Inscription: The creation of calligraphy runs through the life of ***, in the calligraphy of ***, the writing time span is the longest, the most works left, the most abundant style, the most unique artistic style, one of the most creative calligraphy structure. It is inherited in regular script, and it is an important part of the art of calligraphy.
Xingshu occupies a very important position in the big family of calligraphy art. This late appearance of calligraphy, with its practicality, artistic characteristics, won the past generations of calligraphers, calligraphy lovers and people from all walks of life in the favor of the whole society, is the most widely used calligraphy in the five-body calligraphy, so the production of calligraphy classics is also the most, the famous world "four major calligraphy" is.
First, the introduction of the book.
**There are very few lines of writing in the pure sense, and his so-called line writing refers to line cursive writing. Judging from the calligraphy works that have been handed down from generation to generation, the cursive writing time span is the longest, the number of works is the largest, the calligraphy language is the most unique, the form of works is the most diverse, and the style is the richest. In the long years of more than 70 years, whether it is poems, letters, manuscripts, telegrams, annotations, or inscriptions, the proportion of creation in line or cursive script is also the largest.
**The ink of cursive calligraphy is difficult to count, and the style of cursive writing is different in different eras, and the content style of different works is also very different. Therefore, it is difficult to sort out the huge art treasure trove of cursive writing. The author believes that to sort out the context of the first line of writing or line grass, it can be described according to the historical longitude and latitude, such as the early line cursive script of the elegant and upright style, the middle line of cursive script of the dangerous and tumultuous style, and the late line of cursive script of the magnificent style, and summarize the works of different styles in the same period and discuss them separately.
2. ** Books from different periods.
1. The early elegant and upright cursive style (1912-1927).
**The early line of cursive script is to start with the "two kings" and establish the basic appearance, and widely take the method, from the chapter grass, Yan Zhenqing's line of cursive and grass seal, grass li, Wei line and folk scriptures to draw nutrition, showing a colorful appearance, the following are discussed separately:
The wind of Wang and Yan Xingcao is organically integrated. **The earliest surviving cursive script was the "Note for Returning the Book" written by him to his cousin Wen Yunchang on February 11, 1912 (February 24, 1915) when he was 19 years old. The author prefers to write in early February 1912, because the style of this ink is quite different from that of the handwriting written in 1915, and it is similar to the small block of "Shang Ying's Treatise on the Migration of Mu Lixin" in June 1912. This handwriting is meticulous and rigorous. The glyph is longitudinal, the middle palace is tightly knotted, although the line of grass is intertwined, but the strokes are clean, the words are independent, there is both the regular script family law, and the meaning of the rich line grass, it is the earliest line of cursive calligraphy, indicating that his line of grass almost began to learn Xi with regular script. Another example is that in 1915, when he was 22 years old, he wrote the small characters and grass "Wugu Bang Yi Chang Tao" poem manuscript, to "Xiao Zisheng Xin", to "Li Jinxi Xin" and other ink. They not only have the clear and beautiful style of the "two kings", but also have the thick and heavy atmosphere of Yan Zhenqing's cursive seal, which is a very interesting phenomenon. Generally speaking, it is very rare for a calligrapher to have more than one style of writing, and at the same time to be influenced by two completely different styles of calligraphy, and to be able to organically integrate into one.
1915 (age 22).
