Flower slave master, Xian YuShu (paragraph) inscription ink, source: Ming, Qing Xu Xi (pseudo) jin ash pile picture scroll.
Flower slave master calligraphy
Rarely known as Shu (pseudo)calligraphy inscriptions
Throughout the history of calligraphy, due to the "reversal" of the Song people's "Shangyi" style of writing, the Yuan Dynasty book circle has reproduced the retro trend of respecting the law, and Xian Yushu, like Zhao Mengfu, has become "the forerunner of the classical calligraphy trend that returned to the tradition in the early Yuan Dynasty" (Huang Wei).
According to the "Epitaph of Xianyu Fujun", Xianyu family has been a reader for generations, and Xianyu received water from his grandmother's inkblot when he was a child, and later asked the Jin Dynasty scholar Zhang Tianci for advice. Yuanren Liu wrote about his experience in calligraphy: "The book of Xianyu Sleepy Learning (鲜于書書) (鲜于書書) with the cardinal title "Sleepy Learning Mountain People"), first learned Otun Zhou Qing Zhuxuan, and later learned Yao Lu Gong Xuezhai for the Experience of Hunan Xiansi, see Li Beihai's "Yuelu Temple Stele", which is a gain. To Jiangsu and Zhejiang and Chengzhi Zhao Gongzi Angyou, his book is Dajin, in the name of the world, the first grass. While asking for benefits and communicating with Shi Yan, Xian Yushu also went straight to the Tang and Song dynasties, going back to Wei and Jin, "deliberately learning ancient books, and the pool water wants to be black" (Zhao Mengfu poem). He has a variety of famous posts, especially for Yan Zhenqing's "Sacrifice nephew manuscript", which is called "the second book of the world, the first of the book of law in my family". Books such as "Shiqu Baodi" and "Daguanlu" have recorded many inkblots such as Wang Xizhi's "Seventeen Theses", Wang Xianzhi's "Flock of Geese", Yan Zhenqing's "Deer Breast Posters" and Huai Su's "Self-Narration Posts". Many of the Fa Ti also have his wonderful inscriptions, such as "The scholar has the King of Zhong, the Confucian has Zhou Kong, and the scholar of today exports the 'two kings' of Tuiyun, without saying the bell, just like Confucius and Mencius, but not Zhou Gongye." According to Ming Fengfang's "Book Tips", Xian Yu Shu Xiao Kai is taken from the Fa Zhong Xuan. At the same time, he was also good at teaching nature, according to records, he "studied books in his early years, ashamed of being like the ancients, and occasionally saw the two people pulling the car to walk in the mud, so he realized the penmanship..." This is the same reason as Zhang Xuguan Sword Dance and Huang Tingjian seeing the swinging paddle to understand the penmanship.
Xian Yushu has a straightforward personality, and the contemporary scholar Chen Xuan Zengyun: "In this generation, only Xian Yu Langzhong (referring to Xian Yushu) is good at hanging the wrist book, Yu Asked, and the angry eyes stretched out their arms: 'Guts! gall bladder! gall bladder! This kind of strange personality that is proud of the world is especially manifested in the creation of walks and grasses--majestic and uninhibited. Zhao Mengfu was extremely critical of this, and once said: "Yu and Boji (rarely in cardinal characters Boji) classmate cursive, Boji is too far away, trying to chase it and can't reach it..."
