Introduction: Yuan Dynasty officials, scholars, poets. Together with Jie Daisi, Liu Guan, and Huang Shu, he was called the "Four Masters of Rulin in the Yuan Dynasty". The poem is on a par with Jie Daisi, Fan Yi, and Yang Zai, and is called "The Four Greats of Yuan Poems".
Yu Ji is the oldest after the third master of the Yuan Dynasty, and the official position is also the highest, it can be said that Yu Ji is another advocate of the retro book style after Zhao Ziang.
As the leader of the literary circle and the literary circle of the Yuan Dynasty, Yu Ji's calligraphy and literary thought still influenced future generations, and it was precisely under the efforts of Zhao Ziang, Yu Ji and others that the calligraphy of the Yuan Dynasty appeared retro and new changes, and innovative calligraphers such as Wu Zhen, Rao Jie, and Yu He appeared in the later period.
"To Dr. Danqiu Za"
01 Four Dynasties Literary Celebrity
Yu Ji (虞集), zi Bosheng (字伯生), daoyuan (号道園), because of his study name Shao'an (邵庵), was also known as Mr. Shao'an (邵庵), later known as Weng Sheng (翁生), whose ancestral home was Sichuan, was born in Hengzhou, Hunan, and moved with his father to Chongren County, Jiangxi when he was a child, after Yu Shinan, a famous minister of the early Tang Dynasty.
Yu Ji was famous, and his twentieth ancestor Yu Shinan was a famous courtier of the early Tang Dynasty, virtuous and loyal, erudite and talented, and also known as Shuhan. The fifth ancestor Yu Yunwen, a famous patriotic general of the Southern Song Dynasty, defeated the Jin army in the quarry battle of Shaoxing in the thirty-first year, and was an official to the rank of minister. His father, Yu Ji (虞汲), was a former Lieutenant of Huanggang and lived in Linchuan Chongren after the fall of the Song Dynasty. His father, Yu Ji , was the editor of the Song Dynasty History Academy , and was given the title of Zhongfeng Dafu ( Zhongfeng Dafu ) , and was posthumously awarded the title of Duke of Yong Commandery in Sichuan and other places.
Yu Ji studied Cheng Zhu Lixue since childhood, and was deeply influenced by Confucian orthodoxy, but he was not bound to the law and his thinking was relatively open. He knew how to read at the age of three, and when the war was in turmoil at the end of the Song Dynasty, his maternal grandfather Yang Wenzhong moved to Quanzhou, his father was a family subordinate, and there was no book to carry in Gange, so his mother Yang Shi dictated the Analects, Mencius, Zuo Shi Chuan, and Ou Suwen to teach Yu Ji, and after hearing it, he could recite it.
When his father returned to Changsha from Lingnan, Yu Ji was only getting a book from his grandfather's secret overseer, and by this time he had already been able to read the article on his own. Jiashen Yuji moved from his father to Chongren, Jiangxi, and became acquainted with Wu Cheng, who, upon seeing Yu Ji's articles, said that he would be famous in the world. Since then, Yu Ji has studied under Wu Cheng for many years and has made great progress in his studies.
In the first year of Emperor Yuanchengzong's reign, Yu Ji went to Dadu, where he was recommended as a professor of Confucianism in DaduLu.
During the reign of Emperor Renzong, he wrote for Ji Xian. During the reign of Emperor Taiding, he was promoted to the rank of Hanlin Zhishi and Guozi Matsuri.
When Emperor Wenzong was the King of Huai, he knew the name of Yu Ji, and after succeeding to the throne, he was awarded the Kuizhangge Shushu Bachelor, the Jin Hanlin Attendant Scholar, and compiled the Classics of the Classics with Zhao Shiyan and others.
Because Yu Ji had said that Emperor Shun was not a son of Emperor Mingzong, after Emperor Shun ascended the throne, he returned to his hometown after he fell ill.
