Nowadays
There are a lot of people talking at every turn
"Ugly Book"
What exactly is an "ugly book"
How to define
What are the standards of aesthetics
These are controversial issues
Let's take a look at Jinnon's work and experiences
I'll think again
Nor can it assert ugly books
Portrait of Kinnon
Jin Nong is the core figure of the Eight Monsters of Yangzhou.
He is a great poet, book, painting, print, piano music, appreciation, and collection. Jin Nong studied literature from an early age and had a high literary attainment. His strong academic training makes him rank first among the "Eight Monsters of Yangzhou".
Jin Nong Li Shu
On paper Length 149 cm Width 146 cm Collection of Tianjin Art Museum
Jin Nong's calligraphy is also one of the most accomplished in the "Eight Monsters of Yangzhou".
In his early years, the style of his Lishu was regular, the strokes were thick and simple, his strokes were not sent to the front, the structure was strict, more restrained, and less outward-looking posture, with a simple and concise style.
Jin Nong Kai Shu
On paper Length 117 cm Width 52.3 cm Collection of Guangdong Provincial Museum
Jinnong's calligraphy seems to be in the same vein as folk calligraphy, without light and heavy line changes and rounded turning pens, nor is there a wave pick in Teton, with uniform lines and square hard turns, writing a book body similar to a single-line art character, but with the ancient rhyme of instrumental characters.
Jin Nongxing Book "Yan Ming Book"
Album On Paper, 1730, Length 24.5 cm Width 13.7 cm Collection of Guangdong Provincial Museum
From its early days, Jinnong's writings are out of place, with a frank pen and adjunctive.
But!!!
When Jinnong reached the height of fame in his fifties (1740), he created a "thirsty pen eight points", which combined Han Li and Wei Kai, a new style of writing known as "lacquer book".
Lacquer Book Fan
This is a special method of using pen and ink. Thick as lacquer, the words written are protruding from the paper. The brush used, like a flat brush, dipped in thick ink, the line pen only folds, like a brush paint, its strokes are square, angular, horizontal strokes are thick and vertical, and the ink is dark and shiny.
The words written in this method look rough and simple, but in fact, they are big-minded and have a majestic charm. It is a sign of Jinnong's bold innovation and self-pioneering.
Jinnong"Lacquer Book Xianghe Sutra Axis"
On paper, 1752, length, 156 cm, width, 37 cm, Collection of the Palace Museum in Beijing
The reason for this is not only subjective factors such as the artist's personal temperament and experience, but also the factors of the times. Throughout the ages, whenever the wind of the times was formed, there were "unruly" artists who came out of nowhere, who were different and tried to turn the tide.
It was a rebellion against the style of the times, and the art of calligraphy was a moment of brilliance and blossoming.
The Yang Ning style of the five generations is like this.
Yang Weizhen in the middle and late Yuan Dynasty was like this.
The same is true of the "Eight Monsters of Yangzhou" in the middle of the Qing Dynasty.
And today's Wo Xinghua and others are likely to be the same.
Fu Shan said, "It is better to be ugly than to be flattered." ”
Obviously, Fu Shan believes that it is better to be "ugly" than kitsch.
He didn't compare ugliness and beauty together, he had his own ideas in it. In the process of appreciating calligraphy, "beauty" can be said clearly, but "beauty" is not clear. What kind of word is "beauty"? It's hard to answer, but the Book of Kitsch is easy to tell.
Today, when we look at his writings, it is obvious that he is not the way of the thesis, and compared with the "kitsch" of some contemporaries, it is not at all in the same realm.
Jinnong once wrote a poem expressing his calligraphic aesthetic:
Will audit the history of the negative posture, the word altar absurd laughter galloping.
Shame to the scribe as a slave, Huashan tablet stone is my teacher.
The meaning of this poem is obvious.
The first sentence negates Wang Xizhi, saying that he is impatient with his vulgar words;
The second sentence thinks that the thesis is outdated, look at me laughing and galloping in the book world;
The third sentence goes further, arguing that everyone who learns calligraphy will eventually become a "book slave";
The fourth sentence reveals the conclusion that the Huashan Tablet Stone is what I want to teach the Fa, that is, I only learn the stele.
The works of the Eight Branches (Lishu) are mainly concentrated around the age of 35 to 50.
At the age of thirty-six or seventeen, Jin Nong began to copy Han monuments such as "Xiyue Huashan Temple Stele", "Yiying Stele", "Xia Chengbei", especially the immersion of "Xiyue Huashan Temple Stele", leaving many Linben from the age of 30 to his old age, and the "Linxi Yue Huashan Temple Stele Book" now collected by the Palace Museum was written in the twelfth year of Yongzheng (1734), at the age of 48.
He also described in a poem about how he felt about studying the monument:
"Will audit the history of the negative posture, the character science is absurd and laughing." Shame to the scribe as a slave, Huashan tablet stone is my teacher. ”
Part of Jin Nong's book "The Biography of Wang Rong"
Jin Nongli's book "The Biography of Wang Rong" (now in the collection of the Nanjing Museum) is a good proof of the study of the "Huashan Temple Stele".
The late Qing Dynasty and early Ming dynasty calligrapher Wang Wan's inscription:
"The Han people divided the law, since the Zhao song, lost their autobiography. Zhao Songxue and Wen Zhengming occasionally did it, but they only took the square and the whole. To Deng Gukou, strive to be retro, use the pen pure master "Xia Chengbei", deeply rooted in the Han Dynasty techniques. Along the occasion of yongqian, the good subordinates are all in the sect. Those who can excel in their own way, Mr. Dongxin began. From then on, see "Xiyue Huashan Stele", the penmanship is a change. In this volume, the pure master of the pen knot "Huashan Stele" also has Zhiying's pen body revealing a millimeter, covering the habit for a long time, and failing to exhaust it. To the ingenuity and ingenuity, the exquisite immersion is worthy of being the disciple of Zhonglang. An Wu's book review only lists the energy products, and it is not allowed to be Zhiyin also. ”
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Editor-in-Chief | Early morning Anna
Editor-in-charge 丨Anna