Absorb nutrients from Wei Xing and folk scripture writing and boldly seek change. From the four handwritings of the letter to the Japanese scholar in October 1916 "Bai Lang Monstrous Letter In the summer of the year, at the invitation of Xiao Zisheng, he wrote the preface manuscript for "Everything into One", the postcard to Luo Xuezhan on August 11, 1918, and the letter "To Wen Zhengxing and Wen Zhengying" in regular script on April 28, 1919. This gesture of change is remarkable. First, at this time, the grass has been quite formed, and its pen is skillful, the glyph is beautiful, and the chapter is tightly knotted, which is self-contained. When ordinary calligraphers achieve this kind of achievement, most of them will be on the defensive, and gradually seek change in this way, and it is unlikely that they will break the big way. But *** is different, he can break the game of such a style, carry out new bold exploration, and use the folk calligraphy style to crack and nourish classic calligraphy. This kind of attitude of lifting the weight lightly is not what the wise and brave can do, and they dare not do;The second is to boldly absorb nutrients from the folk calligraphy styles such as Wei Xing and writing scriptures, and use the pen to relax more willingly, omit the strokes, scatter the knots, and act frankly, and change the beauty of the longitudinal shape of the glyph to the image of the square and simple. He tried his best to write scriptures and calligraphy, into the "two kings" all the way to the style of the grass, that is, from the quality of Yan to the clumsy, rigorous to the frank development, which is the revolutionary calligraphy and the embodiment of the people's nature, which is only seen by other calligraphers;Third, from the letter "To Wen Zhengxing and Wen Zhengying" written in regular script on April 28, 1919, he obviously absorbed the style of Wei Beibei and wrote it beautifully, indicating that after more than two years of immersion in folk calligraphy, he gradually returned to the road of classic calligraphy.
1921 Sketch Letter (detail).
Re-exploration after returning to the classics. After more than three years of taking the method in many ways, we look at the letter of "To Peng Huang" in January 1921 and the letter of "To Li Jinxi" on June 7, 1920, and first absorb the scattered and simple rhymes of Lu Ji's "Pingfu Post" and other chapters and grass, as well as Yan Zhenqing's "Manuscript for the Sacrifice of Nephews" and "Fighting for Seats" dignified style, forming a rough and chaotic style of whimsy and straightforwardness. The letter to "Yang Zhongjian" on September 29, 1921 and the letter to "Shi Fuliang and the Socialist Youth League" on June 20, 1922 can be pleasantly surprised to find that *** has returned to the classic calligraphy of the two kings, which is after absorbing the calligraphy styles of Zhang Cao, Shujing, Wei Xing, Lu Ji, Yan Zhenqing, etc., and then returning to the next level, which is the return after improvement, and the rebirth after the fire, and the return to the literati calligraphy again. This kind of calligraphy exploration and progress is just like a scholar, after the experience of social life, he got rid of his innocence and matured, which is consistent with his experience of gradually growing from a student to a professional revolutionary and social activist. In terms of calligraphy, his writing is more spontaneous, the lines are round, thick and rich, more tense than before, the glyph in the palace is opened, the image of Zhengda is gradually born, the knot is more sparse and interesting, the personality style is obviously sublimated, his cursive style is gradually changing, his personal style is richer, and there is a tendency to pursue ups and downs, that is, his cursive writing began to develop to the vertical and left.
From the above points, it can be seen that the young people's cursive calligraphy is in a highly active period, almost from heaven to earth to all traditional methods, try all possibilities, and accumulate a more solid foundation for the future development of grass.
2. Exploring the Dangerous Wind of Cursive (1927-1949).
If the cursive writing of the youth is based on fairness, then the following decades will be a period of exploration in pursuit of danger. Due to the long time span of this period, we will introduce them one by one.
A ten-year hiatus. For ten years from 1923 to 1933, no ink was left (or it was not excavated), until the inscription of the Second Workers' and Peasants' Congress of the Chinese Soviet Republic in January 1934 and the inscription of encouraging the Red Army to fight bravely in order to smash the fifth anti-"encirclement and suppression" in the same year, we saw it again*** Several pieces of handwriting, its style and the previous calligraphy are in the same vein, and after the baptism of the war years, his line of cursive is obviously inclined to the left, the lines are not light and graceful, but more old and spicy to show the trend of the iron curved plate, this period of time left less handwriting. This is the break period of *** calligraphy ink, but there is an event worth proving. Between 1925 and 1927, the revolutionary martyr Xia Minghan served as a secretary and assistant, and he left three letters to his mother, wife, and eldest sister before his heroic death in 1928. Is it speculated that the "Xia Shu" was directly influenced by the "Mao Book", and it can be refuted from the pong that *** was the appearance of the grass at that time?If this speculation is true, then the evolution of grass after 1924 can be found. This is a question that deserves further study.