After Yu Ji returned to Linchuan, he once studied the Taoist Scriptures, "had to hide in the ancestral place of the Immortal Mao Gong at the eastern foot of the altar of the Huagai Floating Hill in Linchuan", and called himself "Disciple of the Three Realms of the Great Cave", and wandered between the mountains and rivers as a disciple of a protégé. Emperor Shun ordered him to reinstate himself and go to Qi, but he politely said that Xie En would not go.
Around the third year of the Yuan Dynasty, Yu Ji returned to Chongren, built a room to live, and the people who came to the door looked at each other in the Dao. In addition to the literati and students who visited Yuji in Chongren, there were also monks, Taoists and hermits, and Yuji often discussed old learning with them, learned morality, and became the core figure of Linchuan, Chongren and even Jiangxi culture.
Yu Ji died at the age of seventy-seven, and was posthumously awarded the title of Governor of Jiangxi Province, fengrenshou commandery, and Yuwen Jing.
Yu Jihong was knowledgeable and knowledgeable, and in his lifetime, he took literature and political affairs as his business, and he said: "After inheriting peace, there is nothing in the world, and then literature and political affairs are prominently followed, and it is appropriate to consolidate it." ”。 The Yuan Dynasty's edicts and gongqing tablets were all written by him, and the articles were written by a generation. Together with Yang Zai, Fan Ming, and Jie Daisi, he was called "The Four Masters of YuanShi", and together with Jie Daisi, Huang Li, and Liu Guan, he was called "Ru Lin Si Jie"
"Eight Immortals Song in the Drink of Ren Renfa"
02 Gu Li is the first in contemporary times
Yuanren calligraphy has a distinct feature, which is manifested in other calligraphy such as true grass, especially on seal books, mostly focusing on retro and tracing the origin of the Tao, but lishu is more important than law-abiding.
Lishu originated from Qin and flourished in Han, the Upper Seal Book, the Lower Qizhen Book, because it is more adapted to the rich changes in brushwork, so that the art of calligraphy began to detach from the dependence on the change of writing and gradually developed consciously, so it was valued by successive generations of calligraphers. But it also gives rise to a problem: "strong and soft", its silkworm head goose tail, left wave right brick characteristics are still the implicit existence of the seal book "commission", so Han Li has its own ancient thick nature.
However, due to the fact that after the Han and Wei dynasties, the Kai and Xingshu replaced the Lishu as the common calligraphy, so the lishu after this often had the characteristics of horizontal and vertical strokes. This caused the straightness and rigidity of the Lishu after the Sui and Tang Dynasties, and the so-called "generations of pressure, can not be high" refers to this characteristic.
Although Yu Ji takes the law from the uniform Wei and Jin Lishu, it can be strong and calm without losing elegance, without restraint and carving, and the writing is elegant and flexible, showing his profound work in Lishu, so Yuji's Lishu is the most praised kind of Yuji calligraphy, which is called "high character and ancient law" by predecessors.
Yu Ji "only the ancient is the teacher", advocating the wei and Jin ancient laws as the teacher, and the seal is based on the six books as the rule. His "only ancient is the teacher", "ancient" refers to the ancient law of Wei and Jin. He once said: "Song Taizong carved the Secret Cabinet Fa Ti, and those who saw the calligraphy of the Jin and Wei Dynasties in later generations, with this, the greatest view is exquisite, and the learners of the book began to know the ancient law." Yu Ji pushed the Wei and Jin ancient laws heavily, and at the same time, he was still under the seal. He believes that through the knowledge of three generations of Bell Ding Jinshi, scholars and scholars can seek the love of the ancients and the meaning of the ancient law.
Today, we cannot know whether Yu Ji has studied the Shigu script, and his seal writings have not been preserved, only the seals of the "Treasure of the Heavenly Calendar" and the "Kuizhangge Treasure" can be referred to, but unfortunately we have not been able to see the twelve seal characters of the "Nanfeng Zeng's New Wending Gong Ancestral Hall", And Li Dongyang has praised: "Yu Gong Seal Law, Eight Points, KaiShu and Articles, all of which are beautiful in this volume." However, Yu Jishan Lishu, Tao Zongyi commented on its "ancient lili contemporary first".
