Xue Yuanming
Today is Xiaoman, the second solar term of summer, the fourth month of the lunar calendar, summer has just begun, the ancients called the first summer, also known as the first summer. As for this, the small is full: the seeds of summer ripe crops such as wheat are full but immature, so it is called small full.
There are also many famous calligraphy and paintings related to Xiaoman, and Wang Sheng of the Southern Song Dynasty has the "First Summer Thesis" passed down to say hello to friends. The most evocative thing about Wen Peng's bamboo painting in the Ming Dynasty is the inscription: "I love Jiangnan Xiaomantian, and the prosperity disappears from the bamboo Juanjuan." The north window is self-exhibition South China reading, and there is a cool breeze to the pillow. ”
Song Wangsheng's "First Summer Thesis" The first summer, the first summer, and the early summer refer to the fourth month of the lunar calendar
"Xiao Man" is in the fourth month of the lunar calendar, when it is warm and cold, and the temperature difference is particularly large. Summer has just begun, and the ancients called it the first summer, also known as the first summer. Wang Sheng of the Southern Song Dynasty passed down the "First Summer Thesis" and greeted his friends: "The first summer is clear, the gods praise the face, honor the blessings, and then meet the unscheduled, and take care of the time when the first few phases are in place." ”
Wang Sheng's calligraphy was quite famous at that time. Yu Ji commented: "Yi Lao cursive, there is a special Xu upside down twist and turn pervert", but from this time, I can't see the relationship with the above two people, but it is very close to the writing style of Minang Palace, and it can even be said that the whole school is full of rice, the momentum is smooth, and the pen is old and healthy, which should belong to the pen of the late years. Then again, this may have a preconceived meaning, perhaps it is too impressive for the "Song Four Families" Su Huang Mi Cai. The fundamental reason is that: first, the same era of booksellers, there will always be a commonality; the second is that everyone's personality, eventually inevitably will inevitably produce a coverage effect, any era, any "industry", will "merge the same kind of items", leaving only a few representative figures.
Tang Yun 《Rice Planting Diagram》
When it is time for the small full season, the countryside begins to prepare seedlings. Tang Yun painted "Rice Planting Map", which was created in June of the Year of Xin Wei, when he was 32 years old in 1941, and the inscription reads: "Desert paddy field flying egret, yin yin summer wood yellow oriole." This is a sentence in the poem of the great Tang Dynasty poet Wang Wei's "Jiyu Chuan Zhuangzuo". The handwriting is clear and very different from the style of later years. Although it is said to be a "rice planting map", the painting is not the busy season of modern life, but the ancient farming scene, which is essentially an ecological map of agriculture and forestry, reflecting the harmony between man and nature. China has thousands of years of agrarian society, and such scenes are common.
The "Diagram of the Sacrifice of the Water Wheel God", which depicts the folklore of Xiaoman, is more worth seeing. "Xiao Man moving three cars" is the best summary of the agricultural affairs of Xiao Man in Jiangnan. The so-called "three cars" are water wheels, spinning wheels, and oil trucks. In the agricultural proverb, the common people often use "full" to refer to the abundance of rainwater, and Xiaoman is the season of early rice fertilization and medium rice planting in Jiangnan. On the right side of the "Sacrifice of the Waterwheel God Map" there is a poem written on the seal "Irrigation": "Miao Miao despises the Song people, and embraces the Miao Andi Mengzhuang." What a crow, backwards exhausted pond. Dancing green waves, the rice is cold in the day. Oblique sun geng fading willow, laughing and singing syllable girl. This poem is written by the Northern Song Dynasty poet Lou Xuan. In the upper left corner there is Qianlong's inscription poem: "Break the water and re-irrigate the water, and the farmers will use the village." Orange mallets take zhujing, and overturned to take zhutang. Xu dang did his best to expose the coolness of his back. If the grain food is difficult, the word cake is scornful. "Such a picture that is both imaginative and realistic. The fundamental reason why it can enter the legal eye of the "ancient and rare tianzi" is not necessarily the level of painting, but the concern of the emperor for the national agricultural production. Unexpectedly, there are also seals such as "Merlin Secret Play", "Zijing Father Seal" and "Xiangshi Zijing" on the screen. After passing through the hands of Xiang Zijing, it is particularly precious. In general, the discussion and emphasis on calligraphy is practical, and in fact, painting is also the same. To talk about the "realism" of Chinese painting, it has existed since ancient times.