A letter from 1938.
The initial exploration of cursive writing.
From the end of the Long March in 1935 to the eve of 1940, the cursive script of ** was mostly longitudinal and inclined to the left. We can see this characteristic of his cursive work from several inscriptions in the Soviet region and letters, manuscripts, poems, inscriptions, inscriptions and reading annotations written in the Shaanxi-Gansu-Ningbo border region thereafter. This kind of longitudinal length and left upper inclined span is large, far more than Mi Fu and Wang Duo, who are known for their side, and are unique in the history of calligraphy. This style was maintained until the early thirties, during which time it produced highly individual cursive calligraphy works
a. Xingcao letters: such as "To Xu Deheng and others on November 2, 1936, June 25, 1936", "To He Xiangningxin, March 13, "To Jincheng", December 14 of the same year, etc.
b. Grass inscription: For example, on May 20, 1938, it was the opening question of the fourth phase of Kang University: "Learn the skills to go to the front line" and in June of the same year, the inscription of Kang Da "Unswervingly political direction, hard work style, mobile and flexible strategy and tactics to expel Japanese imperialism and build New China." ”
c. Reading annotations: such as the annotations written in the "Dialectical Materialism Course" from November 1936 to April 1937.
d. The poems include "He Bridegroom, Farewell Friend", "Qinyuan Spring, Changsha", "Seven Laws, Long March", "Qingpingle, Liupan Mountain", "Qinyuan Spring, Snow", "Linjiang Immortal, to Comrade Ding Ling", etc., these poems are written horizontally except for "Seven Laws, Long March" written vertically.
During this period, there were three main characteristics of ** line cursive writing, one was the longitudinal length of the glyph, the second was the upper left side of the slope, and the third was that there were more horizontal writing.
Pursue the mid-term exploration of cursive writing.
From the Anti-Japanese War period to the eve of the end of the Liberation War, the cursive script of ** was inclined to the right again, and many horizontal manuscripts appeared. Although horizontal writing was already popular at that time, it was an innovation to write horizontally with a brush and to write calligraphy works with artistic quality. This form of writing has broken the tradition of writing in the past, and it has encountered many challenges from knotting, pen and chapter layout. **Horizontal inscription inscription and manuscript handwriting, completely do not see the disobedience, but write chic, full of energy, formed a unique style and temperament, left a large number of Hanza ink, there are letters, inscriptions, manuscripts, telegrams, etc. These handwritings have a vertical artistic style and a horizontal charm of the wind god, which broadens the expression of his cursive writing. In particular, his horizontal handwriting became a way for him to surpass the ancients and contemporaries and embark on a modern calligraphy art.
a. Criss-crossed, inclined to the upper right side of the line of calligraphy inscription calligraphy.
During this period, his cursive inscriptions are numerous, and only a few excellent vertical and horizontal inscriptions are selected: vertical inscriptions such as: in 1942, for the third anniversary of the founding of the "Eighth Route Army Military and Political Magazine", the inscription "Preparation**", in October of the same year, the inscription for the establishment of the Yan'an Ping Opera Research Institute was "Pushing through the old and bringing forth the new", and the horizontal inscriptions such as: In 1943, the inscription for the Nanniwan documentary "Do it yourself, have enough food and clothing, and the inscription for Ta Kung Pao during the Chongqing negotiations" Serve the people, and the inscription of "Liberation**" Yangtze River ** was inscribed at the same time The masthead, in the same year, inscribed "Communism is irresistible, a spark can start a prairie fire!".Long live the martyrs!”。In 1946, the inscription for Journalists' Day, "Long live the liberation of the Chinese nation", was written horizontally, and the masthead of "People**" is still used today.
b. The side rate is really grassy letters.