Among the few inkblots in the Shu dynasty, the book "Su Shi Haitang Poetry Volume" can be called one of the masterpieces. This line of cursive paper is 34.5 centimeters long and 584 centimeters wide, and it is a collection of su shi yong haitang seven words and long ancient times, followed by many calligrapher inscriptions and collection marks since the Yuan and Ming dynasties. Yuan Qiu Gui said: "Xianyu Weng Cursive Shu xiu 'six righteousness' (author's note: "six arts" refers to "Yi", "book", "poetry", "rites", "music", "Spring and Autumn" and "six classics"), without a single stroke. Everyone knows that he is strong and vigorous, but he does not know that he is prepared for six righteousnesses in the middle. Ming Dong Qichangyun: "Mr. Gai Dongpo has repeatedly written "Begonia Poems", no less than ten copies, and Bo Ji intends to attach the poems of the famous sages to pass on his books, so he should go all out to pay for them. ”
This volume is written in a very elastic and rigid way, mainly in writing, and also uses cursive methods. He used a pen to take more Tang people, as Yuan Ren said: "Good back to the wrist, so the book is round, or it is discussed that it uses more Tang law." And the Qing dynasty Ruan Yuan also said that the rare Yu Shu "handwriting is lively and powerful, between Sun Guoting and Li Beihai (邕)". Carefully examining this volume, there are many inconsistencies with Yan's "Sacrifice Nephew Manuscript", "Liu Zhong's Envoy Post" and "Battle for The Seat", and the penmanship is indulgent and full of attitude. There are about 200 words throughout, "pay with all your might" and "there is no scruples". From the perspective of pen strength, the sharp ink is gathered, the circle is strong, and the beginning and end of each stroke, the setback, the turn... All are calm, but they are constantly changing. For example, the ink is gathered into "points", there are punctual points, side points, pick points, continuous potential row points, etc., large or small, light or heavy, the knot is appropriate, and there is no end. For example, all horizontal, vertical, skimming, and twisting all kinds of "elements" can be bent to the fullest, such as "miasma", "recommendation", "Hua", "long" characters, although there are many horizontal paintings, but "swallows do not fly twice", according to the situation; "miasma", "grass", "Hua", "halo", "middle" in the vertical painting, more "hanging needle" shape, the line is strong, straight and powerful... The knot body is slightly in the upper right, magnanimous and generous, and the longitudinal is measured; the weed book in the middle of the line book has changes in the regularity, which increases the lively and vivid interest. This volume is almost flush up and down, the row spacing is uniform, not exciting, and natural and smooth. The up-and-down coupling between words and words is "pulling silk", and more is the internal gesture that makes the up and down echo freely, and the left and right let each other get along. Looking at the whole volume, as Mr. Liu Xingeng said: "The knot is rigorous and indulgent, the dot line is cool and three-dimensional, and the mood is majestic and the rules are in and out of the luck." With profound skill, he showed the pursuit and creativity of the beauty of calligraphy, thus also showing his temperament and personality. ”
Although his peers praised XianYushu for "having ancient laws in both pens and pens, which are enough to be the most precious treasures" (Zhao Mengfu), because of his mud adherence to Tang law and the exclusion of the Song people, Ming Panzhishu's "Calligraphy Off the Hook" criticized: "The Yuan people from Zhao Wuxing (Meng Fu), XianYu Boji's sound price is almost the same, extremely round and healthy and can not go to the vulgar. Mingren Fang Xunzhi also pointed out that his "posture is full of greatness and less rhyme". The reason why the Yuan Dynasty book scene with the "return" tradition as the main stream is more "lonely" in the history of books is because there are more inheritances and less innovation. Xian Yushu was also not exempt from "customary", which was the main reason why his calligraphy was criticized by posterity.
#pgc-card .pgc-card-href { text-decoration: none; outline: none; display: block; width: 100%; height: 100%; } #pgc-card .pgc-card-href:hover { text-decoration: none; } /*pc 样式*/ .pgc-card { box-sizing: border-box; height: 164px; border: 1px solid #e8e8e8; position: relative; padding: 20px 94px 12px 180px; overflow: hidden; } .pgc-card::after { content: " "; display: block; border-left: 1px solid #e8e8e8; height: 120px; position: absolute; right: 76px; top: 20px; } .pgc-cover { position: absolute; width: 162px; height: 162px; top: 0; left: 0; background-size: cover; } .pgc-content { overflow: hidden; position: relative; top: 50%; -webkit-transform: translateY(-50%); transform: translateY(-50%); } .pgc-content-title { font-size: 18px; color: #222; line-height: 1; font-weight: bold; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; } .pgc-content-desc { font-size: 14px; color: #444; overflow: hidden; text-overflow: ellipsis; padding-top: 9px; overflow: hidden; line-height: 1.2em; display: -webkit-inline-box; -webkit-line-clamp: 2; -webkit-box-orient: vertical; } .pgc-content-price { font-size: 22px; color: #f85959; padding-top: 18px; line-height: 1em; } .pgc-card-buy { width: 75px; position: absolute; right: 0; top: 50px; color: #406599; font-size: 14px; text-align: center; } .pgc-buy-text { padding-top: 10px; } .pgc-icon-buy { height: 23px; width: 20px; display: inline-block; background: url(https://lf6-cdn-tos.bytescm.com/obj/cdn-static-resource/pgc/v2/pgc_tpl/static/image/commodity_buy_f2b4d1a.png); }
Emblem girl brush and milli yang milli xingshu Du Pin Yushu Xuanbi calligraphy Xuan pen ¥48 purchase
Xian Yushu calligraphy "employs very deeply, when people have few people know" (Yuanren Deng Wen original language), in his later years, he was even more closed-door to guests, did not ask about the world, and took pleasure in tuning the piano and writing books. In 1989, xianyu shu tomb was found in Hangzhou, along with seals, duan yan and pen end ornaments, and other things that Xian Yushi played with before his death.