"Painting of the God of The Sacrifice of Waterwheels" depicting the folklore of Xiaoman
If these two paintings are mainly realistic, it is Xu Wei's "Durian Real Map" and Shi Tao's "Mingxia Scattered QiTu" that have more freehand and artistry. In the small full season, just as it is summer, the heat is coming, and the yang is rising. Pomegranates mature until mid-autumn in October, and pomegranate flowers bloom in small fullness. In between, there is a long wait. Han Yue has a poetry cloud: "The May durian flowers shine brightly, and the branches see the beginning of the child." When I read Xu Wei's "Durian Shitu", I couldn't help but think of his poem: "Half a life has become a man, and the independent book is roaring in the evening wind." The pearl at the bottom of the pen has nowhere to sell, and it is idle and thrown in the wild vine. "Even if it is an ordinary flower and bird theme, under Xu Wei's pen, it is still radiant, and there are only a few strokes, which is wonderful." The inscription poem reads: "The mountain is deeply ripe with pomegranates, and it is open to the sun with a smile." The deep mountains are less harvested, and the pearls go. There is still the word "pearl" in it. Xu Wei often uses the metaphor of "pearl" to express his resentment and gratitude that he did not meet with talent. However, what can we do in the face of the real dilemma? I have visited Qingteng Bookstore and Xuwei Cemetery several times, which is very sad. There are still some people visiting the bookstore, but they are hurriedly passing by, and the cemetery is unusually lonely, most of them accompanied by only one tomb keeper. When it comes to "Qingteng Bookstore", in the eyes of calligraphers and painters, it is like a holy place, but in fact, it is just a few green tile houses. If he can really read Xu Wei and become his confidant, maybe he will not be lonely. This year coincides with the five-hundredth anniversary of Xu Wei's birth, and it would be most appropriate to transfer Qi Gong's evaluation of Wang Duo's "five hundred years without this king" to it. Returning to this "Durian Map", although many connoisseurs' seals destroy the entire picture mood, if PS technology is used, it can be restored to its original appearance. Xu Wei is very sensitive to the treatment of color levels, dark and deep, a few strokes of outline, it is a sudden life, worthy of a big hand, people worship. Xu Wei likes to choose common things as a carrier of emotions and come up with new ideas.
Ming Xu Wei 《Grenade Solid Map》
Shi Tao's "Ming Xia Scattered QiTu", the verse of the paragraph reads: "If you don't set this flower color, do you know that it is not another flower?" This flower is only colored, and I am afraid of graffiti. How to hole like fire, Shen Yun is not bad? I am for this author, the game practice Mingxia. This work is from Shi Tao's "Flower Book", depicting twelve kinds of flowers and vegetables in the spring and summer seasons, namely pomegranate, plantain, magnolia, pear blossom, peach blossom, cabbage, apricot blossom, hydrangea flower, plum blossom, rose, daffodil, and peony. It was made in 1694 at the age of 55. The Ming Xia Scattered QiTu is the first page of the twelve openings. In the painting method, there is pure ink, there is boneless coloring, with a pen, mainly a bold boneless freehand method, with ink double hooks, ink dripping, color and ink blending, all in one go.
Shi Tao 《明霞散绮圖》
In contrast, Zhao Yunyuan's "Inscription Ink Peony" belongs to the elegant and common appreciation of the road, rich and noble, extremely suitable for the situation, and pleasing to people. The inscription poem has a sentence: "Do you have the wind and the crown of Xi Luo, only suspect that Fu Yan is the Eastern Emperor." The verse is from Li Pei's "Biography of Yao Huang". This fan was painted by Zhao Yunyuan at the age of eighty-one, full of true qi and excellent energy.
