The Valley Zi Jiangxi Poetry School was a poetic genre formed in the late Northern Song Dynasty with Du Fu as the ancestor and Huang Tingjian, Chen Shidao, and Chen Youyi as the sect (i.e., "one ancestor and three sects"). Huang Tingjian was the founder and leader of the Jiangxi poetry school. This genre advocates Huang Tingjian's saying that "turning iron into gold, taking the tire and changing the bone". Moreover, most of the members of the poetry school were influenced by Huang Tingjian, and the style of poetry was mainly based on the life of the bard and the book, and attached importance to the deliberation technique of the text.
Huang Tingjian's poems take Du Fu, the master of Tang poetry, as the object of study, and construct and put forward poetic theories such as "turning iron into gold" and "taking the birth and changing the bones", which became the theoretical program and creative principle of the Jiangxi poetry school, and had a profound impact on the literary creation of later generations. As one of the great poets of the Song Dynasty, Huang Tingjian's influence on Song poetry even exceeded that of a generation of great literary heroes Su Shi.
Su Shi's poems are written with qi luck, indulgence, vertical and horizontal galloping, wide openness, unpredictable changes, complex structures, and no traces to be sought, so although Su Shi's achievements are high, there are very few teachers, and they have not been able to form a genre. Huang Tingjian's creative ideas can be traced, and he even teaches the Fadu, which is easy to learn, so he has many followers.
Huang Tingjian's poems, with their rigorous law and meticulous reasoning, represent the characteristics of Song poetry. It can be said that Huang Tingjian's poetry is the most characteristic of song poetry, and the Jiangxi poetry school formed by Huang Tingjian's influence also influenced the poetic style of the Southern Song Dynasty and had a profound impact on future generations. When Su Shi was a servant official, he recommended Huang Tingjian to replace him, and the recommended words included the sentence "Magnificent literature, wonderful in the world; the journey of filial piety, posthumous with the ancients", which shows the weight of the promotion.
Huang Tingjian wrote poems:
The first is to pay attention to the use of words
Use the word "to have a place where the word comes from". When people commented on Huang Tingjian's poems, "Word by word, it will be tempered in the season, and it will not be lightly haired." Huang Tingjian also proposed the "eye in the sentence" of the poem, the so-called "eye in the sentence", that is, the "poetic eye" that posterity said, that is, paying attention to the tempering of key words, such as the "green" word of "spring wind and the south bank of the green river", that is, tempered, which can be described as "placing a word like the key to close the door".
The second is to attach importance to syntax
Huang Tingjian's poem "Sending Gu Zidun to Hedong": "No one knows the syntax, the autumn moon comes from the Chengjiang River". What is "syntax", it can be seen from this poem that the syntax of Huang Tingjian's poems is still simple, such as the autumn moon Chengjiang, clear and perceptible. In the Second Book of Youwang Guanfu, it is said: "But after Du Zimei arrived in Kuizhou, he obtained simple syntax and great skill. Plain and deep, seemingly unattainable, the achievement of the article, not to mention the axe tooth chisel marks, is a good ear.
The third is to pay attention to rules and regulations
Huang Tingjian said a lot of words about the meaning of the Chapter Law, such as: "If you want to make Chu Ci and follow the ancients, you must read the Chu Ci well, look at the twists and turns of the ancient people's intentions, and then write down." For example, if you want to make brocade, you will be able to make brocade. The structure of the chapter is likened to the "golden machine". Another example is "The valley article must be carefully arranged, and after each time you see it, you will learn more with the twists and turns of the fate of the "Original Way"." Another example: "Composing poetry is like composing a miscellaneous drama, the initial arrangement, the gag is on the verge of gag, and the party is out." Taken together, Huang Tingjian's so-called chapter method is to pay attention to the tortuous changes in the structure of poetry, and these tortuous changes are deduced by studying the works of predecessors.
Although Huang Tingjian talked about poetry, he did not adhere to the poetic law, but demanded that he eventually transcend the poetic law and reach the realm of "not bothering with the rope and self-integration".
Huang Tingjian Calligraphy works Huang Tingjian is good at writing and cursive writing, and calligraphy is also a family of its own. The scholarly books especially recommend Wang Xizhi's "Orchid Pavilion Preface". There is a poem praising Yang Ning's style that can explain the depth of his understanding of the practice of the Orchid Pavilion Preface: "The people of the world have learned the Lanting Noodles, and they want to change the bones without Jindan." Who knows Luoyang Yang Fengzi, the next pen will go to the Wusi column. This cannot be without his deep understanding of Wang Xizhi's calligraphy.
When Huang Tingjian traced the Jin and Tang Dynasties and studied the classic calligraphy of his predecessors, the greatest influence on him was Su Shi, and it can be said that Huang Tingjian's codex xiaoxingshu was largely learned from Su Shi. As one of the "Four Scholars of Sumen", Huang Tingjian could not be unaffected by the influence of Su Shi's calligraphy.
