I have been friends with you for several years, and I am familiar with his purpose of discussing this book. I want to combine the simplicity of the Han people with the flowing beauty of the running script, strive for firm strokes, extremely stable form and coherent composition, and then take the spirit of the book as the text and the spirit of stone as the quality, so that the writing quality will be the same, and the book seal will be the same, and I will become a family. Great, I lament its great ambition and great expectations! Only to clarify the theory of art, but only to integrate it. Banqiao Taoist poems, books and paintings are famous for their four unique skills, and they are also in the crown. Recently, if you are Wu Yiweng and Zhao? Uncle, such as Qi Baishi and Huang, such as Fu Baoshi, and other officials, are all knowledgeable and versatile, and are good at printing poems, calligraphy and painting. Today, I admire the legacy of Taoist Banqiao in my hometown and inherit Mr. Liu Rongzhai's learning, which is enough to arouse my interest and help my talents. I also teach in Shangyang and talk about the ancient sages every day. It can be said that I have both talent and learning and have land. If you persevere, you will make progress day by day, and you will cultivate your roots to express your spirituality. Then your future achievements will not be less than those of the ancients, or even more than those of the ancients! "Poetry" says: "Who is in the Song and Yuan Dynasties? I hope to see it." I am also a cloud in your book.
What you sorted out this spring, either the poems of predecessors or the notes on the topic, is a banner, a long scroll, a picture album and a face. It's full of letters and hands, and it's its favorite place. However, a love affair with sages, a yearning for the past and the present, is not as good as a painting. Grain Rain especially loves his Xiao Zhuan script, thinking that the structure is ancient, but brilliant, and the seasons are like spring. This is like a good seedling with a new mind, Shao Wu of Rao Huilan, with bones inside and rhyme outside, which shows that he is well-educated and carefree, and the period of holding the wind in his mind is out of date.
(The author is a famous scholar and a researcher at the Institute of Literature, China Academy of Social Sciences.) Professor Tian Shu, Cheering Woman Shiyu and Tian Shu's wife are all fellow villagers in Jiangsu. Tian Shu came out of Xinghua, and Banqiao was the sage of his hometown; The cheerleader is Gu Pengpei, and Fu Lu also. Jiangsu has outstanding people and talented scholars everywhere. But if it is dawn, there are few people who cheer for the couple's galloping in the painting and calligraphy art world and enjoying the reputation of the times. Hey! Calligraphy and painting have the same origin, and calligraphy and painting are one heart. It's a perfect match!
Tian Shu is intelligent and diligent, and his books date back to the stone tablets since the Qin and Han Dynasties, all of which were tried by famous scholars below Wei and Jin Dynasties. They are called Sanshantang and Shijushi, covering the inscriptions of Sangong Mountain, Fenglongshan Mountain, Huashan Mountain, Shimen Song and Laizihou Stone Carving. It's a casual print of Roaming Three Generations, Han Dynasty and Six Dynasties. I learned it from ancient times and got it from my heart. Therefore, it can learn from ancient times and become a unique place. So I like the book gobbledygook, its simplicity, its closeness to ancient times, and its deep affection overflow in the book. His books don't seek various forms, but develop the nature of returning to nature. Hey! I like such a mature book because it was written in its prime. "South Yellow (Fengzhai) and North Zhu (South Building)" complement each other.
Tianshu is good at calligraphy, painting and printing, but his main business is scholars. Today, he teaches Shang Yao, presides over the research institute of calligraphy and seal cutting, and specializes in China painting and calligraphy and artistic documents of the Qing Dynasty, with many inventions. The Complete Works of Zhou Lianggong compiled by him is particularly important in academic circles, so I know why the calligraphy, painting and printing of gobbledygook have achieved great success!
Tianshu's paintings are poetic, clear and simple, and have the same effect as cheering paintings. Looking at his and his wife's paintings and calligraphy, we can often read their similarities. Cheer for being good at landscape and idyllic scenery, and draw special materials for people who are interested in life, so the scenery is ancient in Jing Ya and pure in Ming Xiu. People who know it will say, "If there is no vulgar rhyme, the past is new" (Mr. Feng Qiyong's words).
I study calligraphy and painting, but he likes watching and reading. He said: after writing, painting with pen and ink is the last thing, and the quality of the book depends on the accomplishment of the reader. Elegant people enter the ancient times, vulgar people contend for the present, so they are either arrogant, extravagant or even dangerous. Therefore, if the character is high, it will be high, and the character will be unqualified. Books are integrated with learning, poetry, painting and printing. The sages called the ancient people themselves, and the present people are human beings, so is the art of calligraphy and painting. How can we compare our own art with the art of being a man? However, it's really frustrating to look at the world and try to learn painting from others. However, gobbledygook and cheering calligraphy and painting can get rid of this custom and make up this new rhyme, so I have great confidence in China's calligraphy and painting research.
