Photo: Rong Baozhai
Author: Zhang Fei
Xu Fang (1622-1694) lived in an era of changing times, he could not escape in his life, did not cooperate with the rulers, had a strong sense of homeland, and was a representative figure of the calligraphers and painters left behind in the Ming and Qing dynasties. This article first analyzes Xu Fang's profound relics complex from many aspects such as poetry, inscriptions, calligraphy, etc., and then discusses related issues such as the relationship between relics' thoughts and calligraphy, hoping to mention his unique calligraphy concepts and insights in his only book theory, highlighting the era value of the special identity of "remnants" in a specific historical period.
Qing Xu Fang statue
Xu Fang (徐枋), courtesy name Zhaofa (Chinese: 徐枋; pinyin: Zhāngzhāngzhāng zhàn), also known as Qin Yushanren (秦余山人), was a native of Changzhou (present-day Suzhou, Jiangsu), and was raised by Ming Chongzhen in the fifteenth year (1642). Son of the martyrdom official Xu Feng. His father Xu Feng, who was a former official in Yu Ming, was martyred after Ming's death, and when he was dying, he left a last word to him: "I can't not die, Ru is a farmer who has no world to hear." Xu Fang obeyed his father's will, did not fight foreign tribes, chose the forest of mountains and wilderness as a place of seclusion, and named himself "Jian Shan Caotang". He suffered from the change of his homeland, and when he was twenty-four years old, he said to himself: "The death wish has failed, and he survived in the time, so he was bound in the earthen chamber and cut off from the world." In the next forty years, he "did not enter the city for the first twenty years, and did not leave the court for the next twenty years", and most of the people who traveled with him were relict friends, including Shen Shoumin (1607-1675), Zhu Yongchun (1627-1698), Yang Wuzhao (1634-1712 or 1636-1724), Jiang Shijie (1647-1709), Dai Yi (1621-1702), Wei Xi (1624-1680) and his disciple Pan Qi (1646-1708), The Nanyue monk Hong Chu was just a man. His moral sentiments of loyalty and filial piety and his strong national integrity have been praised by later generations, and together with Shen Shoumin of Xuancheng and Chao Mingsheng of Jiaxing, he was called "the three relicts of Hainei"; he was praised as "Three Filial Pieties of the Ming Dynasty" with Xuzhou Wannian Shao and Pinghu Li Qiqi; and together with Yang Wugui of WuXian county and Zhu Bailu of Kunshan, he was called "The Three High Priests of Wuzhong".
Qing Xu Fang Shou Yan poems 58cm× 134.5cm Collection of Zhejiang Provincial Museum
Xu Fangqi is "light and relaxed, Xiao Idle temperament." Don't ask for it, be naïve and alone. The edge of the mountain is deep, and the poor search wins. Remember the journey with poems, carry songs and chants. Standing and writing books, deposing evil and revering righteousness. Love wine Bo theory, witty Man Qian. Ancient appearance and ancient heart, the moon is shining on ice". Throughout his life, he carried a strong sense of social responsibility, and his thinking was full of strong feelings of home and country, and his high style and bright festivals were well-known to future generations. Qing Nguyen Yuan (1764 - 1849) wrote "Gao Feng Qing Jie" for his ancestral hall, and Qing Liang Tong Shu (1723 - 1815) wrote "High Wind on the Stream". Qing Zhu Yizun (1629 - 1709) wrote in the "Poetry of Jing Zhiju": "Those who are filial piety and high Tao, Wu Yue is the majority, and those who always wrap themselves up and do not enter the city, Li Qianfu, Chao Duanming, and Xu Zhaofa of Wuzhong, in addition, are not generalized." Zhao Fa died at the end, so the name is particularly heavy. Luo Zhenyu (1866-1940) compiled the "Chronology and Preface of Mr. Xu Qianzhai": "The wind of righteousness in the Ming Dynasty is the most prosperous in Wuzhong, and Zhi mizhen, in the face of miguish, learns mi alcohol, and gives especially admiration to those who are particularly admired, such as Xu Qianzhai and Gu Tinglin." "Xu Fang's life's encounters are rare in the world, and those