| Shen Cengzhi,Zhejiang Jiaxing people.Erudite Yan ya,general see hongtong,is known as the first master of tongguang dynasty " Shuo Xue tong ru".His calligraphy was influenced by Bao Shichen and Huang Xiaozhong in his early years,and he put up and down a lot of kung fu with pen method.Middle-aged to post into the tablet,admired the northern dynasty stele.In his later years,north and south mutual participation,tablet integration,the strengths of each book body to be summarized and absorbed,the use of zhuanli calligraphy,comprehensive tablet long,smelting tablet for a furnace,eventually into a face.Its argument is subtle and broad,pay attention to the principle of will pass,often the theory of predecessors did not send,for the weight of the world.After the Qianlong and Jiaqing dynasties in Qing dynasty,tiexue gradually declined,and stele study developed and prospered.Ruan Yuan’s " north-south book school theory"," north stone south post theory",Bao Shichen in his book " yi Zhou Shuang Ji" praise highly of the north stone,Liu Xizai in calligraphy aesthetic aspects mentioned " stone spirit" and "book spirit",and kang Youwei in " guang yi Zhou Shuang Ji" clearly put forward the concept of " stele"," tiexue".The dispute between scholars and calligraphers since the late Qing dynasty is the academic origin and theoretical basis of Shen Cengzhi’s calligraphy thought and practice.Shen Cengzhi calligraphy by post into the tablet,take method is extensive,far salt Zhong You,Suo Jing,with Tang people write classics,quicksand drop Jane,tablet statues,book mix,and after a learning stage of Huang Daozhou and Ni Yuanlu.Huang Daozhou calligraphy square fold,inside huo,Ni Yuanlu calligraphy of crude,boundless,no matter knot body and pen make him have more understanding,such as his cursive horizontal painting more inclined to the right and then turn pen fold down features,is thanks to the two.On the basis of this,Shen Cengzhi tries to re-adjust his brushwork.Shen Cengzhi’s calligraphy ideas and practice gave me a lot of inspiration.Taking Shen Cengzhi’s calligraphy concept as a reference,not bound by the division of tablet and post,reviewing the style types and artisticexpression methods of ancient calligraphy,such as stone tablets in the history of calligraphy,and understanding the profound cultural connotation between the lines of ancient classics,so as to improve their aesthetic level.Fully understand their own learning post formation of flat is enchanting,delicate and soft shortcomings,in terms of stirring,strong male park thick and so on to emphasize and consolidate,to freehand brushwork in traditional Chinese painting boundless as the keynote,to give calligraphy creation with greater space for development.As far as possible into personal thinking to transform,using some of the advantages of tiexue plus inscriptions with pen,knot word method,throw away the stiff grafting,reasonable absorption,through the thickness,density,movement,the actual situation and other principles of the use,make each word as a unity of life,not only closely coordinated,but also interrelated,make the difference between the point painting in the form of rigorous structural contact,produce profound aesthetic interest.On the basis of making full use of historical materials and analyzing and observing Shen Cengzhi’s calligraphy works,I divide this article into two parts.The first part discusses the historical background of the dispute between " tablet" and " post" since the late Qing dynasty,the decline of tiexue,the prosperity of stele and the influence of various calligraphy phenomena on Shen Cengzhi’s calligraphy thought.The second part of Shen Cengzhi’s calligraphy thought and practice combing,combined with their own calligraphy learning problems,to be thinking and practice.Through the specific analysis of his own works,further clarify ideas,improve the aesthetic,with tablet integration,extensive method to guide my calligraphy practice.Hope to make my calligraphy creation level has improved. |
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