Zhao Yuncheng 《Inscribed Ink Peony》
When it comes to pomegranate flowers and peony flowers, it is natural to think of Fan Zengxiang. These six screens are signed with "Lyra", which is the number of Fan's later years. Not only in this regard, Fan Zengxiang is still known as "Fan Meiren". There are two reasons for the origin of the nickname: Fan Zengxiang's father, Fan Xie, was a military attaché who met Zuo Zongtang because of the incident. But Zuo Zongtang was proud of his high merits, looked down on the military attaché, saw that he did not kneel, and scolded: "Forget the bastard, get out!" Fan Xie was dismissed from his post and was indignant about this. So he wrote down a wooden plaque, calling himself a "shuffle card", which was inscribed: "Forget the eight eggs, get out", and offer it under the ancestral tablet. Fan Xie asked his son Fan Zengxiang to look at this tablet every day, and also let his son wear a women's suit... "Zhongxiucai, take off the women's outer clothes; Zhongju ren, take off the women's internal clothes; Zhongjin shi, point Hanlin, then burn the six-character shuffle card of the tree of Wusuo to warn the ancestors!" His son Fan Zengxiang finally lived up to his bitter heart and acted as the governor of Liangjiang. In fact, the main reason for the name is fan poetry. Qi Baishi and Fan Zengxiang are close friends, Qi Shixue Fan. Interestingly, in the early years, In addition to painting portraits for people, Qi Baishi was also good at painting ladies, so he won the title of "Qi Meiren" in Xiangtan. Fan's penmanship is very personal, horizontal and vertical thick, the beginning and end of the pen are square cut, the words are not connected, it feels a bit like a small brush "brush" out. The source of the method should be the inspiration obtained from Zhang Rui's book method, which exerts the square pen to the extreme, but even the processing is omitted, the rhythm is slowed down, and the breath is not as sharp as Zhang Ruitu. Needless to say, there are some problems in style, and similar works are more monotonous in treatment, and it is easy to be aesthetic fatigue when watching more. If it is a couplet, the wind bone is visible.
Qing Fan Zengxiang Book Southern Song Dynasty Ao Tao Sun "Commentary on the Poetry of Qiu Weng" six screens, Yi Di Xiao Man
Zhao Yunyuan's teacher, Wu Changshuo, once wrote "Bamboo stone double life" in Xin Youxiaoman, with the inscription poem Yun: "Full of paper and autumn sounds, I intend to teach Lao Ke." Knowing that it is not hot, come and sit alone in time. Interestingly, this work is the only work "cooperated" by Wu Changshuo and Qi Baishi, which can be called a perfect combination. Qi Baishi's painting of the two ribbon birds, with a delicate pen to the fine, the shape is flexible and vivid, up and down to the song, harmony of the cry. In particular, it is outlined in carmine, which adds a bright and auspicious atmosphere. Wu Qi met in 1921, and Wu Changshuo's "Bamboo stone double life" was created in 1921, perhaps it is the painting of Qi Baishi given by Qi Weng when the two met. Qi Baishi treasured thirty-four years later, and by 1955, Qi was 91 years old, and he donated a double-life bird to his friend Yang Hu, and wrote a book with the inscription: "Wu Yan's old paintings are not easy to obtain, and General Xiaotian hides and plays." The argument that Wu Qi was discordant in his later years and that there was discord was very popular for a time. According to the truth, but everyone always has a personal mentality, the relationship cannot be set in stone, and there are ups and downs, which is also a reasonable thing. Now we can see wu Changshuo's several pieces of calligraphy and painting works donated to Qi Baishi, and the feelings of promotion jump on the paper.
Modern Wu Changshuo and Qi Baishi collaborated on the painting "Bamboo Stone Double Life", Xin Youxiaoman
The same is the painting of bamboo, Wu Changshuo's bamboo is simple, old and spicy, the atmosphere of gold and stone comes to the face, the rhythm of the pen is extremely fast, and the wind is fierce. The brush strokes skimmed a few bamboo poles, and the branches and leaves seemed to sound like a refreshing autumn wind. A mountain stone in the lower right is solemn and solemn, and it is very majestic. Wen Peng's bamboo shows the unique elegance and quietness of the literati. The most evocative is the inscription: "I love Jiangnan Xiaomantian, prosperous and exhausted Zhu Juanjuan." The north window is self-exhibition South China reading, and there is a cool breeze to the pillow. The time is in the "Nongshu DuanYang Day", write and send "Mr. Fang Hu". Historically, the number "square pot" is Fang Congyi of the Yuan Dynasty and Lu Xixing of the Ming Dynasty. Lu Xixing (1520-1606) was a Native of Xinghua, Yangzhou, and Wen Peng (1498-1573), and there is a greater possibility of intersecting. Looking at this situation, Wen Peng recalled the scene of Xiao Man in the Duanyang season, and sent a proud work to a friend to express his feelings of longing, which was the most elegant and elegant.