who hear it are all sighing," To the strange poverty that Mr. Zhi encountered in his life, the cold of hunger, the ferocity of personnel, the ruggedness of flesh and bones, and the perfection of everything, as Mr. Zhi said himself, the reason why He Cang was in trouble was also the end. And the gentleman is calm, has been decades, the setback is not disgraceful, his deeds can feel the heavens and the earth and cry ghosts and gods, cover since the birth of the people, encounter poverty, festival of suffering, sincerely there is no too much Mr. also." The poor and miserable life did not erode his heart, and for the rest of his life, "there was no boldness, and there was no whiskers." Therefore, the eyes of posterity often focus on his legacy, and most of the arguments he makes are heartfelt admiration and sympathy. The Ming and Qing Dynasties have become a foregone conclusion, the situation is irreparable, and Xu Fang still has a weak resistance with the sadness and bitterness of the destruction of the last remnants of the homeland, and the emotions of resistance during this period will eventually be vented through poetry, calligraphy and painting. Xu Fang's poetry is in and out of Han and Liujian, he is also good at writing, he is good at walking grass, and his calligraphy is Sun Guoting and Wang Xizhi's "Seventeen Theses", thin and hard. Its landscape masters Dong, Ju, Jing, Guan, also Zong Ni and Huang, are all valued by the world.
Qing Xu Fang Lan Baihua Song Volume Part one of the collection of the National Museum of China
At present, the academic research on Xu Fang mainly focuses on his relics and the relics of the people's thoughts revealed in poetry and painting, and the research on his paintings is relatively small, mainly concentrated on several articles, while the research on calligraphy and calligraphy is almost blank. The reason is that Xu Fang's achievements in poetry and painting are higher than those in calligraphy, and he mainly promotes his fame with painting; second, Xu Fang's surviving calligraphy works are few. According to the author's statistics, there are only more than 20 works in existence, most of which are cursive works. In view of the current research status, we try to sort out and summarize Xu Fang's calligraphic concepts in order to discover unique insights.
A thousand years of high wind chasing the willow - from Xu Fang's inscription poems and calligraphy works to see the remnants of the complex
According to Liu Xun of the Southern Dynasty in "Wenxin Carved Dragon And Chronology": "Literary changes are stained with the world's conditions, and the rise and fall are related to the chronology", in this treacherous and changeable era, Xu Fang is naturally led by the chronology, and the catharsis of his emotions is more or less marked by the times. Throughout his life, he thought of his homeland, cherished loyalty and filial piety, and was sincerely a chaste remnant who kept his will. Tongyi Houxue Lu Song's evaluation of it is quite accurate: "Xiao Ran closed the wood door twenty times, and changed himself through the vicissitudes of his eyes. The high winds of the ages chased the willows, and the heart of the life was waiting for The Queen. ”
Qing Xu Fang Lan Baihua Song Volume Part II Collection of the National Museum of China
According to statistics, the poems in Xu Fang's "Juyitang Collection" have the most "Zhi" poems, which can't help but make us wonder why there are so many Yong "Zhi" poems? It can be found out in his "Inscription Painting Zhi". His poems: "Shangshan Zizhi, Jiebi Cewei; away from the sao vanilla, Fang Tong Lan Ying, this solid ghost of the people and the sages of the sustenance also." He borrowed "Zhi" to refer to himself, sent the "Zhenshi" complaining, and had a unique feeling for "Zhi". He believes: "The sesame grass has the aroma of Lan Hui, and it withers after the pine cypress; it is better than the rui of the pine, but it is the same as the source of the li spring, which is still a good thing." Based on this, he painted "Zhi" to paint himself, and he had a strong confidence in