Zhu Fuhuan(1900-1989), a native of Yinxian County, Zhejiang. The original nominal party, the word 100 lines, the number of the shrine, after the age of 40 changed its name, the word Fu Xing, to Fu Hu character line. He has devoted his life to calligraphy and painting, and he is good at calligraphy, especially good at large seals and cursive calligraphy. At the age of 16, his seal carving works were selected into the "National Famous Seal Selection", and at the age of 17, he participated in the Sea Inscription Museum. After graduating from Nanyang College, he studied in France, and after returning to China, he served as a professor at Shanghai Art College and a member of the Standing Committee of the Chinese Painting Association. In the 60s of the 20th century, he moved from Shanghai to Shandong, and returned to Shanghai in the 80s. He has successively served as a member of the Shandong Provincial Committee of the Chinese People's Political Consultative Conference, an adjunct professor of Shanghai Jiao Tong University, an honorary director of the China Calligraphy Association, and a director of the Xiling Seal Society. In 1922, he published "Jing Niche Seal Collection", and in his later years, he published "Zhu Fuhuan's Selected Calligraphy and Painting of Jinshi", "Zhu Fuhuan's Seal Carving", "Zhu Fuhuan's Repair of Grass Recipe Song", "Zhu Fuhuan's Repair of Qin Carved Stone", etc.
The main artistic point of view
Among the two kings, the right army pen is calm, especially heavy knots, the order is light and flattering, especially chaotic law, so the dedication is not as good as Xi;Yi Shao is calm and vigorous, and Zijing is chic and unrestrained, so if you can combine both, you can win the blue.
After five to seven years of hard work and cultivation, even if they have not become a great instrument, they can also become a talent and a family. However, it is not an easy task, and as for those who are well-versed and well-versed, who have a variety of talents and have great achievements in one, it is impossible for a person to be a stranger.
Recently, many people have asked to learn cursive, saying that "the cursive character repertoire is too complicated, and many words cannot be distinguished;"The Song of Grass Jue" has too few words and is not comprehensive enough", and asked me to write another book to supplement it. In my opinion, "Grass Recipe Song" is not a dictionary, but a reference book that only talks about some methods and methods;It's not comprehensive enough, but it can be added - the original writing is "know what it is", and I will only add some "so so". "Knowing what it is" and "knowing why it is true" can be integrated and used.
Zhu Fuhuan Cursive Banner The sea and sky cranes look forward to thinking for a long time, and don't forget a few autumns. Looking at the moon tonight, the phase period is the same as the Xiaoyao Building.
Jinshi Guhuan Jiangnan cloth cloth Zhu Fuji's calligraphy world
Zhang Chenglei. Zhang Daqian once commented on Zhu Fuhuan: "Daqian roamed the north and south, for decades, the modern famous calligraphy and painting seal carving seen can transcend the flow of time, go straight to the Zhou, Qin, Han, Jin and Tang dynasties, fuse hundreds of schools, and open a generation of sectarians, only Zhu Jun is alone." "Zhu Fuhuan, who claims to be a cloth cloth, what kind of artistic experience does he have, where does his calligraphy originate, what elements do he integrate, and what kind of aesthetic concepts do he embody, so that he can get this reputation?
1. Jiangnan cloth, Yilin is unique
Zhu Fuhuan has experienced the fame of youth, the ups and downs of middle age, and the glorious growth in his later years, and the road of maturity until he climbed to the peak. At the age of 5, under the guidance of his father, he used a brush dipped in water to practice calligraphy on bricks, at the age of 6, he Xi "Shiguwen", "Shuowen Jiezi", "Shiji", etc., and at the age of 7, he was able to collect "Shiguwen" to write big-character Yinglian. Wu Changshuo, a master of the Shanghai School, saw the big-character collection of "Steaming Loose Fish in the Fishing Abyss, Carrying the Road and Driving a Deer Car" written by him (pictured), and affectionately called him "Little Fearful Friend", and since then, Wu Changshuo, who is almost 70 years old, and Zhu Fuhuan, who is 7 years old, have become "New Year's friends". Zhang Meiyi, who was also a native of Yinxian County, Zhejiang Province and was the prime minister (principal) of Nanyang College at the time, also paid great attention to this young talent and offered to be his teacher, "The Book of Apprentices of the Classes of the Pavilion" (Zhang Meiyi's name is "The Book of Apprentices of the Classes of the Pavilion") is a letter written by Zhang Meiyi to Zhu Fuhuan in the last years of his life from 1920 to 1924, recording that this fellow villager gave him teachings and cultivation in many aspects such as art, learning and life cultivation. In order to broaden Zhu Fuhuan's horizons, Zhang Meiyi often took him to visit Kang Youwei, Feng Junmu, Shen Zengzhi, Luo Zhenyu, Xu Naichang, Zheng Xiaoxu, Ma Gongyu and other celebrities and cultural masters to learn calligraphy.
