Research On Zhu Fukan's Calligraph

Since the mid-Qing monument movement,calligraphers have taken a variety of paths,which can be roughly divided into four categories: the first category,mainly stele,and then a compromise between stele and post,such as Shen Zengzhi,Yu Youren,etc.;the second category,from the post into stele,stele into invisible,forming a unique style of cursive,such as Lin Sanzhi;the third category,mainly in the post,less stele style,such as Shen Yinmo,Bai Jiao,etc.;the fourth category,the importance of stele patriarchal law,the stele school The fourth category,attaching importance to the patriarchal method of monumentology,combining the monument school with invisible techniques,such as Zhu Fukan.Zhu Fukan attacked seal and clerical scripts and excelled in cursive,and attached great importance to the stele school,considering the seal script to be fundamental.Zhu Fukan’s seal script is based on the ancient monuments and is widely used;his cursive script is full of seal script,and perfectly combines the robustness and strength of the stele school with the dash and fluidity of the post script,forming a unique style that is rigid,bony,dense,ancient and simple without losing its spontaneity.Most of the research on Zhu Fukan has focused on his artistic achievements and stylistic characteristics of calligraphy and seal carving.However,the combination of his monument and postscript writing style has not been given enough attention,and his theory of calligraphy and seal carving has not been systematically sorted out.This paper intends to conduct a systematic study of Zhu’s calligraphic art: by analyzing Zhu Fukan’s artworks,we will explore the unique appearance and causes of his calligraphic creations;by systematically organizing Zhu’s theories of calligraphy and seal carving,we will study his unique methods of learning calligraphy,theories of calligraphy and seal carving creation,aesthetic concepts and theories of appreciation,and explore his unique path of creating calligraphy by combining monuments and posters.Based on this,this paper mainly adopts two research methods: glyph analysis and comparative analysis.In this paper,we will discuss the following four sections.Chapter 1,Zhu Fukan’s Artistic Life.This chapter outlines the main artistic experiences of Zhu’s life in terms of calligraphic initiation,the process of learning calligraphy,and his artistic achievements,as well as the teachings of Zhu Fukan’s three teachers on his art as a person.Through the above discussion,this chapter analyzes the background of his style of learning calligraphy and explores the profound influence of his teachers on him: the importance of basic skills,the importance of humanistic cultivation,and the courage to explore his own style,which is the artistic proposition Zhu Fukan practiced throughout his life.Chapter 2,Zhu Fukan’s Calligraphic Practice.This chapter analyzes Zhu’s calligraphic practice from the perspective of its phased evolution.By analyzing his masterpieces vertically and his differences from his contemporaries horizontally,he summarizes his unique calligraphic style,namely,his seal script has an ancient and quiet style,while his cursive script has a dense and bony rhythm.Chapter 3,Zhu Fukan’s Calligraphic Theory.This chapter systematically compiles Zhu’s inscriptions and poems,as well as student notes from his teaching sessions,and provides a comprehensive overview of Zhu’s calligraphy theory in a through-text manner,divided into five areas: learning methods,creation theory,aesthetic concepts,appreciation and evaluation,and seal carving theory.In terms of learning methods,Zhu believes that calligraphy is a form of art that is both internal and external: from a technical point of view,one should pay attention to the fundamental status of the seal script,which is the source of the orthographic script and the cornerstone for learning other calligraphic styles.In terms of connotation,the accumulation of humanistic knowledge should be strengthened in order to embark on an artistic path that is both unique and long-term.In terms of the theory of creation,Zhu believes that the lines of characters should be three-dimensional and strong,and the chapter should pay attention to the main and secondary aspects and the sense of rhythm,as well as the accuracy of inscriptions,so as to create a work with infectious power.In terms of aesthetics,Zhu Fukan takes "Jin Shi Qi" as the first criterion of calligraphic beauty,i.e.,strong,powerful,and stiff bones.In terms of appreciation and evaluation,Zhu Fukan has briefly evaluated some of the calligraphers and famous monuments and posters through the ages by means of inscriptions and self-authored poems.He admires Wang Xizhi and Yan Zhenqing,especially their cursive calligraphy,and prefers Wei steles,such as Cuan Baozi Stele and Cuan Long Yan Stele.Chapter 4,Zhu Fukan’s influence and inspiration on contemporary calligraphy.Zhu Fukan has had a profound influence on the contemporary calligraphy scene,such as his granddaughter Sun Xiaoyun and two of his sons,Duan Yupeng and Feng Guangjian,whose calligraphic style falls within Zhu Fucan’s calligraphic spectrum.The current calligraphy world vigorously advocates the return of the "Two Wangs" of calligraphy,but there is a wind of atrophy,Zhu Fukan on the fusion of monuments and posters to take the path,strong aesthetic preference for bone,both internal and external learning method,to improve this phenomenon has an important reference value.This paper argues that Zhu Fukan is an artist with both cultural cultivation and artistic aesthetics,who inherits the ancient style and creates new ideas.His ancient and majestic style of seal and clerical calligraphy and his bony and rigid style of cursive calligraphy have a unique artistic charm.His calligraphy practice and calligraphy theory are of great significance to the inheritance and development of the traditional art of calligraphy.