painting "Zhi", "a time of seclusion, so that he can convey his brilliance with smoke and ink, and his meaning is also taken." Zi Zhan, and Ke Zhi wrote Mo Zhu, Zheng So nan wrote Mo Lan, Hua Guang Old Man, Yang Supplement wrote Mo Mei, will not be the same? Xu Zi Mozhi, when the position is in the middle of it." He also wrote in the "Inscription Painting Zhi": "The hermit collects zhi to cure hunger, the immortal baits zhi to live forever, and if he can cure hunger, he can live forever." Ancient to really hidden, not far to go to the immortal... Ke Xiao said, "Painter, Xianye, Cainye?" Nineteen years without stuffy mountains and forests, it is not said that it is hidden, and when it contains ink and sucks hao, it is created in the hand, that is, the immortal Xi Let Yan? "Xu Fang experienced the illusion of the world, and his inner fortitude has long been externalized into calm and calm, living a free and secluded life under an optimistic attitude, even the gods are incomparable." The more he showed such an optimistic mental state and appearance, the more people felt the misery and bitterness of being a remnant. Xu Fang also mentioned in the "Five Songs of Inscription painting Zhi": "I have heard of the remnants of the Song Dynasty, and the painting of Lan is not soil. In the case of Fuzhi without roots, natural mud and mud", and "Zhuo Er hugged his virginity, perched in a cave", the poem reveals that although he is in a desperate situation, he still does not change his high style. There are still many such inscription poems with strong relict colors, and the list goes on. As in the "Inscription Painting is a Matter", "The flowing water crosses the hermit's home, and the Shiliang Mountain Trail is inclined by the stream." Xian Yu is sweet and fat, and the wind blows down the sun. Another example is the "Eight Songs of Inscription Paintings", the second of which is cloudy: "The flowing water of a thousand springs is insignificant, and the peach blossoms of ten thousand trees are good to avoid Qin." Lying high in this middle of the white head, I don't know that there is red dust in the world. ”
Tang Yan Zhenqing Tribute Nephew Manuscript 72.3cm×28.2cm Collection of the National Palace Museum in Taipei
Xu Fang often copied the poems of Yong "Zhi" in cursive writing, including the cursive "Two Poems of Ruizhi" and the cursive "Five Laws of Yong RuizhiTu Fan" and other works. When it comes to his calligraphy, the first thing that comes to mind is the appearance and characteristics of his calligraphy, and the evaluation of his style by later generations is Peng Shaosheng is the most accurate. He wrote in "Mr. Xu Qianzhai's Hand Post": "Mr. Xu Zhai is thin and hard and psychic, such as the proud snow old plum, bending and sloppy, and the business is self-sufficient." Chung Hongnian said in his appreciation of Xu Fang's "Five Laws of Wing Rui Zhi Tu Fan": "Mr. Peng Shaosheng's book is proud of xue lao mei, but this phrase is used to describe this book is not pertinent, such as "Qingfeng Dangui" is enough to show its style." Based on this, although "Qingfeng Dangui" has the essence of understanding style, it is not combined with the "wind bone" of its people, in fact, "skinny and hard theosophical" is the aesthetic pursuit of Xu Fang's calligraphy; "Ao Xue Lao Mei" not only refers to the stylistic level, but also has the symbolic meaning of personality; "bending" expresses not only the strokes, but also the experience of "bending" in his life. Therefore, the author believes that Peng Shaosheng's interpretation is more three-dimensional and full. Xu Fang's calligraphy is implicit in the pen, not exciting, and there are many turns, mentioning, pressing, dunking, and frustrated are not obvious enough, and some hooks and picks have a subordinate intention. Its pen speed is slow, even with a slight trembling, dot painting round and vigorous, not showing sharpness, there is a sense of harmony, the words emit a quiet and light atmosphere, and the high standard of his personality is scattered on the paper, which is the realization of his life ideal in art.