Hearing the earnest words of the ancestors, the book must be engraved with gold and stone". It was the reward, support and guidance of Wu Changshuo and Zhang Meiyi in the early years, and the exchanges and friendships with many artists that greatly enhanced Zhu Fuhuan's strong self-confidence in art. This made Zhu Fuhuan's book famous and "well-known on the sea" before he was twenty years old, and even Zhang Daqian, Deng Sanmu and other calligraphy and painting people came to learn art until they found out that he was only a teenager. In 1920, the first ** exchange founded by the Chinese - Shanghai ** Goods Exchange opened in Shanghai, and Zhu Fuhuan, who was not yet 18 years old, served as the chief of the field affairs section of the Shanghai Stock Exchange. Later, in order to get in touch with the society and understand the state of the world, he worked for a short time in the Nanshi branch of the Commerce Bank in 1926, and then was invited by Liu Haisu to be a professor at the Shanghai Academy of Fine Arts.
Zhu Fuhuan collected the "Stone Drum Text".
Fishery, loose fish, steaming, carrying the road and driving the deer car
After the outbreak of the Anti-Japanese War and the fall of Shanghai, the middle-aged Zhu Fuhuan was forced to wander around Dabie Mountain, Wuhan, and Nanchang, and almost died several times. After 1949, due to the influence of history, it was difficult for him to get a formal job, so he had to fend for himself, and his life was in dire straits. At the end of the 50s of the 20th century, at the invitation of Shandong Province, he went to Jinan to design the "Shandong Industrial Exchange Exhibition Hall", and has worked and lived in Jinan and Tai'an for more than 20 years. In his later years, Zhu Fuhuan did not sink in the face of adversity, and always followed the family motto of "one is not an official, and the other is not in business", and resolutely immersed himself in the art of calligraphy and painting. At the same time, he is also committed to the study of bronze culture, and combines the bronze and ancient jade inscriptions collected in his life with his own research and thinking to write the "Essence Collection of Shang and Zhou Art and Literature", and the inscriptions collected have interpretations, which can be described as a "treasure book" for the study of bronze characters. In his later years, Zhu Fuhuan's research and examination of the Jinshi script was enough to make it go down in history.
Second, the study of gold and stone, and the pursuit of ancient meaning
Ma Gongyu commented on Zhu Fuhuan: "The rest of his life is the most admired only the old friend Zhu Junfuji, Jun Yuan is knowledgeable and talented, works poetry and literature, fine gold and stone, good at calligraphy and painting, intensive study of six books, full of group books, comprehension, and knowledge, everything that has been done, all of them are ancient and beautiful, and the predecessors of the people are more than new, and they have become a sect of their own, and they are just one person for thousands of years." "Zhu Fujia is good at seals, subordinates, Kai, lines, and grass, and has the highest achievements in seal script and cursive script. Searching for its source, in the love and tracing of "Stone Drum Text", "Stone Drum Text" paved the way for Zhu Fuhuan to get started with calligraphy. Influenced by Kang Youwei's calligraphy thought of "respecting the monument and suppressing the post", Zhu Fuhuan always kept in mind Zhang Meiyi's teaching that "the interpretation must be reviewed and approved, so that there is no slight omission, and the people will be laughed at", and Wu Changshuo "should engrave more Zhou and Qin ancient seals, stone drum bronze edicts, and iron power tiles to lay a good foundation." You have such a foundation, you should take the law on the top", and make a summary: "To write the big seal, first write "Mao Gongding", take its Tibetan Feng, copy "Yu Ding", take its Lu Feng, and write the inscription of the commercial vessel, add it to the feet, such as cooking, just the single taste is not good, to add more condiments, to get the "double taste"" "put the "saying" 9,353 words, remember to roll the melon ripe;He also copied the "Stone Drum" and "Imperial Edition" day and night, and traced back to three generations of golden texts from this foundation." The study and study of Jinshi culture Xi throughout Zhu Fuhuan's life, and Jinshi meteorology became the overall style and aesthetic characteristics of Zhu Fuhuan's art throughout his life.