The letter is one of the most free forms of calligraphy art to express one's temperament. The forties was an important period for the development of Xinzha art, and the artistic exploration of the ups and downs was vividly expressed here. December 16, 1941 "To Cai Chang" (written horizontally, January 9, "To Yang Shaoxuan, Qi Yanming" (written horizontally), December 22, 1941, "To Deng Baoshan", (written vertically), October 4, 1945, "To Liu Yazi", (written vertically), September 30, 1946, "To Fu Dingyi" (written vertically, September 12, "To Mao Anying" (written horizontally, November 24, "To Wu Han" (written horizontally, April 30, "To Peking University to commemorate the May Fourth Waiting Committee") (longitudinal writing) and so on. During this period, there were many letters written with a hard pen, which will not be described in detail here, but will be discussed later.
c. Fengshen's refreshing military manuscript.
I only put the post-40s Liberation War, ** cursive military telegraph handwriting, a single list of introduction, because these cursive handwriting, not only different from the previous cursive style, but also with the same period of cursive calligraphy has the same but very different, not only in the first many cursive works, but also unique in the history of cursive, with its unique artistic charm, we must not ignore its care in the study.
The mid-to-late forties was a period of fierce turbulence and major changes in the fate of the Chinese nation, a period when the Communist Party of China was accumulating strength to victory, and an important stage in the development of cursive calligraphy. Especially during the War of Liberation, which decided the fate of the Chinese nation, the flames of war were raging, and the feathers were frequently spreading, ** In the caves of Yan'an, in the ravines of northern Shaanxi, and in the small war room of Xibaipo, a mountain village in Hebei, he waved the wolf pen in his hand and drafted nearly 200 military telegrams. We look at the handwriting of these manuscripts and read through the full text, you will be deeply impressed by the strategy and tactics of the first far-sighted will, the meticulous and meticulous logical thinking, the clear and smooth spring of literary thinking, the courage to make quick and decisive decisions, the speed of the rapid stroke, and the spirit of jumping and galloping calligraphy. This is the product of a high degree of integration of spiritual and artistic qualities unique to a great man, and it is difficult for ordinary literati to possess such qualities.
For example, on August 12, 1944, the editorial "Liberation **" was revised and "what will happen to the Kuomintang after the fall of Hengyang", the telegram "Instructions of the Communist Party of China on the Current Situation and Countermeasures" drafted on May 15, 1946, the "Instructions of the Military Commission on Coordinating the Defense of Yan'an" drafted on March 6, 1947, and the "Instructions of the Military Commission on Not Changing the Plan for the Capture of Jinzhou" on October 3, 1948, and the "Order to March to the Whole Country" on April 21, 1948. These messages are generally written horizontally in cursive, written with a new pen of wolf's hair, which appears sharp and vigorous, and there are also decadent strokes horizontally, with thick lines, longitudinal glyphs, inclined to the upper right corner, and the spirit is flying, there are horizontal lines, vertical and uncolumned, and the rules are dense, as if the phalanx formed by thousands of troops and horses, and there is a mighty and unyielding generality.
These telegram manuscripts are the life-and-death contest between the 1.2 million People's Liberation Army commanded by *** and Chiang Kai-shek's 8 million reactionary army, and this is the decisive battle that will determine the fate of the Chinese nation. What a great responsibility and multiple historical responsibilities it has in drafting such a command message? If you are not careful, you will lose the soldiers if you are small, and you will lose all the games if you are large. This kind of heavy responsibility of controlling the fate of the nation and then the fate of mankind, and the eternal opportunity to realize a man's life, has historically fallen on the shoulders of ***. Therefore, a brush in the hand of **, it is not calligraphy, but the destiny of the Chinese nation. Appreciating the spirit of calligraphy can not only make the "three great books in the world" in the history of Chinese calligraphy darkly eclipsed, but also make all the literati's brushwork and ink of playing with flowers and playing life as light as clear water. If the "three major lines of calligraphy in the world" embodies the highest calligraphy classics, then the first cursive military telegram handwriting reflects the highest Chinese calligraphy spirit.
Cursive calligraphy from 1950.