Xu Fang once quoted Changli on Zhang Xu's cursive sayings in the "Picture of the Falling Woods of the Autumn Forest": "Moody and poor, sad and joyful, resentful and longing, drunk and bored, uneven and moving in the middle, will be in cursive writing." It can be seen that the unevenness in Xu Fang's chest will be issued in cursive, "all of which have the grievances of the wind and the people, and the sorrows of Chu Sao." It is probably precisely because of the function of cursive writing to send affection, and exert cursive writing to an "extreme" situation, just as Kang Youwei lamented in "Guangyi Zhou Shuangyi": "It can move people's feelings, but it is the extreme of books." Therefore, we allegorize to Xu Fang's calligraphy and inscription calligraphy, most of which are cursive, and rarely have line writing or small letters.
Qing Xu Fang Wuyan Poems 48.3cm×206.1cm Collection of Shanghai Museum
In the cursive "Shou Poem", Xu Fang revealed the scenery of escaping from the world and living in seclusion outside the peach orchard, and wrote: "When the place of refuge was once a neighbor, it was leisurely and unique. Will be the Big Dipper open wine, a total of south stars to see the old man. Jiuqi Zhilan Xin entered the room, and the smoke and water of the Five Lakes were known. Yuqi Xiang Ercheng ZhaiYu, why taoyuan has hidden presence. In the scroll of "Cursive Writing of Inscribed Poems", the reverie is like swimming with the gods, living like a dream, how fast the life of the remnants, his poem is called: "Takamatsu JiJi Crane Dancing, Shiba Grass away from the Yu yu tian." Learn to live forever and be hidden, and there are immortals in the mountains. Cangjun is a bilangxuan, and should be a white jade meal in the blue field. Since he is a god and a god, he has a good dream in the spring and a land. When occasionally transcribing the poems of others, he did not forget to use "his poems" to say "he has been", as written in his "Cursive Shou Poems": "If you have attained the Tao of a hundred years, you will be the only body in alchemy." At the top of the lonely peak, the sun sees the three flowers in spring. The white crane is slightly green, and the yellow essence is quiet and streamy. I know that the world's guests are not as good as the people in the mountains. If the fairyland is in sight, the clouds are as amiable. He Xuan saw the color and waved his hand to thank the wind and dust. Under the encounter of "overhearing the loss of the country and weeping bitterly and tearing down the earth", the thoughts and complexes of Xu Fang's remnants are complex and contradictory, there are struggles and leisure, there are lonely and strange, there are anger, and there are also peace.
Xu Fang respectfully obeyed his father's last wishes, scrupulously abided by the righteousness of loyalty and filial piety, interpreted the true image of the bereaved people, maintained the national feelings that lasted for generations, and was the "backbone" of the nation, which was of great cultural significance at that time. His life state and way of behaving reflect the Confucian integrity of the remnants of a specific era who adhere to the Confucian integrity of "knowing that they cannot do it", and from his poetry, paintings and calligraphy, he can feel that he had to use Taoist thought to calm his wounded heart and talk about masturbating. As far as this special historical period is concerned, Xu Fang is not a unique case, and the revelation of his personal relics complex in poetry and painting is actually the general mental journey of his contemporaries, and the misfortune of the group of relict calligraphers and painters has become the great fortune of the artistic development of that era.
Jin Wang Xizhi Huang Tingjing
Second, the calligraphy concept of the ancients is still discussed in calligraphy and painting - Xu Fangshan
Xu Fang wrote the "Qianzhai Anthology" Fan Example Eleven Yun: "Even if calligraphy and painting are still discussed by the ancients, there are many titles, and it is necessary to have their own unique views and then come out of them." Forty years of earthen room, closed doors but sweeping, not only the ancients can not be more allegorical, that is, the world's sages and heroes of the collection of calligraphy and paintings are not allowed to discuss with the arm, then I do not know whether what I have seen is worthy of Yilin or not. From Xu Fang's self-description, it can be seen that the literary theories he formed specifically with the study of calligraphy and painting are rare, and most of them can be scattered from his inscriptions, while there are more painting theories and book theories are even rarer. The author combs through his understanding of calligraphy from many types of inscriptions, dissects its essence, and has the following insightful remarks.
