, is very sure and decisive with a pen without hesitation; Most of the writing content is self-created poems, both old and new, full of the flavor of the times; He made extensive and in-depth research and exploration on classical calligraphy, and won the charm of Su Dongpo and Yan Zhenqing. Guo Moruo's study of calligraphy is different from that of ordinary people who specialize in one family in poor times, but he has a strong personality from the beginning. He does not regard himself as the slave of his ancestors, but uses others for his own use, which is unique.
Brief introduction of poet Qu Yuan
Chu was an outstanding politician and patriotic poet at the end of the Warring States Period. His name is Ping, the word Ziyuan, and he is a descendant of Qu Xian, the son of Xiong Tong, from Danyang (now Zigui, Hubei).
Qu Yuan experienced three periods in his life: Chu Weiwang, Chu Huaiwang and King Xiang of Qing Dynasty, and his main activities were in the period of Chu Huaiwang. This period is the eve of China's imminent reunification. "Qin Shihuang is horizontal, and the king of Chu is vertical." Qu Yuan was born in a noble family and was good at dealing with chaos, so he was favored by Chu Huaiwang in his early years and was a leftist. In order to realize the great cause of reunifying Chu, Dr. San Lv actively assisted Chu Huaiwang in reforming the country. At one time, there was a situation in Chu that the country was rich and the people were strong, and the princes were hard to hope for. However, due to the sharp contradiction between Qu Yuan and the decadent aristocratic group of Chu State in internal affairs and diplomacy, and the jealousy of Shangguan doctor and others, Qu Yuan was later framed by a group of little people and alienated by Chu Huaiwang.
In the 15th year of Wang Huai (the first 304 years), Zhang Yi paid off Shanxi merchants, Zilan and Zheng Xiu as spies with a large sum of money. At the same time, he tricked Wang Huai into breaking off diplomatic relations. After being cheated, he became angry from embarrassment and sent troops to Qin twice, both of which were defeated. So Qu Yuan was ordered to send troops to Qi State to rebuild the good relationship between Qi and Chu. Here, Zhang Yi once again went from Qin to Chu.
In the thirty years of Wang Huai, Qu Yuan returned to Ying Du. In the same year, Qin made an appointment with the military attache and was detained by Qin. Finally died in the state of Qin. After Wang Xiang ascended the throne, he continued to implement the policy of surrender. Qu Yuan was expelled again and exiled to Jiangnan, wandering between Yuan and Xiang. In the 21st year (278 BC), the state of Qin conquered Baicheng.
Qu Yuan's works include Li Sao, Tian Wen, Nine Songs (1 1), Nine Chapters (9) and Evocation, with a total of 23 articles. In addition, whether Buju and Fisherman were written by Qu Yuan is still controversial in academic circles. It put forward 172 questions to the sky with questions, involving astronomy, geography, literature, philosophy and many other fields, which showed the poet's bold suspicion of traditional ideas and the scientific spirit of pursuing truth. Nine Songs is a set of music songs for offering sacrifices to gods based on folk songs. A large number of images of gods are created in the poems, most of which are love songs between man and god.
Qu Yuan's works record his persistence in the ideal of "beautiful politics" and his struggle against the decadent aristocratic groups in Chu. His ideal of "beautiful politics" is shown in his works, that is, "to cultivate talents and empower them, but not to be fully satisfied with them" (Li Sao). The so-called "cultivating talents and appointing talents" is to select truly talented people to govern the country and oppose the nobility and inferiority in the world. It shows that it is reasonable to select talents regardless of their status. The so-called "obeying the law without being fully satisfied" means perfecting the statutes, that is, the laws are not expensive and limiting the privileges of the old nobles. Qu Yuan's ideal of "beautiful politics" reflects his sharp opposition to the decadent aristocratic groups in Chu and expresses his progressive demand of getting rid of bad politics, with the ultimate goal of saving the motherland from peril and making Chu rich and strong. Related to this, Qu Yuan's works also profoundly reveal Chu. At the same time, he showed his determination to care about the country and people, love the country and devote himself to the motherland. Although Qu Yuan was exiled or even exiled, he always thought about the rise and fall of the motherland and the sufferings of the people, and hoped that the King of Chu would repent and turn over a new leaf, work hard and be the master of rejuvenation. He knows that loyalty to honesty and frankness will lead to disaster, but he always "bears it". Knowing that he was facing many dangers, he could have gone to other countries to find a way out in the era of "using Chu materials", but he refused to leave Chu, which showed his infinite loyalty to the motherland and his personality and will to "win glory with the sun and the moon".
Qu Yuan is the first great patriotic poet in the history of China literature. He is an outstanding representative of romantic poets. As an outstanding politician and patriot, Qu Yuan's spirit of loving the motherland and the people, persisting in the truth and treating death as death, and his lofty personality of "glory for the sun and the moon" have inspired and nurtured countless Chinese sons and daughters for thousands of years, especially when the country and the nation are in danger. As a great poet, this spirit is even more obvious. It not only marks that China's poetry has entered a new era from collective singing to individual originality, but also his new poetic style, Chu Ci, has broken through the expression form of The Book of Songs, greatly enriched the expressive force of poetry and opened up a new world for China's ancient poetry creation. Later generations also called Chu Ci and The Book of Songs "wind and coquettish". Feng Sao is a poem by China.
In the history of China, Qu Yuan was the most admired and loved poet by the people. According to the continuity of Sui Shu and geographical harmony, Qu Yuan threw himself into the river on the fifth day of the fifth lunar month. The custom of making zongzi on the Dragon Boat Festival on the fifth day of the fifth lunar month in China originated from people's commemoration of Qu Yuan. From 1938 to 1953, Qu Yuan was also listed as one of the "Four Cultural Celebrities" in the world and was well received.