It should be worth mentioning that these military telegram handwriting have several things in common with the writing of the "Three Great Books in the World": First, they are all practical writing, and they do not have a strong sense of creation when writing. As we all know, the book "Lanting Preface" is a manuscript of Wang Xizhi who was invited to write a preface to the poetry collection produced by the Lanting Yaji activity;The book "Manuscript for the Sacrifice of Nephews" is Yan Zhenqing's nephew Ji Ming, who found the head and remains three years after he died in battle. Yan Zhenqing wrote a manuscript of the memorial text for his nephew in griefThe book "Huangzhou Cold Food Poems" is a generation of writers Dongpo lay people depreciated again and again, from the Ministry of Rites to the deputy envoy of the Huangzhou regiment, coinciding with the Cold Food Festival, the poems written by hand about the cold food situation. They are all practical manuscripts that are not intended to be books. ** Military telegraph manuscript, identical to. When writing military messages, all the energy of ** is on how to command the battle, and it is not intended to be written!Secondly, these manuscripts are all written about their own emotions and hearts, but the realm is completely different. Wang Xizhi expressed his perception of life, that is, "death and life are major events, and they are not sad." Yan Zhenqing expressed his nostalgia and pathos for his deceased nephew and his anger towards the rebellious ministers and thieves, while Dongpo recorded the poetic record of his personal degraded life!But *** is different, he is fighting for the fate of the Chinese nation, fighting for the interests of the people, writing about how to defeat the enemy's strategy and tactics, his wisdom and realm are completely different. Third, the content, form and spirit of expression of the "Three Great Books under Heaven" are highly consistent, reaching the highest artistic realm of Xingshu and being a classic text for future generations to copy and Xi. The content, form and art of the military telegram manuscript convey the strong calligraphy spirit of the Chinese nation. Appreciating and learning Xi "three major lines of calligraphy" can mainly obtain the patriarchal law of calligraphy, and appreciating the manuscript of military telegrams can obtain the highest spirit of calligraphy.
d, the book of the spear and halberd, the manuscript of "Qinyuan Spring and Snow". In this style of work, the outstanding ones are the poems written by the book itself. In September 1945, during the negotiations in Chongqing, Mr. Liu Yazi asked for a sentence, and successively wrote two pieces of "Qinyuan Spring and Snow" in the vertical line, one of which was written on the letterhead of the Chongqing Office of the Eighteenth Group Army, which should be the first time to Mr. Liu Yazi, which was published in Chongqing, and the other was specially written on Mr. Liu Yazi's album, Mr. Liu asked the young seal carver Cao Li'an to engrave two seals and stamped them on the album. These two works of calligraphy are the representative works of the mid-40s. With a sharp brush, the horizontal drawing left low and right high, is 45. The degree is tilted, and the lower left longitudinal length is skept, such as Guan Yunchang's dragging the green dragon glaive knife, and the upper right side of the knot is inclined without the worry of overturning. The size of the glyph is staggered, especially like the goddess scattering flowers, the stone paves the street, the words are independent and the momentum is through, giving people the feeling of heroism.
e. The handwriting of the prelude to return to normalcy. For example, there is a poem manuscript of "Seven Laws: The People's Liberation Army Occupies Nanjing", which is similar to this style, and another pair of calligraphy "Qinyuan Spring and Snow" words and ink. Neither work has a specific year of writing. However, the poem manuscript of "Seven Laws: The People's Liberation Army Occupies Nanjing" was probably written after the liberation of Nanjing before the end of April 1949, while the words of "Qinyuan Spring and Snow" should have been written on February 7 of the same year. The two works use the pen to dignify the old and spicy with a graceful posture, not exciting, very rhythmic, "sky, wind, mountain, male" and other words are the same, it can be seen that the creation time is relatively close. It's just that the handwriting of "Qinyuan Spring and Snow" is biased towards the line, while the poem manuscript of "Seven Laws: The People's Liberation Army Occupies Nanjing" is close to the grass. On April 29, 1949, the handwritten poem manuscript of "Seven Laws: Mr. and Liu Yazi" written by the Horizontal Institute was slightly elegant, reflecting the joy of the victory of the revolution in sight. These handwritings are all masterpieces of cursive writing from the danger to the front.