Some commentators believe that "when it comes to the diversity of works, in that era, the seal carvers of the same age as Zhu Fuhuan were rarely as profound as him", whether it is oracle bone inscriptions, gold inscriptions, stone drum inscriptions, pottery inscriptions, ancient coin inscriptions, Qin carved stone edicts, Han inscriptions and other inscriptions, or ancient seal inscriptions, Qin and Han seals and other inscriptions, Zhu Fujia has dabbled in them, which can be seen from the printing example of his "Carving a Hundred Buttons for the Wang Family of the City of Liú". Zhu Fuhuan won the reputation of "edict expert" in his early years, and the uneven style of edict calligraphy is reflected in his calligraphy and seal carving works. Talking about his own calligraphy creation method, Zhu Fuhuan said: "There are many unearthed edicts, and the advantages and disadvantages of calligraphy can be learned. "Zhu Fuhuan's learning Xi method is the most primitive and principled method and norm of calligraphy, starting from the source of calligraphy to promote the process of learning art. In the 40s of the 20th century, when Zhu Fuhuan reviewed Liu Huaruo's book "Interpretation of the Xia, Shang, Zhou, and Han Yi Vessels in the Old Collection of the Mustache Chamber", he made a detailed study of the provenance and attribution of the inscriptions in the bronzes such as Pei Gui, Baihou Father's Plate, and Seahorse Grape Mirror, and wrote a total of 14 prefaces and postscripts, which shows his profound knowledge and profound skills. In the 70s of the 20th century, with the increase in the number of bronzes unearthed by archaeological excavations, Zhu Fuhuan published "Zhu Fuhuan's Great Seal" on the basis of the exposition, and re-examined, copied and inscribed the newly unearthed 28 bronze inscriptions.
Zhu Fuhuan came to "The First Moon Post".
Looking at its seal calligraphy, especially the golden works, it has both gold and stone rhyme and bookish atmosphere;It has a sense of picture and writing taste, and the pen has a strong sense of form, especially the starting and closing of the pen like a gun and a halberd, like an arrow like a hook, and the force can carry the tripod, strong and strong;The lines are vigorous and the ink color is thick, which can be called the "first person of the Golden Seal" in the past hundred years. Some scholars summarize the core content of his aesthetic aesthetics of Jinshi calligraphy as "dense", "changing" and "flying", which can be described as appropriate. When he was a teenager, Zhu Fuhuan's diligent pursuit of gold and stone calligraphy and seal carving laid the foundation and direction for his lifelong art career. After middle age, his calligraphy and seal carving creation, got rid of the gorgeous atmosphere of the Shanghai school, and replaced it with the invisible elephant, the simple and uncarved appearance, which contains the "thick" and the "simple" of the environment, which is almost unmatched by the calligraphers in the future. It can be said that seal script is not only the focus of his lifelong research and creation, but also the source of his seal carving, painting and other arts, and it is also the foundation that lays his irreplaceable position in the modern and modern book world.