Ming Wenpeng "Ink Bamboo Diagram"
Wen Peng is the son of Wen Zhengming, and both father and son are important towns in the art history of the Ming Dynasty. Deng Chuanmi is the son of Deng Shiru, a master of calligraphy and seal engraving, and belongs to the same "second generation of books" as Wen Peng. Deng Chuan's secret seal book is purely "family law", and it is placed in the same coordinate system as his father, which naturally falls behind. Looking at Deng Chuanmi alone, he is a master. This joint learning Deng Shiru can transport the machine from the pen, and the joint language cloud: "The encounter in a different place surprises me old, and the flat boat has an appointment with the king." The text is very long: "Yu is not far away and thousands of miles to visit Wu Junguanying in Zhangmen, chengshun's eunuch and Xinzhi, Jiaopo, and Qiugu Bozhong stayed in his home, and The Wing Chun GuanChen has lived here first, and the second marquis Sima has also traveled from Yushan to Linchi to talk about Yanpo." Tan Yan is quite happy to be friends and obedient. The two gentlemen suddenly returned to the boat. The seamounts will be difficult to determine. Write the private love of love for the lily sentence, that is, the seal of hope. Xin Youxiao Manchu festival, Deng Chuanmi and acquaintance. Coincidentally, this couplet is also "Xin Youxiaoman", which was in 1861, just one round earlier than Wu Changshuo's painting, and Deng Chuanmi was 67 years old. The Wu Guanying mentioned in the paragraph, that is, Wu Jun of Jiangyin, is a heavy character and a number of Guanying. Calligraphy and painting are called three absolutes. Taste the guest Jinghua, which is highly valued by Dai Xi, He Shaoji and so on. Wu Guanying and Wu Changshuo use the same name "Wu Jun", which is really a fate. Realistically, when Deng Shiru died, Deng Chuanmi was only ten years old, saying that it was "family law", but in fact it was all based on self-realization. When Deng Chuanmi was in the literary circles such as Gong Zizhen, He Shaoji, and Bao Shichen, he could not help but "introduce and make friends." In order to further improve his level of calligraphy and seal engraving art, Deng Chuanmi searched more for Nai Weng's "casual and follow-up" Fashu prints, traveled back and forth between Beijing and Shandong, and traveled to Andijiangxiang and other places during the Xianfeng period, which lasted more than ten years. Written in 1841, this seal book was composed in 1841, with steady practice and heavy weight, full of ink and ink, and deeply rooted in the essence of Naiwong.
Qing Deng Chuanmi Off-site Bian Zhou Seal Book Union, Xin Youxiaoman
Wang Fu'an's seal book is often ridiculed by some as a "shape-like operator", and is almost recognized as a craftsman. Not really. Wang Fu'an has kung fu. Read his fine Zhu Wenyin to feel it. However, most of those who carved Zhu Wen were "begging for food" under Wang Guan and Chen Julai, but Wang Fu'an carved Zhu Wen with a cutting knife, and the breath was obviously different. People who are both good at writing and engraving can be left and right, and some subtle habits are obviously different from those of simple writers or printers. For the criticism of Wang Fu'an's words, if you think about it carefully, in fact, it is mainly in the form of couplets, there is inevitably a deficiency of "like an operator", and the difference in style is not obvious. However, these multi-character banners can bear witness to Wang Fu'an's ability. Wang Fu'an Seal Book has a unique face, integrating the golden text, the small seal, the edict and the stone drum text equal to one furnace, and it is self-explanatory. The main change is not in the pen, but in the glyph, with ups and downs, staggered sizes, and intriguing. Wang's extraordinary kung fu is reflected in this, and any such work, no matter how staggered, must be very neat. As the saying goes, writing kung fu, ten years flat head, twenty years flat horn, is not a lie.