Qing Xu Fang Songxi sit-in fishing map Jinan City Museum collection
(1) The art of calligraphy can be carried out in a righteous manner
Xu Fang wrote in the "Book Li's Collection of Huang Xiaozi's Painting Traces": "The jade is connected to the city, the pearl is multiplied, the light is strange, and its qi tastes unique, and the treasures of the ancient and modern places in the world are also passed down." There are broken monuments, pieces of rulers, occasionally out of the smoke and decaying grass, only in the rubble of the cover, and spread to the world, taste and the city of the riders of its precious. Oh, this inherent two of the righteous qi wings of the line, its qi out of the mountains and rivers above the beauty, in order not to corrupt the world, and can not be the world's eyes of the Yan Gong to clumsily determine its survivors also. Xu Fang believes that some of the broken stele and the fragmented ruler are as cherished as the jade of the city and the pearl of the sword, and can even be immortalized in the world because of the "righteousness" they possess. The "righteous qi" mentioned in this is a kind of personality symbol that has been regarded by scholars since ancient times, and the cultivation of "righteous qi" needs to establish a high-standard personality and cultivate noble morality, which is a "kung fu" outside the word that every book writer cannot ignore. Throughout the history of books, the reputation of the writer has always been widely known, and his personality and character are necessary factors. And Xu Fang is precisely this kind of "personality", quoting a passage from Ouyang Xiu (1007 - 1072) in the "Book Li's Collection of Huang Xiaozi's Painting Traces": "Ancient people can write books, and the sages who are alone have their far legacy." Otherwise, there are innumerable people who have abandoned the former Japanese work book with paper and ink. If the Yanlu Gongshu is not good, and those who see it in the future will be treasured. "All along, Yan Zhenqing's integrity and personality (709- 784) have been admired by the world and are a model of "loyalty and righteousness", and Xu Fang has always stood up as "loyal filial piety", and Yan Gongzi is the object of his flaunting. In the "Shuxian Wenjing Gong Ink Carving After Giving Lingyan Old Monk" can be seen that he attaches great importance to "loyalty and filial piety", "Yu Gu specially produced the Tibetan book in the middle of the book, decorated into a temple, and under the seat of the beggar, the beggar master will interpret the Dafa with the will of loyalty and filial piety, and make everything blue and bloody, and the light of the heavens will be straight." He wrote in the "Inscription Painting": "Yu Pingju paints well to imitate Jingguan Dongju, but those who learn Jingguan only teach his brushwork and wind and bone ears." The wind bone that Xu Fang pursues not only refers to the style of painting, but also the "wind bone" aimed at the spiritual level of personality. He proposed that "painting must be bold in one's heart", and "Haoran" is a kind of righteous and broad atmosphere. Obviously, Xu Fang's cherishing of "righteousness", "loyalty and filial piety", "wind and bone" and "Haoran" constitutes the connotation and temperature of the relics' thoughts, and is also the concentrated embodiment of the relics' complex in the concept of calligraphy.
Qing Xu Fang Cangshan Evening Mist Figure 60.5cm× 127cm 1663
Collection of Shandong Provincial Museum
(2) Painting is like writing a book
Xu Fang proposed in the "Inscription Painting" the method of participating in painting with the brush of calligraphy, and revealed a certain aesthetic tendency, which is known: "Making ink bamboo is like making cursive, guiliuli; making flying white double-hooked bamboo is like making a small seal, and it is noble and meticulous." Old Du Sentence: The book is expensive, thin and hard, and can understand the gods. Youyun: The sword is long and the forest is facing each other. I should move to see this as well. Gong Xian (1618-1689), who was a contemporary of Xu Fang, had a view of the relevance of calligraphy and painting in the Painting Tips, and in the Yun shan Tu, Yun: "Yu is not only the painting of Mr. Mi, but also the calligraphy of Mr. Mi." Gong Xian's view of penetrating the principle of calligraphy with the meaning of painting method and painting into books in order to obtain the artistic effect of the same environment of calligraphy and painting is exactly the opposite of Xu Fang. Qing Zhang Dai (1597-1680) commented on Xu Wei's paintings: "The ancients called the poetry of Ma jie, and there are paintings in poetry and poetry in paintings. Yu is called the Book of Qingteng, there are paintings in the books, and there are books in the paintings. On the basis of Xu Wei, Qing Zhu Yun (1626 - 1705) clearly put forward the artistic propositions of "calligraphy and painting method" and "painting method and calligraphy".