Third, to seal into the grass, in and out of the Xi offering
In addition to Xi the "Xihongtang Post" every day, Zhu Fuhuan also deeply studied and verified the handwritings of Zhang Zhi and Wang Xizhi in the "Chunhua Pavilion Post" and "Seventeen Posts", and also studied Zhang Cao and Crazy Xu**. After the age of 40, he made great efforts in the "Clarification Hall Post" and "Seventeen Posts of the Pavilion", but only selected the better words in the two kings' posts, and did not use the words with slightly worse structure and form. Around the age of 50, he has successively inscribed more than 50 articles of "Clarification Hall Post" and "Seventeen Posts of the Library". In the inscription, the truth is discussed, the historical facts are verified, and the knowledge is rich. In the early 80s of the 20th century, Zhu Fuhuan summed up what he had learned, felt, and understood all his life, and created and completed cursive classics such as "Revision and Supplementation of Grass Recipe Songs" and "Cursive Script Thousand Character Text". "Knowing what it is" and "knowing why it is true" can be integrated and used. These works are Zhu Fuhuan's representative works that integrate cursive theory and artistic practice.
The essence of Zhu Fuhuan's remaining cursive script is included in the "Zhu Fuhuan's Ink Remains: Xingcao Scroll" and "Zhu Fuhuan's Ink Remains: Xingcao Poetry Volume", which includes more than 200 of his letters and poetry manuscripts. The two cursive scrolls focus on the overall style of Zhu Fu's cursive script, that is, "to make grass with seals", based on stone drums and large and small seals, starting from Shen Zengzhi and Wu Changshuo, and Huang Daozhou, Ni Yuanlu, and Wang Duo at the end of the Ming Dynasty. Zhu Fuhuan overcame obstacles and had the courage to innovate, and the creative path of "entering the line with seals and writing cursive with a line" changed the original cursive writing that was too elegant and only tactful, so that the penmanship and calligraphy became more rich and varied.
Zhu Fu's book codex
Zhu Fuhuan's "using seals as grass" actually contains two meanings: the first is to emphasize the penmanship of seals, that is, "ancient meaning". Zhu Fuhuan thinks: "Bo Ying cursive is lost, if you use the seal pen, you can imagine the form of God." "Xi dedication body momentum has been vertical and horizontal, every time you want to use the seal pen. The manuscript did not fall into the Wei and Jin dynasties, and it had already entered the Qin and Han dynasties. The second meaning refers to the need for rules and laws in cursive writing. In his opinion, the so-called rules and laws should conform to the text norms under the framework of "Shuowen Jie Zi". This is the "foundation of the "Shuowen" that Zhu Fuji repeatedly emphasized. He believes: "To make a grass, you must first identify the words, then look at its penmanship, observe its posture, and look at it more, and then put down the pen, which is almost there." "The grass is made of the seal, it is an ancient simple character, and it is the strictest style of calligraphy, and if you don't pay attention to it, you will make a mistake." Cursive is for insiders to read, and it's a pity that laymen can't understand it, and if insiders can't understand it, it is necessary to consider whether the author's cursive method is correct. Liu Haisu once replied to Zhu Fuhuan and said: "Yu Aijun**, prematurely vigorous, can't be traced." Zhu Zhishan, Fu Qing Lord Fu foot road also. "Zhu Fuhuan's cursive writing has gone through a unique creative path from the tablet and the post, and then the tablet and the post, as well as the unique regularity, golden stone, academic sense, and practicality, which is a breakthrough and pioneering contribution to the creation of calligraphy, especially the tradition of the two kings.
The so-called 'Gu Huan' means that in the rubbing and research of gold and stone rubbing, they get infinite pleasure, and it is this kind of fun that closely links Huang Yi with Qianjia Jinshi and that great era" (Xue Longchun, "Gu Huan: Huang Yi and Qianjia Jinshi Fashion"). A generation of calligraphers has the fashion of a generation of calligraphers. In the mid-to-late Qing Dynasty and **, if a calligrapher did not have the ability to identify and use the Jinshi culture, it was as if he did not grasp the code to enter the calligraphy culture of that era. "Immersed in the years after years, comfortable and forgetful of the years", Zhu Fuhuan's poem "Baitou Yin" written in 1982 shows that in the joy of "Jinshi Guhuan", he has completed his own mission and achieved a generation of Jinshi everyone.