3. The magnificent cursive style of the old age (1950-1970).
Since the fifties, there have been fewer pure lines of calligraphy, but there are still a lot of cursive calligraphy. These works are very different in style, and the breath is the same, and there is no sense of separation. His period spanned a long period, and the main forms of calligraphy were: inscriptions and inscriptions, including inscriptions, titles, letters, codexes, and copying ancient poems or self-composed poems.
The inscription is written in cursive. During this period, the most inscriptions and inscriptions were the most numerous, almost one picture and one face. Only a few of the most typical paintings of the row grass style are selected for discussion. At the beginning of 1950, when he visited the Soviet Union and passed through Harbin on his way back to China, at the request of the local person in charge, he wrote five inscriptions in one breath. "Study Xi-Leninism," "Don't be tainted with bureaucratic style," "Study Xi," "Struggle," and "Develop production." These inscriptions are very different from before the founding of the People's Republic of China, the glyph is not a large right upper tilt, but swings left and right, the lines are round and vigorous, standing in the middle, full of energy, and majestic. In April 1950, he inscribed the word "Qingfeng" for Qingfeng Society, inscribed the title of "People's Pictorial" in June, and published an inscription for "Qu Qiubai's Anthology" on the occasion of the fifteenth anniversary of Comrade Qu Qiubai's heroic righteousness. In the same year, he also inscribed the name of the society for the "Chuanshan Society" in large-character calligraphy, which has the charm of "Songfeng Pavilion" in the Yellow Valley. In 1951, the typical inscriptions of Xingshu were: "Let a hundred flowers bloom and bring forth the new" inscribed for the establishment of the Chinese Opera Research Institute, "The Huaihe River must be repaired" for the command organ of Zhun River governance, "Carry forward the revolutionary tradition and strive for greater glory" for the people in the base area of the old revolutionary base area, "Celebrate the opening of Tianlan Road, continue to work hard to build the new road of Zhulan", and "Inscribe the first National Public Security Force Meritorious Heroes and Model Congress" to raise vigilance and defend the motherland On June 9, the inscription for the Monument to the People's Heroes in Tiananmen Square was "The People's Heroes Are Immortal" In May, he wrote "Red Flag" for Red Flag Magazine, in September of the same year, he inscribed the name of Xiangtan University, and in 1960, he inscribed "Hard and Simple" for the staff of the General Office of the Communist Party of China. In June 1964, he inscribed the name of the National Art Museum of China. and inscribed in the same year: "Capital Militia Division, "People's Liberation Army Daily", "Xinhua**", Tianjin**, Hunan**, Beijing**, Beijing Evening News, "Zunyi Conference Site", "Chinese Youth", "Liaoning**", "Fujian**" and "Hebei**", etc. In January 1965, he wrote the masthead of "China Youth Daily" and "Youth Daily", and on August 20, 1966, at the invitation of Cai Chang, he inscribed the title of "Chinese Women". The above example is a small part of the cursive inscription, reflecting the important process of the evolution of the cursive inscription.
Cursive letters. In the early days of the founding of the People's Republic of China, it was one of the periods with the most letters, and a considerable part of the letters were written in cursive. Here are only a few typical letters, which are easy to understand the basic situation of the books in this period. May 7, 1950 "To Wenjian Quan" "To Zhou Wennan " "To Liu Yanan". On September 12, 1951, "To the Party Committee of Shijingshan Iron and Steel Plant", "To the Xiangxiang County Committee of the Communist Party of China" on May 17, and "To Tan Shiying" on June 8 of the same year. August 25, 1961 "To Hu Qiaomu" (horizontal writing). Letter to Zhou Shizhao, March 24, 1963, etc. These letters are the best cursive works in many letters, which are written to the grassroots, or relatives with a low level of education, or to talk about important things and adopt cursive, these letters are the most representative of the cursive appearance of this issue.