In Huang Tingjian's treatise, there are many commentaries on Dongpo's books, and most of them are highly respected. Su Dongpo is not only a teacher and promoter of Huang Tingjian's literature, but also a model for his calligraphy. In Huang Tingjian's inscription, it reflects some of the news that Huang Tingjian learned calligraphy from Su Shi, such as "Yu and Dongpo learned Yan Pingyuan." However, if you are clumsy, you will not be close to your karma in the end", and "Dongpo this post is very similar to the tombstone grass of Princess Yu Shinan." It is his nature to comment on the Dongpo Shanshu.
To taste the East Slope to see the second sac of Tezawa, there are similar to Liu Gongquan and Chu Suiliang's number of papers, which are better than the Xu Hao characters made in ordinary times. And for Yu Lin a volume of Lu Gong Ti, where twenty pieces of paper are obtained, they will receive six or seven, and they will not be able to learn." Huang Tingjian and Su Shi are eight years apart. Between two people and friends. Judging from the inkblots of huang tingjian's handwriting codex that have been handed down to the present day, its skimming opening, flat glyphs, and the upward movement of the characters to the right all clearly show the characteristics of Su Shi's calligraphy, and even some exaggerations and emphases, but they are too jerky and not familiar with Su Shupu. Huang Tingjian, on the other hand, influenced Su Shi with zen enlightenment. For example, Su Shi's "Prayer for rain", the pen is very similar to Huang Tingjian, especially its end number, calm and elegant, the line is loose, almost like Huang Tingjian's ghostwriting.
The formation of Huang Tingjian's calligraphy style in large characters was due to the formation of his own family law after he saw the cliff "Crane Ming" in Jingkou and continued to learn the Fa And Milk. There is a misunderstanding in Huang Tingjian's "Crane Ming", that is, he regards the "Crane Ming" as a book written by the Right Army, and he believes in it, so he devotes himself to the study of the teacher.
However, it can also be regarded as a crooked beating, which has promoted the formation of Huang Tingjian's long gun euphorbia and mianjin and slow book style. Objectively speaking, Huang Tingjian and Su Dongpo are calligraphers in the history of Chinese calligraphy who went beyond the Tang Dynasty calligraphy style eight hundred years earlier than the Qing Dynasty and went back to the pre-Tang Dynasty stele version or the combination of stele and post. As for the origin of The Formation of Su Shi's calligraphy, as long as you compare his masterpiece "Cold Food Poetry" with Luoyang's "Longmen Twenty Pins", you can get a clear answer. Huang Tingjian explicitly flaunted the teacher's law "Fistula Crane Ming".
Huang Tingjian's cursive "Theravada Theravada" partial Huang Tingjian's cursive writing is Zhou Yue's scholarly. Su Shi regarded the Zhou YueShu as dangerous, and Mi Fu commented that the Zhou Yueshu was majestic and sharp.
Huang Tingjian later expressed his views on Zhou Yue calligraphy after his calligraphy and calligraphy ideas matured in a discourse: "Wang Shulin's "Lan Ting" and "Le Yi Theory", and the Supplementary Yong Zen Master and Zhou Sanqi's "Thousand Texts" are all wonderful, and at the same time they are extremely good at using pens.
If you have thousands of books in your chest and do not follow the world, then the books do not rhyme with the disease, and they are victorious over Li Xitai, Lin and Jingyi. Gaimei and sick rhymer, Wang Zhu; Energetic and sick rhymer, Zhou Yue - all qu Nong chest second sin, non-scholars are not effective. “
Undoubtedly, Huang Tingjian's profound understanding and mastery of cursive writing is "the magic of Zhang Changshi, Monk Huaisu, and Gao Xian's inkblots." He wrote in the "Poetry of the Emperor of the Eights": "In recent times, the scholar dafu has rarely obtained the ancient law, but the pen is wrapped left and right, so the number is cursive, and I do not know that the tadpole, the seal, and the same law agree." For hundreds of years, only Zhang Changshi, the Yongzhou mad monk Huai Su and Yu Sanren realized this fa. Su Cai Ong has enlightenment and cannot do his best, and the rest is lukewarm. “
The maturity of Huang Tingjian's cursive writing also benefited from the enlightenment of his external skills. In addition to his above-mentioned "In the boat of the Dao Dao, watching the oars for many years, pulling out the group of Dings, feeling less advanced, enjoying the gains, and using the pen", he also has a passage of self-tao that can explain the cause: "Yu Yuju Kaiyuan Temple XiYiSi Hall. Sit back and see the country. Every time you make grass in this, it seems to have the help of the country.
However, the long history and the crazy monks are all leaning on and psychic. Yu did not drink alcohol, and for fifty years, although he wanted to do good, but the instrument was unfavorable, the pen was always sluggish, and the plan could not be restored as if he were drunk. "Zhang Xu and Huai Su zuocao both entered a state of irrational self-forgetfulness and ecstasy with drunkenness, and the cage was sprinkled, often unpredictable and fascinating.
Huang Tingjian does not drink alcohol, and his herbs are all in the mind, in order to make the pen. However, although it is more rational and rational, it can also open and close, gather and disperse, and enter the realm of sprinkling. And its pen, in contrast, is more calm and elegant, although it is vertical and horizontal, it can also stay everywhere, stay everywhere. Huang Tingjian's "Theravada Posts" and other Buddhist scriptures and cursive texts are really wonderful. It is precisely because of this that Huang Tingjian has created a new realm of Chinese cursive writing.