The groups concerned with the above propositions and Xu Fang are all relict calligraphers and painters of the same era, they are good at writing and painting, so they have a certain understanding of calligraphy and painting, and the discussion between them on the proposition of "the same origin of calligraphy and painting" also has a certain influence on the wind of the times. Regardless of whether Xu Fang's concept of painting with calligraphy is influenced by the times, the common cultural ecology and the background of the times have created their thinking on the same issue. As for the proposition of "the same origin of calligraphy and painting", Zhou Xinglian, a Qing dynasty, has a brilliant insight in "Linchi Pipe View": "The character and painting book is self-co-worker, the word is expensive to write, and the painting is also expensive to write." Calligraphy penetrates into painting, and painting is all wonderful; drawing method is involved in books, and books are all divine. Therefore, those who are good at writing will be good at painting; those who are good at painting will also be good at writing. There are those who have come from calligraphy and painting and are good, there are Ruomi Xiangyang, there is Ruo Ni Yunlin, there is Ruo Zhao Songxue, there is Ruo Shen Shitian, there is Ruo Wen Heng Shan, and there is Ruo Dong Sibai. Its books and paintings can use one heart, string through the truth, there are paintings in the book, and there are books in the paintings. ”
Jin Wang Xizhi Le Yi On Parts of the Shanghai Library Collection
(3) The form of the book is one
Xu Fang wrote in "After the Book King Xianzhong Begging Cao E's Monument": "Calligraphy takes Xiao Kai as the ultimate, and Xiao Kai must be Emperor Jin Tang and Shang Yi." However, the atmosphere of the second generation is extremely different, and it cannot be said on the same day. For example, Xi and Xian Kai books are all still graceful, and the qualifications are out of nature, without saying the law and the rules are indeed unswerving, my heart and hands are forgotten, the shape of the book is one, if the stroke of the Ding Ding, the luck of the People, I don't know why it is so, so it is unique throughout the ages. The "nature" embodied in calligraphy is the highest artistic realm that has always been respected by calligraphers, and is an important aesthetic theory in calligraphy. Xu Fang was naturally influenced by this theory, advocating a natural, simple, and frank posture, and in it also proposed the "law" in the calligraphy of the "gelu", which has a law and is not limited to the "law", and achieves the realm of "natural interest". Among them, the discussion of "two hearts and hands forgetting, and the form of the book is one" is actually what Sun Guoting said in the "Book Genealogy": "The heart is not tired of refinement, and the hands are not forgotten." If the application is perfect, the rules are familiar with the mind, the natural tolerance and wandering, the intention is to write first, the flow is flowing, the Han Yi god flies, and the heart of the sheep is like a sheep, and it is prepared to be endless; the eyes of The Ding Ding, do not see the whole cow", and "Poor perverted in the slightest, reasonable on the paper; infernal hands, forget the kaize; self-reliance can be returned without loss, against the zhang and still working". The earliest discussion of this topic can be traced back to the Southern Dynasty Wang Monk Qian (426-485), who said at the beginning of the "Pen Yi Zan": "The wonderful way of the book, the divine brilliance is superior, the form is secondary, and the combination can be less than the ancients", in the artistic aesthetics, the connection between "form" and "divine brilliance" is proposed, and only "the heart forgets the pen, the hand forgets the book, the heart reaches the love, and the book is not delusional", can this realm of "form and god as one" be achieved.
