Introduction: Feng Fang, a typical scholar-type retro book writer, but the book name is hidden by the Wumen Shu School. In his later years, he behaved wildly because of his madness, and he liked to compile "forgeries" that were not tolerated by the world.
Seven Words and Poems
Guan Fengfang's life is easily reminiscent of Xu Wei, who was slightly later than him.
The two have many similarities in their contemporaries and life experiences, especially Fengfang and Xu Wei in their later years, both suffered from mental illness, which had different degrees of influence on their artistic lives, but the two left to posterity are very different.
Even in the case of "heart disease" torture and arm paralysis, Fengfang's calligraphy still bears witness to the imprint of deep rationality and Taoism, and Xu Wei has become a representative of the late Ming Dynasty's personality and romantic calligraphy, almost pouring all the sour, sweet, bitter and spicy of life into the art of calligraphy and painting, directly lyrical, and a strange figure in the history of calligraphy and painting.
Fengfang's talent and learning did not lose Xu Wei, but he was relatively cold before and after his death, and the world seemed to think that his calligraphy style was not clear enough, but his cursive writing was called "I am the first in the dynasty" by Tang Yuanqing.
Cursive "Pillar Line" part
<h1 class="pgc-h-arrow-right" Data-track="12" > a life that opens with comedy and ends with tragedy</h1>
Fengfang's life can be described as a comedy opening and a tragic ending. He once had a talented, generous teenager, depressed in middle age after the boycott, and rather depressed in his later years.
Fengfang, Zi Cunli, Ren Uncle, Nanyu Foreign History. Later, he changed his name to Daosheng, more character Ren Weng, don't sign Ren Ji, Tianye Ren, Western Suburbs Farmer, Nanyu Laoshi, etc., the world is mostly called Feng Kao Gong, Zhejiang YinXian people. Born in a prestigious family, the family's rich collection environment made Fengfang well educated from an early age and immersed in books.
In addition to Confucian orthodox books such as the Four Books and Five Classics, Fengfang also likes Zhuangzi. Dong Qichang's calligraphy achievements after he became an adult were comparable to Wen Zhengming's.
Fengfang took the township examination at the age of 25 and won the first place in the list. At the age of 30, the father and son were officials of the same dynasty, and the Feng family could be described as a flourish at this time. Fengfang was therefore full of ambition, high in heart, full of spirit, and promised to be "lonely and loyal".
His family background and personal endowments gave Fengfang a sense of superiority, so he dared to challenge his authority and frequently engaged in deviant or inappropriate behaviors, such as contempt for the imperial examination, "flattery" in the great ceremonial discussion, and compilation of forgeries. And so it comes at a great cost.
Cursive "Li BaiShi"
In the sixth year of Jiajing, the 34-year-old Fengfang was involved in the struggle of "Great Ceremony". His father was demoted to the Zhenhai Garrison in Fujian, and Fengfang was demoted to the south. Three years later, he was degraded again because of his failed performance appraisal, and finally fell back to his post. His father died in the garrison.
A series of blows such as the setback of his career and the wrongful death of his father have made the originally untimely character of Fengfang more obedient:
Xing or Gengzhong, the piece of language is consensual, the lungs and liver are trapped, the orbit is humble, that is, the spear and the spear are stabbed, or the mother is cicada Juan, and the rebuke Lan Tsuen is Cao Meng, if there is no one around, it is rare to be scrupulous. Those who know think it is strange and those who do not know think that the circle of birth is also.
In his later years, Fengfang's life was very sloppy, with no food and clothing, and he wandered among the Linshan temples until he died of illness in the monks' house of Xiao Temple.
The number of calligraphy works left behind by Fengfang is not in the minority, and his achievements in learning are even heavier than his calligraphy achievements. Unfortunately, he often used his profound calligraphy skills to imitate the authentic works of famous artists in previous generations, and even reached the point of chaos and deception. As a result, his achievements and influence were greatly reduced, and he was not forgiven by history.
The Great Compassion Curse
<h1 class="pgc-h-arrow-right" data-track="70" > calligraphy theory is reflected in his two surviving works</h1>
Although Fengfang failed to form its own style in calligraphy creation, it had its own unique views on calligraphy theory and teaching theory. His calligraphic ideas are mainly embodied in his two books on the theory of calligraphy, namely "Book Tips" and "Children's Study Course".
Fengfang is proud of the first generation, looking at the ancient and modern, and has its own difference from the people of the times and surpasses the people of the times.
Unlike the way in which most calligraphers in history have adopted theoretical arguments and criticisms to refute the ideological views of others, in order to correct the shortcomings of the times and sweep away the ugly style of calligraphy that he called "the shackles of beggars, leprosy covers" and "bloated and faltering, without the appearance of a human being", Fengfang personally summarizes, discusses and advocates effective calligraphy techniques, so that the learners can go deep into traditional techniques and abandon fashion vices, and their intentions must be good and bitter.
In fact, the book is written by Fengshi for beginners to learn calligraphy, but in fact, the book is a step-by-step path for learners from various angles such as pens, order of learning, copying, Fa Ti, Calligraphy, Cursive Writing, Seal Writing, and Eight Points, which is obviously not just for ordinary children to learn books, but is completely a necessary way to create and cultivate comprehensive calligraphy materials.