Modern Wang Fu'an ShuYan's poem "Ji Zhongsan" (嵇中散), 癸酉小满
Interestingly, the vertical banner of the poem "Ji Zhongsan" written by Wang Fu'an Yanzhi was written in the "Two Days Before the Xiaoman of the Decoction Unit", and the excerpt of the "Book of Han" seal book inscribed on xu Sangeng was also "the second day before the Xiaoman of The Decameron". That is to say, a seal and a work, written on the same day, is really a coincidence, and it is interesting! The comment of the "Holy Relic" shows that Wang Fu'an has great respect for Xu Sangeng. Xu is the representative figure of the "Hai Sect", and Wang is the representative figure of the "Hou Hai Sect". People in the history of calligraphy and painting, as long as the younger generations see the works of their predecessors, they will be respectful and respectful, and Wu Changshuo's seal engraving for Wu Rangzhi must be signed with "houxue". Judging from the seal style of Xu Wang and Wang, they are mainly beautiful, and Wang Fu'an Yue also has some white seals, using a cutting knife. Xu Sangeng also likes to use the cut to engrave the seal, and the two have a heart to heart.
Xu Sangeng Seal Book excerpt "Book of Han" hand scroll, Wang Fu'an inscription, 癸酉小满
In modern times, Yao Hualin's "Lu Jun monument", Xiaoman, Yingchen Xiaoman
Yao Hua was the first person to carve copper in modern history. Unfortunately, his calligraphy has largely been forgotten. In Guizhou, during the Qing Dynasty, there were two outstanding scholars, one was Mo Youzhi in the front and one was Yao Mang's father. Yao Hualin's "Lu Junbei" is actually a collection of links, "than the trace leopard production, posture guan Su", the pen and ink are thick and old, the style is strong, the first to win people, can be called a big hand. The glyphs are exaggerated and the ingenuity is unique, such as the "than" word left small right large, the "leopard" word left large and right small, the "膺" word on the big and small, the "posture" word on the small and large, eclectic, tight and dense contrast strong.
Contemporary Sun Qifeng's book Wen Tingjun "More Leaky", Ding Ugly Xiaoman
Sun Qifeng's Hanjian style work was written at the age of seventy-eight, and suddenly more than twenty years old, and Sun Qifeng is now over 100 years old. As the saying goes, people are old, this work is absolutely worthy of the title, but who can think that more than twenty years later, it is a state of life! In any case, this work is the peak of the work. Contemporary book circles write Han Jian, Sun Lao can be said to be a family of its own, each stroke has a provenance, does not deliberately exaggerate a certain stroke of Han Jian habits, the glyphs are more flat, from time to time borrow more seal methods, the word spacing is tight, the line spacing is slightly larger, and the dense contrast is strong. Each word is natural, high and low, but each line can eventually be leveled, integrated, and has an unruly momentum. The fall is a chapter grass, which is extremely compatible with the Hanjian calligraphy style, forming a dynamic and static contrast, which is profound.
I happened to see a piece of information: Tan Yanmin came to the 125th tonglin book of the "Magu Immortal Altar", with Tan Zemin's inscription, detailing his brother Tan Yanmin's experience in the "Magu Immortal Altar": "The first three brothers came to the Magu Altar, and the cover began when the Jia Yin Yu brothers lived in Qingdao with their mother. After that, Yi Di was in Shanghai, Wu Wu was in Chen, and the book class was especially diligent. To Xin You's purchase of the house Tangshan, quite a guest from the pleasure of the literary feast, occasionally writing a number of papers, but also dozens of passes. This is lined up with Yi Shuping and his wife, the pen is full of joy, and the cooperation of gaiqi is also. Since the service of Hainan, they have all been in vain, and the political affairs have become more and more complicated, so there is no return to the day. However, in the end, the eight paintings of Weng Shuping were passed through, and the life of this monument was stopped. Shu Ping is hardcovered into a book, out to see the show, and belongs to the title, the honorific record is so. After Nongshen Xiaoman, Ze Min". From this inscription, it can be seen that Tan Yanmin's specialization in Yanshu's "Records of the Immortal Altar" began in 1914 and continued until the end of his life. Father and son and brothers all write faces, and Kunzhong "meets" in Xiaoman. It's just that Tan Yanmin has too many pro-ben to check the corresponding ink. However, reading this passage is also a big gain of the little full season.
Editor-in-Charge: Li Mei