Jin Wang Xianzhi Luoshen Endowment Thirteen Lines (Rough Stone Color)
(4) The key to "really being able to pass through the grass": making it turn
Whether in theory or creation, the influence of Sun Guoting's "Book Genealogy" on Xu Fang cannot be underestimated. The outpouring of his calligraphic concept is often supported by the Chinese language of the Book Genealogy. Xu Fang wrote in "After the Book King Xianzhong Begged Cao E's Monument": "Tang is stronger than skill, and the wrist is like a heart, so Ou Yu's book moves towards the 'second king', and it is still graceful, and it is stunned." And Yan Lu Gong Kai method is the most refined, and self-opening TangYu, pure Shang Ge law, Jin people are more than far away. Tang Xiaokai, its beauty but not good, holy but not divine? Sun Guoting Shu Puyun: 'It is really not grass, it is not Hanzha. It is also said: "Truely, with pointillism as its form, it turns into a sensual nature; grass takes a pointillist painting as a sensuality, so that it turns into a form." 'The relationship of the grass is to make the turn, and everyone knows it, and the truth is especially important to make the turn, and the people do not know it. And the grass turns, and the man sees, and the true makes the man turn, and the man does not see. He who is good at what is not seen, and whoever sees it later, is also good in human nature, and naturally peaceful in form. Cover change temperament has not been unsophisticated by the temperament, so it is said: 'Yuan is often not grassy, so that the turn is vertical and horizontal.' But its tendons are all missing, and the reason why this work is doubly difficult is that the system is complete. And the Tang Dynasty letter seems to stop working in what people see, but can not work in people's sights, the so-called really do not understand the grass? Now with the 'Two Kings' Xiao Kai refining the divine reason, see its allegory review in Hao Hao, Cun Dun frustrated by intermittent, no point without waves, no painting without turning, look at its order although broken but still connected, play its genre if it violates and is real. Sun Guotingyun: 'The guide is the spring note, and the Dun is the mountain. And Yu also said that Haofu was on the move, the pen was full and repeated, and he could get this, and he thought about it halfway. Having attained the rules of the Jin people, and Tang Kai is already within my degree, what is the point? Xu Fang's treatise on calligraphy in this paragraph is a long-term treatise on calligraphy at present, and its general meaning is threefold: First, it mainly expresses the "two kings" of the Tang Dynasty Xiaokai Patriarchal Law, which is still inferior to its predecessors, accurately summarizing the situation of the Tang Xiaokai although beautiful but not good, although holy but not divine, so as to establish the patriarchal "two kings" as the orthodoxy of the study book; second, it mainly explores the importance of "making the turn" between the grass and the Kai, and believes that the key to "really being able to pass through the grass" lies in the ability to work in the envoys that are invisible to people (especially in the Book of Kai), and then points out the Tang people." Third, it tells the story of the use of pen techniques in the process of Writing Xiao Kai, from the ups and downs of using the pen to the twists and turns of the dot painting, to the reflection, breath, system and other issues between the strokes, and finally shows his confidence in writing Xiao Kai, which not only has the charm of the Jin people, but also conforms to the rules of the Tang people. Although there are several levels of meaning, the focus of this passage is on the importance of working on the script to make the turn, so as to exhort later learning. Through this theory corresponding to his calligraphy practice, Xu Fang himself is indeed good at both kai and grass.
