Lin Sanzhi has an indomitable spirit in his study. At the age of seventeen, he took Fan Zhongyan's famous saying "not as good as people" as his motto and took the nickname "three idiots". He is obsessed with poetry, books and paintings, and has never stopped in his life. At the age of twenty-six, he began to compile the Collection of Landscape, with 29 volumes and more than 350,000 words, which collected the previous discussions on landscape painting.
It took more than three years to collect from hundreds of documents. It was a big project at that time, and no one else had done it, which shows its intention. 1930, Lin Zeng took the manuscript of this book to Shanghai and asked his teacher Huang to review it. Huang read it carefully and criticized it, intending to recommend it to China Guoguang Society for publication, but failed after the Anti-Japanese War. Lin Sanzhi showed extraordinary poetic talent when he was a teenager. Today, there are still 19 14-year-old poems "Three Silly Students in Tang Fang", among which 1 16 poems are written in running script or regular script, and most of them have been revised. His poetry teacher commented: "The words are clear and graceful, the allusions are muddy, and the wind is whistling in Gorkon, which is extraordinary." Throughout his life, he scrutinized poems all the time. For example, when he was sick, sleeping, eating and walking, he often got up uncontrollably and wrote poems. Even sitting in the toilet, I often meditate. Suddenly I found a good sentence, so I got up and lifted my pants and went to the table to take a pen and paper to write it down, so as not to forget it, and it would soon become a joke.
He spent the most effort, the deepest experience and the highest self-evaluation on poetry. In his eighties, he was quite emotional. He said: "Now the social situation is changeable, and everything does not compete with others, but only with the ancients for a position. This is a purpose. Poetry, calligraphy and painting, my poetry comes first. Kung fu is deep, and it took 60 or 70 years. Especially during the period of the Gang of Four, my family was robbed and burned, and only my poems were always with me. I don't want to lose them and keep them at night. That's really too painful. Work hard from all sides from the bottom, and you can print it for future generations. "
There are two main points in this statement: First, Lin Sanzhi is an artist who aims to compete with the ancients for a position. He struggled all his life, and the ruler was placed at this height; Second, he evaluates poetry, books and paintings himself, taking poetry first. The process of protecting the manuscript shows the depth of his feelings. "Preface to Commemorate Poems on the River" praised: "The old man's poems are full of history in his chest and mountains and rivers in his eyes. They were written by people who read thousands of books and took Wan Li Road. They are bold and unrestrained. There is no heart to engrave chapters and sentences, and there is handy joy. " In Zhao Puchu's inscription, there is a sentence "A big article is a bully", which is highly appraised. Lin's poems have the emotional appeal of Bai Juyi in Tang Dynasty and Yang Wanli in Song Dynasty. They are unpretentious and understated, and see the truth in them. This artistic conception is reflected in his personality temperament. However, how many people in this world can appreciate the beauty of these two thousand ancient poems full of the old man's lifelong talents and affection? However, his lyric freehand brushwork poems are often inscribed on paintings, which complement each other and are wonderful. Or in his calligraphy works, the meaning and rhyme of his poems become the deep connotation of his calligraphy style, so the formal beauty of his calligraphy art is full of strong poetic meaning and human touch. So it can be said that its poetic rhyme is the soul of this book! After liberation, Lin tried to express real life with China's paintings. 1955, he created a long scroll "Spring Show in Jiangpu", which was directly taken from the levee repair project and was full of his personal experience and deep feelings. This long scroll became one of the earliest masterpieces reflecting real life in China after liberation.
1963, after Lin Sanzhi was hired as a painter in Jiangsu Provincial Academy of Traditional Chinese Painting, he went to southern Jiangsu and northern Jiangsu to sketch with the academy. For three years, I painted very diligently. 1966 after the "cultural revolution" catastrophe, a large number of books, calligraphy and paintings were confiscated and burned, and life was turbulent. 1970 was severely burned all over the body and almost died. After that, he wrote more books. When I was painting, I never went out to sketch again, recalling the impression of sketching in the past, especially the misty scenery of Huangshan Mountain. His pen, like writing a book, seeks straightness in music, and Fiona Fang has both. As far as possible, ink painting alternates between dry and wet shades, showing the rich interest of misty weather, thus creating its ink painting skill higher than that of modern people, which is different from that of its teacher Huang. Our brushwork is light and turbid, while Lin's brushwork is more spiritual and moist. His profound and unique experience in this field was applied to cursive script, which opened up a new realm for cursive script. However, his pursuit of artistic conception of freehand brushwork landscape painting, the modeling of scenery and the profound understanding of the treatment of strangeness, falsehood and ink white in cloth clothes penetrated into the calligraphy style and composition, which made his book have unique personality and interest.