Wen | Xue Yuanming
In the 1970s and 1980s, there were fewer calligraphy posters to learn, and Deng Sanmu's "Five-Body < Zhengqi Song >" and Shan Xiaotian's "Five-Body Common Character Posters" were very popular, especially the latter, which was deeply loved. Pay attention to the Qing people's scholars, you can find a group of people, such as Bao Shichen, Li Ruiqing, Zhao Shuru, Xiao Hui'an, Zheng Xiaoxu, Tong Danian, Yi Lixun, Chu Deyi, etc., like to write four screen forms, there are one person four body, one person one body, four people four body and other forms, especially Li Ruiqing, is second to none. Many of his copied works are left in this form, and they are diverse and numerous. However, in general, there are not many people who are very successful in writing four screens, and several books are put together, either retro-based, or incongruous, and even uneven. I once saw a fan written by Ma Gongyu, with five kinds of books on it, which are suitable for movement and movement, and are particularly rare. Ma is very conceited about his calligraphy. At that time, someone asked Ma Gongyu to write, preparing to find three more people after Ma Shi had written one, forming a four-strip screen, but Ma refused to write after learning about it, believing that Xu Heng was in the world and had no rivals.
Huang Shiling multibody fan surface
In general review articles, the evaluation of the book writer is often found in the term "multi-body and good". Whether it is publishing a collection of works or an exhibition, it will also try to show that it is a generalist, some are only good at writing books, usually have not written a book, talk about a grid, even if it is shown in a short way, it is actually a trick rather than a style. These are not worth advocating. But this pursuit of "multi-body" is intensifying in the tide of exhibitions and publications, and some tricks must be made for the viewer to laugh. Because invariably, the "good at multi-body" as understood by everyone represents a comprehensive personal quality and excellent basic skills, and it is logical to draw a conclusion: a master of calligraphy.
Today's people have diversified resources and have great advantages, but they have to face the situation that many attempts have taken the lead for the ancients, and most of the space that can be expanded is occupied, and it is inevitable that there will be a feeling of "Cui Hao's inscription poems on the top". Sometimes weird books are chosen invariably. In fact, many strange books are also commonplace, such as "Tianfa Divine Tablet", which is not strange. Another problem is that in the case of the abnormally rapid flow of information, there is no secret to speak of, once some new resource appears, such as Chu Jian, as long as a certain idea feels good, and one person does this, it will flock to it. From the famous celebrities to the general peers, they are all keen on this, how much space is there? Diversity ultimately depends on depth, not breadth, and it's important to form your own "original style". Today's people can see countless inscriptions, feast their eyes, but also easy to make a dazzling eye, in the past the ancients stared at several inscriptions, still achieve personal style. The tempering process is roughly the same, mainly depending on how much each person's kung fu is invested. There are no single and mixed two roads. There are two kinds of "singleness": one is to cling to the family of the ancients, and the other is to adopt the doctrine of taking the present. Strictly speaking, a person who writes only one inscription in his lifetime and "ends from one" is impossible in reality, but relatively speaking. The Tan brothers of the Republic of China are famous for writing Faces, and this is not really the only one. From the ancient people's writings, it can be seen that the emphasis is on multi-body methods and inspires inspiration. Ouyang Xiu's "Trying to Write and Learn True Cursive Calligraphy": "Since then, I have only learned cursive calligraphy every day and learned real books on two days." True calligraphy and cursive writing, ten years of tireless deserved to be named. Fu Shanyun: "Kaishu does not know the change of the seal, and it is a vulgar style to write about the mysterious realm", "The kaishu does not come from the eight points of the seal, that is, the slave state is not enough to look at it." "The emergence of masters in the history of calligraphy is staged, because the masters are "hybrid varieties", borrowing from the past to open the present, and the successors play one end, a single variety, and so on. In my opinion, the development of calligraphy is a process of constant "repetition", repeating the ancients, repeating themselves, and finding new inspiration in the cycle.
Fu Shan's "Si Lu Ink Scrolls" (partial)
The determination of the ancients to seek change is not worse than that of today's people, such as Yan Zhenqing's "General Pei Thesis", which can be learned from painstaking efforts. The ancients also liked to play tricks, but to pay attention to going with the flow, many Wei and Jin epitaphs, the entire text of the letter suddenly mixed with a few seal characters, no matter what, in the end must be coordinated. The advantage of the ancients is that in the process of font evolution, it is a natural state, and today it is a simulation of this state, which is very different and needs to be put in the shoes of the person. The term style has been used too much in recent years, and whoever it is, it is too cheap to call it "unique style". Before the script, there was an advantage in the evolution of the book style, and after that, it was dominated by style. But it is not absolutely so, such as Han Jian, there are obvious differences in style domain, and the number of Jin wen is huge, such as "Scattered Disc", "Mao Gongding", "Jizi White Disk" and so on. When the "style" shaping becomes more and more important, the only way to take the "mixed" road - the extensive study, digestion, absorption and application of many inscriptions. However, if the mixture of various books lacks integration, it is inevitable that it will be blunt, and the overall style will be very chaotic, and even become "four unlikes" or "smorgasbord", Zheng Banqiao calligraphy has such a problem.