Tang Yan Zhenqing Qimi Ti Southern Song Dynasty Liuyuan "Zhongyi Tang Ti" Ben 16.5cm×36.5cm Zhejiang Provincial Museum Collection
Qing Xu Fang Record Chang Jian Wuyan Poem 62.6cm×136.6cm Collection of Shanghai Museum
(5) The book is based on the "two kings"
Judging from the correspondence between Xu Fang's calligraphy style and documentary records, Xu Fang benefited from the nourishment of Sun Guoting's "Book Genealogy" and Wang Xizhi's "Seventeen Theses", which can be seen in the cursive "Lan Baihua Song Scroll". In addition, Xu Fanglin's Xiao Kai of Wang Xizhi and the "Sacred Order of Wang Xizhi in HuairenJi" are also recorded, which can supplement the scope of cognition. It can be seen that Xu Fang's calligraphy pursuit is the same as that of calligraphers since ancient times, inheriting the concept of calligraphy with the "two kings" as the orthodox. He wrote in the "Book King Xianzhong Begging After the Cao'e Monument": "Prince Xianzhong, Wen Kegong's Wen Sun Ye, Miao Nian Du Zhi Linchi's learning, and please benefit Yu, because the imitation of the "Cao'e Stele" is a pass, and the jin and Tang calligraphy erer is also discussed." Since the husband had a book deed, Wang's calligraphy has been practiced for thousands of years, and the six dynasties have been good at it. In this xianzhong, in the year of Qi, eager to learn and ponder, when the revival and decline after several generations, and the continuation of the extinction of the ages? The calligraphy will belong to the Wang clan, and it can be seen here. In his calligraphy belief, he insisted that "calligraphy must belong to the Wang family", which had a decisive influence on the formation of his calligraphic style. Xu Fang wrote in the "Title Wanshan Gu Family Collection Sacred Order": "The Holy Order of the Holy Sect is unique in the Right Army Book, a family of its own, playing with its general rules and regulations, the wisdom of the pulse, all between the lines and inks, the gu is frustrated, it is no different from a person who has come out of the wrist for a while, and it is sincere and strange for thousands of years. Yu tastes the "Holy Order" like burning the incense of the lily, such as the miscellaneous treasures to become a vessel, but the present people smell the wonderful incense, but see the heavy instrument, and do not know that it is a hundred and miscellaneous treasures. This is especially true of the ancestors of the ancient and modern scholars, and the continuous book is especially important to collectors. This post is so good that the discerning person can identify it, and the rest does not matter, but on the calligraphy cloud. Xu Fang's writings do not show too much of the style of the "Sacred Order of Wang Xi of Huairen Collection", but the breath that overflows between the lines is indeed in line with the Wang Shu, and its loose and handsome style is completely born from the style of the Wang Shu.
Tang Sun Guoting Selected Books Selected II Collection of waseda University Library, Japan
epilogue
Because Xu Fang avoided the world and did not enter the city, the scope of making friends was mostly the identity of the remnant, so his calligraphy concept did not have a certain influence. Of course, in Xu Fang's eyes, he did not place poetry, calligraphy and painting in an important position, but enshrined character, integrity, and loyalty and filial piety as the creeds of life. Pan Zunqi wrote in "Mr. Xu Qianzhai's Calligraphy and Painting Scroll": "Zhu Xiaoding said that Mr. Qianzhai was extremely ambitious and unattainable, that is, the matter of the article Han Mo painting was categorically disdained as the second person in ancient and modern times. Mr. Hainei remnants, poor and hungry, and zero broken, the world zhenzhi, if Yoshimitsu katayu, cover its high wind and bright festival, rise up a hundred generations, not in vain with the article Han ink painting dyeing matter also heavy also. "Xu Fang adheres to the value position of the remnants, and has his own value judgments in terms of lifestyle, emotional expression, and life state, so he has a different artistic language, technical expression and aesthetic concept in the world of calligraphy and painting."
Northern Song Dynasty Ouyang Xiu Zhuo Ai Ti 18cm× 25cm
While continuing to pay attention to the major relict calligraphers of the Ming and Qing dynasties, we must not ignore the group of people who are good at painting and good at writing, even if the relict calligraphers and painters such as Xu Fang have not made outstanding achievements in theory and practice, but they have an indispensable weight in the construction of the "relic spirit" of the times. Many of the calligraphy and calligraphy in the group of relict scholars are lurking in unknown corners, and have yet to be excavated, sorted out, and studied by future generations to give sufficient understanding to the unique style of books formed in that era.
Northern Song Dynasty Ouyang Xiubao "Collection of Ancient Records"
Qing Xu Fang Zhi Gong Gong One of the 11cm×27.8cm Collection of Shanghai Museum
Qing Xu Fang Zhi Gong Gong× Gong Zhi.8cm Zhi
Qing Xu Fang Cursive Five Laws 69.6cm× 151cm Collection of Suzhou Museum
Qing Xu Fang Inscription Painting Poetry Cursive 57.6cm×142.6cm Collection of the National Library of China