Ancient poems in cursive writing. After the founding of the People's Republic of China, ** wrote many ancient poems and texts in Xingcao, mainly including: Qu Yuan's "Lisao" part during the Warring States Period, Tang Wang Changling's "Qin Shi Mingyue Han Shiguan", Xingcao Li Bai "Sending Meng Haoran's Guangling" and "Liang Father's Yin", Bai Juyi's "Pipa Xing", Du Mu's "Wujiang Pavilion", Li Shen's "Compassion for Nong", Southern Song Dynasty Yue Fei's "Sending Ziyan Mr. Zhang's Northern Expedition", "Man Jianghong", Liu Guo's "Qinyuan Spring", Ming. Ma Zhiyuan, "Tianjing Sand. Autumn Thoughts" II, Tang Xianzu "Peony Pavilion." Nightmare" sentence and so on. These works not only have typical cursive writing, but also cursive works based on cursive writing, and more cursive and cursive writing. It is characterized by thin and strong lines, the side of the knot is inclined to the upper right, the chapter is uneven, and the words are interspersed between the words and the lines, which is natural. Breaking the traditional paradigm of line spacing and line spacing, Yang Weizhen made a bold exploration at the end of the Yuan Dynasty and the beginning of the Ming Dynasty, but it was too much to do and arrange the design, not as natural as ***, naïve. This is not only the innovation and breakthrough of the first person, but also the innovation and breakthrough of the expression of the calligraphy, creating a new path for the development of the future of the calligraphy.
He wrote his own poems in cursive. Among the most advanced cursive calligraphy, he has the highest achievement in writing his own poems, reaching the peak of his cursive calligraphy. The main works include Xingcao "Qinyuan Spring, Changsha", "Bodhisattva Man, Yellow Crane Tower", "Lang Taosha Beidaihe" (no writing time), two pieces of "Seven Uniques: Inscription for the Female Militia" in December 1960, and "Seven Laws and Comrade Guo Moruo" on October 30, 1962 (a self-composed poem "Xijiangyue Jinggang Mountain" by the Year of Wind and Thunder from the Earth). These cursive works, compared with the ancient poems and texts, have gradually formed a majestic, heavy, old spicy, and vast style, which can be regarded as a masterpiece of the old calligraphy.
3. Commentary on cursive writing.
** of the line of writing throughout life, different stages of the line of the book and different styles, its pen, knot, chapter is not only the same. Cursive writing is one of the strengths of calligraphy, but the success of any art is not achieved overnight, and there needs to be a process of occurrence, development, and then maturity. ** line cursive writing is no exception, and there is also such a process of change. ** line of cursive, in his calligraphy art edifice, the achievement is not the highest. If his regular script is the solid cornerstone of the edifice, then his cursive script is the body of the edifice. We put the best cursive calligraphy in the long river of grass history for comparison, it can be said that compared with Wang Xizhi, Yan Zhenqing, Su Dongpo, Mi Fu and so on, it is not inferior. This is mainly manifested in the fact that on the one hand, he has inherited the classics of cursive calligraphy in the past dynasties, which can be said to be the length of a hundred schools and cut into one. On the other hand, he has a strong creative ability in cursive. We know that he was the one who founded the world's largest political party, created an invincible people's army, and founded the People's Republic of China, which accounts for one-fifth of the total population of mankind and is one of the largest countries in the world in terms of land area. What a lot of creativity it takes to do all this?For a person with such a strong creativity, the creativity in the art of calligraphy is also very amazing. The author believes that the first unprecedented modeling master, we see the richness of his penmanship, the variety of font structure, the peculiar layout of the chapter, the colorful form and content, the strong style and temperament, and the accuracy of emotional expression, which can be said to be unprecedented. Among the ancient and modern cursive calligraphers, those who can innovate in the above two or three aspects are already remarkable, and the creation of *** is all-round.
Author: He Jizhou: Vice President of the Chinese Popular Culture Society, Critic of Calligraphy and Painting Art. He Dongyu: Member of China International Calligraphy and Painting Art Research Association, young calligrapher. ）