Selected Calligraphy Works of Lin Sanzhi

Author: Liu Yongming, Lin Xingruo, Lin Changgeng, Editors
Publisher:
Publish Date: 2002-05-01
Features: Chinese calligraphy art is a unique gem in the world of art. The combination of dots and lines in brush writing, including Seal, Clerical, Running, Regular, and Cursive scripts, each possesses its own techniques and aesthetic beauty. Among them, Cursive script is the most varied, with its dynamic and expressive strokes, rich in artistic and appreciative qualities. The brushwork of all scripts can be incorporated into Cursive, yet Cursive cannot borrow from other scripts in a single stroke. It embodies the essence of calligraphy art and is the soul of writing. Grand Cursive originated with Zhang Xu of the Tang Dynasty, who said, "The Jin people's Cursive code is my Cursive madness." This madness, based on the Jin people's Cursive, made it more concise and unrestrained. Yet, it did not violate the rules. Observing his surviving works, none deviated from the norms. Even the most meticulous points could still record text; however, if the brushwork lost its rhythm, it would not. This shows that Cursive script is not just. Monk Su learned this method, lacking money to buy paper, he practiced calligraphy diligently, writing through three lacquered plates, ultimately surpassing his predecessors. Later, in the Song Dynasty, there was Cao Shushan, in the Ming Dynasty, there were Zhu Zhishan, Xu Tianchi, Dong Qichang, and Chuan Qingzhu, all outstanding figures. Since the Jin Dynasty, Cursive script has followed Shanyin,, and has been passed down in a repetitive manner. By the late Ming Dynasty, it had become decadent. At that time, Wang Jiesi tried to revitalize it, but his bold and unrestrained style was still criticized as being overly familiar and lacking elegance. Truly, Cursive script is not easy to master.