Zheng Xie," "Seven Absolute Perfections of Sikong Shu"
After the fusion, the main trunk must be able to be seen, and it cannot become a "smorgasbord". I remember returning to the countryside when I was a child, rural families did red and white happy events, and the villagers in the same village would go to help, the guests ate first, and the helpers had to wait until the end. Decades ago, unlike now, chicken, duck and fish meat has become commonplace all day long, and even become a burden, a little boring. At that time, it was not a simple matter to open the meat at the tooth sacrifice, so the remaining dishes without chopsticks were boiled in one pot, thus forming a "smorgasbord". Everything, so the taste is very chic, from the formal point of view, can not see the specific name, almost "a mess", not elegant. Traditional diet pays attention to color and flavor, dish collocation, not only pay attention to nutrition, but also emphasize appearance, "color" is part of the form, can trigger the sense of taste. In today's era of "greenhouse vegetables", the form is "relegated to the second line", the taste is pure and more popular, and local restaurants are all the rage. What dish should be what taste, anti-seasonal dishes are always not the right taste, some people do not eat watermelon in winter, saying that it is "reverence for nature", there is a certain truth. Many of today's book people are rapidly cultivated "big shed bookers". The form is "over", counterproductive, and emphasizes the connotation. Nowadays, the writing of seal books generally incorporates cursive brushwork, combining Han Jian with Han Li, and the practice of pure color invisibly dwarfs the creation of seal books. It seems that they are all for the sake of "freehand", and it is inevitable that the style of writing is the same. Gaogu Jingmu is the core trait of the Seal Book and the core spirit of Han Li. Typical examples such as "Sanshi Pan" and "Shimen Song" exist in the "grass meaning", not the "grass method", which are two different categories. Why advocate purity? "Original" is more direct, more sublime and more shocking for people's aesthetics. Just like drinking chicken soup, stupid chicken is natural and pure, and now it relies on the result of the interaction between chicken essence and carbohydrates, which is no longer original.
Wu Changshuo "Barren Mountain Business Plate" couplet
The most common problem for many people today when writing many kinds of books is that the four kinds of personal works are put together, not like one person's writing, the calligraphy is like Liu Gongquan, the xingshu is like Huang Tingjian, the cursive is like Huaisu, the Lishu is like "Ode to the Stone Gate", and the small kai is like Wen Zhengming, such a person is a generalist and does not have a real personal style. In reality, there are indeed some writers, who are like what they are like, but they will not integrate and penetrate, and they will operate several styles at the same time in creation, which is a "split style". One work has a "style", but many works do not have a style: 1 + 1 + 1 + 1 = 0, which can not but be said to be a very embarrassing and regrettable thing. There are mainly four reasons: one is to want to change and can not change, personal IQ and ability is limited; the second is to take the law resources, like the new and tired of the old, shallow taste, can stick to it or really go deep into not much; the third is the market demand, to meet the customer, the variety of colors should be as complete as possible, Li Ruiqing is the most typical one, from time to time "make some new goods", the most typical is to shake non-stop, naturally tired to death; the fourth is the psychology of showing off, the same in ancient and modern times, people will care about fame and fortune, even more so in today's developed media, "show" is a norm It is not surprising that people's hearts are inflated and distorted.
Zhao Zhiqian created four screens
The fusion of various book styles can be analyzed by borrowing the computer term "compatible". Computers have different versions of models, different manufacturers produce the same spare parts, in order to "hit the opponent" through the right way, expand their influence, consolidate the existing market share, at the beginning of the design of the "premeditated", previously installed a manufacturer's software, if you install another software will appear exclusion, the most common, is often pop up an inexplicable window, or sudden crash, in short, the purpose is to make you bored, either or that, there are you no me, and finally annoyed, can only " Exclusively pet " a family. Different styles of inscriptions have different historical and cultural backgrounds, just like the "products" of different manufacturers. Even if it is the same person, there will be differences in different periods, how to coordinate it? This is something that must be considered in the copying process, and it will certainly be faced.