Yu Ji's works were the most wonderful in his years, and in his later years he was slightly weaker due to eye disease, and in the golden period of his writing was when he was in Shikui Zhangge, Yu Ji's Xingshu, Kaishu, and Lishu occupied an important position in the Kuizhangge scribes of the Yuan Dynasty with their clean and elegant style.
Dongyuan "Xia Jing Mountain Pass To Be Crossed"
03 degrees dangerous, vigorous and quaint
Yu Ji's poems were written by everyone at that time, and calligraphy was also everyone, who worked with Zhao Ziang in the Hanlin Academy, Zhao Ziang was his superior, and calligraphy was naturally influenced by Zhao Ziang. Looking at his works, he has a deep charm of the Jin people, and the clear and clear atmosphere does not reduce the Zhao family.
At the beginning of the Yuan Dynasty, with the stability of the dominance of the Mongol nobility, Yuan Chengzong and Renzong attached great importance to Han culture, and also approved the Han Nanren shi into the Yuan court, showing a good development trend in literature and art, especially in the third year of the third year, Zhao Ziang was once again summoned to Beijing, a group of calligraphers and painters returned to each other, and the retro atmosphere formed on the book world played an important role in yuji's calligraphy practice.
Under the influence of Zhao Ziang and other scholars, Yu Ji taught Wang Xizhi, and at the same time took Fa Liu Gongquan, Yu Shinan and Zhiyong, and he always took the self-identified calligraphy as the teacher and returned to the Wei and Jin ancient laws, thus firmly following his own calligraphy path, forming a clean and elegant calligraphy style.
"Title Xu Xi < Flower Grass Worm Roll >"
The whole has the shape of the script, the breath is consistent, it is actually a line of writing, and it is sandwiched with weeds, the characters are flat and the pen strength is slightly weaker, which represents the writing level of the early Yuji.
"To the White Cloud Master"
The article claims that "the eyes are dizzy and the writing is not very neat." Yu Ji had an eye disease in his later years and often talked about it in his letters, so this post was written in his later years. The calligraphy is lined with pens, the characters are continuous, the law is dangerous, and the strength is healthy and elegant. As Wang Shizhen said: "Use the pen like a sloppy one, and be self-conscious." ”
"Tao Poems of Zhao Mengshu"
Although this trek is only six lines and fifty-four words, several poems can reflect the highest level of the Yuan ren lishu. Although the strokes are strong and solid, they have not departed from the Yuanren's penmanship, but the knot is sparse, the posture is staggered, and the neatness of the Wei and Jin Lishu is different from the neatness of the Wei and Jin Lishu, and there are still typical Lishu before the high maturity of the Eastern Han Dynasty. Therefore, although the inkblot of Yu Ji Lishu is only this one, it has a special value in the history of Calligraphy in the Yuan Dynasty.
It can be called a masterpiece of his book. Its strokes are smooth, the breath is scattered, and the vigorous use of the pen is also fully reflected in the broken edge and thirsty pen of this article, the strokes are decisive and clean, and the tough brush is seen in the proficiency of the Jin and Song dynasties, which is very different from yu ji's other works of calligraphy and calligraphy. The courtesy of the calligraphy has changed into the flow of the book, and the rate of writing is fully revealed in this book, which is also the valuable point of Yu Ji's popular book. Therefore, we think that this work can mark the maturity of Yu Ji's style of writing.
"Dingwu Lanting"
epilogue:
Yu Ji was a master of calligraphy in the Yuan Dynasty after Zhao Mengjie, who was good at all kinds of calligraphy, and his calligraphy thought also had a complete system, which not only inherited Zhao Ziang's retroism, but also had many unique insights. Yu Ji continued the tide of "retroism" with his own calligraphy ideas and calligraphy practice, and expanded the development space of calligraphy in the Yuan Dynasty.
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