Guo Moruo is an outstanding cultural great man in China's modern history, leaving a rich legacy and far-reaching influence in a wide range of academic fields, such as literature, history and ancient philology. Guo Moruo has also made brilliant achievements in the art of calligraphy and occupies an important position in the history of modern calligraphy.
Guo Moruo's exploration and practice in calligraphy art lasted for more than 70 years. Young Guo Moruo's calligraphy has been recognized by the society since 19 1 1 year. 10 years later, his famous poetry collection Goddess and other works came out, which made his book style appear in front of a wider audience. In the late 1920s, Guo Moruo lived in Japan. Starting from Oracle Bone Inscriptions, he argued the history with characters and used history as a mirror, became familiar with the evolution of Chinese characters and calligraphy, and established a scientific model for the study of ancient Chinese characters. 1937 When returning to China for the Anti-Japanese War, poetry creation was often combined with calligraphy, which contained profound cultural heritage and national spirit of self-improvement. After the founding of New China, Guo Moruo engaged in more abundant calligraphy creation after heavy state affairs. He was generous and well-informed, and left countless inscriptions on Mo Bao for places of interest, industrial and mining schools and friends from all walks of life at home and abroad. His calligraphy works are so numerous and influential that few people can compare with others.
In his study book, Guo Moruo regards "going back to the front and going back to the flat" as the key to writing eight characters. His calligraphy style not only attaches importance to learning from others, but also dares to innovate, showing bold creative spirit and distinctive characteristics of the times, and is praised as "Guo style" by the world. Guo Moruo is good at cursive writing, with refreshing and free brushwork, flexible operation and endless charm; Although his regular script works are not well preserved, they are particularly skillful and fluent, with both form and spirit.
As another Sichuan scholar after Su Shi, Guo Moruo's calligraphy achievements are comparable to Dongpo, which is very important to the world. Dongpo's calligraphy has always been valued by the calligraphy circle and is the representative of advocating calligraphy in Song Dynasty. Guo Moruo's calligraphy, which originated in Song Sijia, has Song Sijia flavor in both pen and structure, but its personality is outstanding. Su Dongpo's calligraphy was once regarded as a "stone toad" by Huang Gu, but its horizontal trend has a history in the history of calligraphy, which is completely different from Huang Gu's calligraphy. As Mr. Qin Xiaokan pointed out: "There are two kinds of characters in Han and Tang Dynasties: horizontal and vertical." There is no need for Huang Heng to get sick. "Mr. Sha Menghai summed it up with" oblique tight knot "and" horizontal wide knot ". Guo Moruo's calligraphy and Dongpo's calligraphy belong to the category of horizontal painting and wide knot. During the Anti-Japanese War, when Guo Moruo was in Chongqing, he wrote a lot of calligraphy works. At the same time, he, Chang and others tried to excavate the Han tomb in Jiangbei, and found bricks with words, which contributed to the protection of cultural relics. Because he was then the director of the Third Hall of the Political Department of the Kuomintang and the director of the Cultural Work Committee, he United a large number of people in the literary and calligraphy circles and made contributions to the prosperity of literature and art. Guo Moruo's calligraphy research can be calculated from his research on Oracle bones and inscriptions, and the results are fruitful. In 1960s, Guo Moruo and Gao Ershi launched a great discussion about the authenticity of Lanting, which in any sense greatly promoted the deepening of calligraphy research and brought about the development of calligraphy during the Cultural Revolution. These achievements, especially several argumentative papers in Lan Ting's later period, undoubtedly fully reflected his profound academic education. Guo Moruo, who has gone through the ups and downs of life, fully shows his demeanor as a great scholar and writer in his calligraphy: every work, whether it is a long masterpiece or a short note, is very sure and decisive with a pen without hesitation; Most of the writing content is self-created poems, both old and new, full of the flavor of the times; He made extensive and in-depth research and exploration on classical calligraphy, and won the charm of Su Dongpo and Yan Zhenqing. Guo Moruo's study of calligraphy is different from that of ordinary people who specialize in one family in poor times, but he has a strong personality from the beginning. He does not regard himself as the slave of his ancestors, but uses others for his own use, which is unique.