It's dawn, cheer. Today, in Yanyuan, an exhibition of "lakes and mountains" is unique, fresh and natural, just in line with the meaning of Weiming Lake, Xishan Mountain and Langrun Garden. I didn't feel the above until I saw his paintings and calligraphy, did I? No? The quality of a refined gentleman, in order to gain a glimpse. This is a sequence.
(The writer is a famous scholar and a professor of Chinese Department in Peking University. ) Professor Tianshu Zhu's calligraphy is rooted in profound traditional culture and interprets classics from a modern aesthetic perspective. Tianshu Zhu's calligraphy language follows the oriental aesthetic law: Taoism is natural, and the environment is born from the heart. His mastery of calligraphy classics has further strengthened the stability of traditional culture, and thus produced a strong adsorption force, which led us to that profound mysterious world and returned to infinity in a subtle stippling scene.
Returning to infinity is an affirmation of calligraphy, which brings out nature, reverence for nature and respect for self-life. Tianshu Zhu's inscriptions on inscriptions on inscriptions and official scripts created with the eyes of epigraphists mostly used French-Chinese bricks and inscriptions. He praised this in a large number of brick carvings and inscriptions: "In the ancient brick inkstone, the seal script is Gu Zhuo, which describes each other and enjoys leisure" (titled "Long live"). "The seal script in Han Dynasty is mostly simple and late, which is different from its strength." Wang Sheren's "Qing" has its own style, and the rest of his works are taken from the Inscription of Hanshu (titled "Zhang Qianbei Amount"). "Han dynasty is the most wonderful at present, and you can see the rise of ancient times without carving. I got more from this. "(titled" Selected Postscripts of Stone Carved Characters "). This kind of creative observation is a praise for artistic originality, which makes Tianshu Zhu's seal script absolutely stylized-maintaining a unique concept, with unlimited tension, both unrestrained and contained in statutes; It's not only the principle of God, but also the three flavors are really interesting. Tianshu Zhu's running script is based on two kings and one vein, and he has a profound understanding of the study of calligraphy. Before the age of 35, he had studied the calligraphy of Wang Xizhi, Xian Zhi, Yan Zhenqing, Mi Fei, Su Dongpo and Wang Duo. From then on, he integrated the essence of stele seal script with post-study brushwork, and then formed an artistic language endowed with individuality.
When calligraphy becomes the conscious behavior of literati, creation is not only a kind of writing, but also a cultural image, a deduction of self-mood, and an individual interpretation of culture. Professor Tianshu Zhu enriched the interest of cursive script with the breath of stone, increased the thickness of cursive script with the giant monument of Gu Zhuo, and created an elegant and generous atmosphere with soft rhythm. His calligraphy is not deliberate, not carved, like the sound of nature coming from a distant empty valley, but there is no lack of human warmth, like the breeze blowing slowly under the moonlight on the riverside, but it conveys the passion contained in the depths of the sea. Tianshu Zhu reveals his personal feelings intentionally or unintentionally in his brushstrokes, which is a distant "learning complex", which narrates the literary mind of a thousand years in the strange background of modern life. What's more, Tianshu Zhu won't be fascinated by the appearance of "technique", nor will he rest on his laurels because of his narrow study. On the contrary, his brushwork is nourished by stone tablets, and his style is long because he has been immersed in ancient books of sages for a long time, which also increases the aesthetic dimension of his calligraphy.
When you watch Professor Tianshu Zhu's calligraphy, if you meet a cultural emissary wandering on a mountain road, sometimes you will pitch the image of the universe, and sometimes you will appreciate the way of HarmonyOS. Although you are far away, you will be close at hand. Although you don't say a word, you can find the cat's Zen. He writes freely for himself and inherits the magnanimity of Ziyou's "one impulse, one impulse back". He completed a cultural psychological suggestion, which freed us from the noise of the world and moved towards the distant sacredness. On the way to the temple, the empty corners of our lives were filled with new expectations. In the classic film Gone with the Wind, the old house is a cultural metaphor and the source of national culture and life. Tianshu Zhu's calligraphy creation has never left the "classical" origin, deducing and creating a fresh and personalized world of pen and ink. His pen and ink lead us to the trees in our hometown, to the study full of books, and to the night with lights like beans. But he always writes in a low-key and humble way, noticing that the emotions of the appreciator are not influenced by him, conquering all the noise of the outside world with a shallow smile and gentle figure as always, and then leading us back to that clear and far-reaching realm. In the construction of calligraphy again and again, he made the origin of culture not stay elsewhere, but in each of us.
It is Professor Tianshu Zhu's choice as an artist to reinterpret classics, return to infinity and renew the past. His wandering art classics undoubtedly increased the breadth and depth of his creation. As an art historian, Professor Tianshu Zhu's understanding of classical art and traditional cultural spirit undoubtedly increased the thickness and height of his art. ..
(The author is a first-class artist and calligraphy critic)