Chu Suiliang's representative works mainly include "Yique Buddha Shrine Stele", "Meng Master Stele", "Fang Xuanling Stele", and "Yanta Sacred Order".
Chu Suiliang studied a variety of fonts and used them comprehensively, and history said that his calligraphy first learned Ouyang Qing, Shi Ling, and then learned his uncle Yu Shinan, the final law as the "Second King" and integrated through the Han Li, creating a self-created unity, so he was called one of the "Four Great Calligraphers of the Early Tang Dynasty", "Ou, Yu, Chu, Xue", known as "Chu Body".
Chu Suiliang's calligraphy works appeared in two different styles, the early "Yi Que Buddha Shrine Stele" and the "MengShi Master Stele" are roughly the same, both use square pens, pens, hooks and other strokes of the brush straight out of the front, the calligraphy and painting is not obvious, maintaining the characteristics of Ou and Yu's calligraphy.
In terms of style, it draws on the wide and elegant knot characteristics of Yu Shinan's calligraphy and the sharp and rigid pen characteristics of Ouyang Qian's calligraphy. At the same time, their slender glyphs were compressed. Chu Suiliang's early works not only retain the influence of the North Monument, but also incorporate a large number of Lishu's posture in the pen and knot body, but they are not copied from the hard set, but selectively absorb innovation and turn it into their own use.
"Fang Xuanling Monument" and "Yanta Sacred Order" are his late works, both of which are neat and strict, the other is ethereal and flying, and in the use of the pen, it shifts from a straight binary pen that wins with bones to a one- and two-point pen that wins with tendons, and the strokes are undulating and varied, with ups and downs, and the curved brush is used at the same time, showing a strong sense of rhythm.
As soon as the new norms of Chu Shu came out, the world competed to learn and imitate, which became a fashion. Until the heyday of Wu Zhou, although Chu Suiliang had passed away and the official title was stripped away, his reputation in calligraphy was not diminished, and his straightforward character and charming and flowing books were praised by posterity, and Chu Suiliang's status as the "great master of enlightenment" of Tang Was also affirmed by more and more people.
Among the calligraphers of the early Tang Dynasty, Ouyang Qian and Chu Suiliang were the most innovative, Chu Suiliang was the most able to keep pace with the times, Ou and Yu calligraphy retained more Sui Dynasty calligraphy, Chu Suiliang calligraphy could absorb the strengths of all the families, not to be suppressed by the predecessors, his words gave people the feeling that the weight of flesh and bone was balanced, and rigid and soft, clear and beautiful, handsome and handsome, force and beauty, bone and rhyme tended to be one, "truly open the 'Tang Kai' portal, can be called the bridge of the excessive Sui and Tang Dynasty calligraphy", and finally promoted the formation of the Tang Dynasty Shangfa calligraphy style. It provides a reference for the continuation and innovation of calligraphy in the Tang Dynasty and even later generations.
Chu Suiliang's idea of ethnic relations is not only very rich in content, but also has a relatively complete theoretical system. From the overall point of view, it is mainly composed of three major parts, such as "first Huaxia and then Yidi", "Fear of Weimude" and "FuRongyi with Faith and Righteousness".
"Huaxia first and then Yidi" is the core of Chu Suiliang's idea of ethnic relations. Chu Suiliang believed that since the Han areas directly under the jurisdiction of the Tang Dynasty and the frontier ethnic minority areas known as the "wilderness" were geographically hierarchical, the degree of attention attached to them should also have a hierarchy. To this end, he vividly made an analogy, comparing the areas that the Tang Dynasty should directly administer to "one body", in which the eastern capital Luoyang and the western capital Chang'an were equal to their "belly", and the states and counties were like limbs, while the "four Yi" were things outside the body, or the hands and siblings of others, and had little direct connection with the Han areas.
In the traditional thinking of ethnic relations, "Wei" generally refers to national prestige and military prestige, which has the meaning of using force to make the other party feel afraid. In Chu Suiliang's thinking, it was through the means of punishment that the ethnic minorities were afraid of the Tang Dynasty. In traditional thought and culture, "morality" sometimes refers to morality and sometimes to ende, while in Chu Suiliang's thinking, it mainly refers to moralization. In Chu Suiliang's idea of ethnic relations, the deification of ethnic minorities was mainly to make the ethnic minorities grateful to the Tang Central Committee through the way of the establishment of khans, so as to always be dependent on the Tang Dynasty.
In ancient China, there were many ways to appease the ethnic minorities in the frontier, and in Chu Suiliang's view, "fusing Rongyi with faith and righteousness" was one of the best ways. It should be said that chu Suiliang's thinking can be said to have grasped the essence of correctly handling ethnic relations. In Chu Suiliang's view, the role of "faith" is mainly manifested in the following aspects: First, "faith is the foundation of the country." Second, trustworthiness toward ethnic minorities can fully display the image of the Central Plains Dynasty. Third, trustworthiness is an effective way to avoid national wars.