There are many inscriptions listed in the book, so that the chasing wind and the obsessive people can see what is the right way to learn the book. He so quietly followed the ancients and returned to tradition, and warned the people of the times that they had the effect of spring wind and rain.
Zhang Xu's "Four Ancient Cursive Poems"
The "Book Tips" combs and summarizes the books of the predecessors, takes the shortcomings of the book style in the early Ming Dynasty as a lesson and strives to correct it, so as to fundamentally solve the retro return. Exploring calligraphy, making breakthroughs and even innovating from the perspective of brushwork is the wisdom of Fengfang.
Fengfang has spoken in detail from the size of the word, the writing posture, and the very subtle movements in the process of running the pen, which can be said to be beyond the limitations of the language expression that was too abstract, empty and ambiguous in the previous predecessors' discussion of brushwork, thus enhancing the understanding and comprehension of the reader's penmanship and making the penmanship learning more operable. This is also the value of Fengfang's theory.
It can be seen from this that Fengfang's vision is high, his mind is sober, the drawbacks of acupuncture are to the point, and the pulse of the book style of the times is accurate. Helplessly, the taste of authenticity and Taoism is too strong, and there are few echoes, until later Xiang Mu ascended to the height of the "Calligraphy Yayan", which made the theoretical orientation and banner of the retro in the middle and late Ming Dynasty more distinct.
Unfortunately, at this time, the ethical and moral foundation of the Ming Dynasty was already in turmoil, and the retro return of pure and innocent colors had lost the soil for survival and development, and had become more and more of a fantasy.
Xingshu Seven-Word Poem "Zhongfeng Ancestor Foot Song"
<h1 class="pgc-h-arrow-right" data-track="80" > all five bodies, longer than cursive</h1>
Fengfang is erudite in engineering and literature, and can do all five in calligraphy, mainly in cursive. His cursive writing style is diverse, involving many calligraphers, such as Erwang, Huai Su, Mi Fu, Huang Tingjian and so on.
The art of Fengfang calligraphy is known for its grass and achievements. Praisers such as Tang Yuanqing pushed his cursive writing as the first of the Ming Dynasty, Dong Qichang called Fengfang and Wen Zhengming together as "Ink Pond DongHu", zhu Mouqiu's "Continuation of the History of the Book" said that Fengfang "its cursive writing came from the Jin and Tang Dynasties, and there is no attitude of the present people... Li Zixing commented that his "Ganlu Ti" was particularly divine. ”
The cursive script of the Ming Dynasty, the "Three Song Dynasties" represented by Song Ke at the beginning, is the yuxu at the end of the Yuan Dynasty, and the influence of Zhang Cao is more obvious. As for Xie Dasheng and Zhang Bi, there was more than enough frenzy and insufficient law.
In the middle period, the group of calligraphers represented by the Wumen Shu School returned cursive calligraphy to the Jin and Tang Dynasties, and although Fengfang did not belong to the Wumen Shu School, it was the backbone of this retro movement.
Fengfang cursive writing is preferably Zhangcao, Xiaocao, and Large Grass, and Zhangcao takes the method wei and Jin, which is obviously influenced by the predecessor Song Ke, slightly lacking bone strength and simplicity, and there is not much breakthrough. Looking at its large grass, the center forward uses a pen, dot painting Xiujin, and chasing Huaisu, but the round and vivid place is slightly inferior to Zhu, Wen and so on.
The most impressive and outstanding achievement is Fengfang Xiaocao, the Two Kings Of The Law Milk Ginseng tang, Song, Yuan pen meaning, dry and old spicy, clumsy and thick, center round turn, force through the back of the paper, the so-called "great wrist strength", Fengfang advocated the penmanship and hanging wrist skills in Sisi are clearly visible.
Wild Grass Li Baishi "Sleepwalking in Heaven and Staying Away"
It is precisely because his understanding of penmanship and calligraphy is accurate and in place, so his orthography is also handled in the chest, the law is rigorous, and the ability to control the pen is extremely strong. Throughout the chapter, FabuBai is orderly, flowing and graceful like clouds and flowing water, a wei and Jin heavenly opportunity; and there is also a cliff upside down like a loose spirit, quite a rice rhyme.
Such a profound calligraphy skill and deep understanding of ancient calligraphy is only seen in the Ming Dynasty calligraphers, so it is not too much to call its cursive "I am the first of the dynasty".
Fengfang directly studied with the Wei, Jin, Tang, Song and Yuan dynasties, extensively dabbled in the writings of the ancients, collected the strengths of the family, absorbed nutrition, ate the ancient and formed its own style, which is the reason why Fengfang can stand out of the right side of the time, and it is precisely where its cleverness lies.
epilogue:
Although Fengfang's scholarly thinking limited his own artistic innovation and never became a family of his own, in the middle and late Ming Dynasty, under the typical situation of the Wumen Shu school of books, he tried to turn the tide, emphasizing that the study of calligraphy Wei And Jin, inheriting the tradition, and inheriting the ancients were undoubtedly the correct way to learn books, and it was also the unchangeable way of learning books.
——END