How is a successful compatibility determined? One is to have inheritance, there is a source, there is a source, and the other is to innovate, highlight its own style, and have its own understanding. If it is simply copied, it is not compatible. Compatibility is like wrapping rice dumplings, so that glutinous rice has a fragrance of rice dumplings, but rice dumplings do not need to be eaten. In addition, the style of many big calligraphers is formed from a very complex source, before taking the law, you have to "decipher the code", such as Huang Tingjian, his calligraphy style system can be divided into three parts, one is the big character line of calligraphy, different changes in different periods, the older the thicker and sharper, greatly influenced by Yan Zhenqing, the second is the small character codex, greatly influenced by Su Shi, the third is the big grass, influenced by Xu Su and innovative, the overall foundation is in Yan, in Su, and Su is also out of Yan. There is a certain origin between Zhang Xu, Huai Su and Yan Zhenqing, and Yan and Huang belong to the Tang and Song dynasties, from the law to the intention, after sorting out the changing context, it is worth playing and is of great help to their own calligraphy learning.
Wu Changshuo solo crane red carp couplet
There are two results for compatibility. The first is the new height of a single book, the most typical of which is Mi Fu and Wang Duo, who each have a familiar experience of "collecting ancient characters". According to modern people, that is, "turning to many teachers", do not guard the fence. Zheng Banqiao called himself a "six-and-a-half-minute book", which is really "morbid beauty". Qi Baishi was smarter than him. The Qi seal book is actually also "six and a half minutes", but the style is more pure. The second is the new height of a variety of book styles, which is more difficult, how Shaoji, Zhao Zhiqian, Wu Changshuo and others. He Shaoji is "melting the golden stone to the tip of the millimeter", and Wu Changshuo is "strongly hugging the seal as a wild grass", and the same is true for both. Zhao Xuehe had an impact on Wu again. The fusion between Wu Changshuo's xingshu and seal book, seal book and lishu is very clever, but it is also done that the seal book is a seal book, and the lishu is a lishu. Comparing Wu Changshuo's seal book with the character examples of xingshu is very cleverly handled. I have selected fourteen examples from Wu Changshuo's works, which are very distinctive. The characters "缶, 前" are drawn in the method, and the words "stationed and incense" are cursive, but the entire shelf is a seal book, and the seal book of "none, dance, (fish + bunting), and original" is larger, and the dot painting is a cursive stroke method. The three characters of "turtle, wild, and water" are also sealed and sealed, and the three "xian" characters, although one is a seal, one is subordinate, and one is a line, it is very tacit. Wu Changshuo is multi-body, and each of his books belongs to the pattern of "many into one", not "more into more", making a hodgepodge. In particular, the seal book, which is both modern and classical, has a unifying effect on his personal calligraphy and painting printing.
Wu Changshuo character example
Talking about the "compatibility" of the multi-body method fundamentally involves two aspects: First, "partial work" and "both good". If the absorption is too complicated and you can't play, it is better to stick to one family and do "one trick to be familiar". Although multibody compatibility has advantages, it must be twisted into a rope, not like the runway in the stadium, always a parallel line. A lot of tricks are not a success. The second is the homologous symbiosis of the inscriptions. Compatible in the broad sense points to all stele information, narrowly meaning the stele interaction, based on the reality of "stele symbiosis". All "inscription materials" are originally born from the same root, and compatibility is possible. Although some inscriptions seem to be very far apart, they have a continuous relationship. For example, "Sanshi Pan" and "Shimen Song", "Shimen Song" and "Shimen Ming" and so on. Although symbiotic, there are some inscriptions that have exclusion and even lifelong antagonisms, such as the seal books of Qi Baishi and Chen Julai, and their printing style is the same. The issue of choice and transition should be taken into account when taking the law. The spirit of the ancient seal and the Han seal is intrinsically unified and mutually exclusive. The ancient seal means a kind of freedom, and the Chinese seal means a kind of order. There are also cases of compatibility and exclusion among the various Indians of the Ming and Qing dynasties. The seal carvings of Wu Changshuo and Huang Shiling, one work is stable, one is freehand, it is difficult to merge, and the Han seal is unified, and there are also compatible successful people, such as Yi Ru and Chen Hengke.
Li Ruiqing is on the fourth screen of the monument
Reading the inscriptions of past dynasties can find the intrinsic relationship between the inscriptions and posts, clarify the context between each other, and the order and relationship are an important point. Although the tone is the same, there are many details, and the difference between Yi Ru and Chen Hengke just mentioned is that "four points of Huang Shiling + six points of Wu Changshuo = Yi Ru", "five points of Huang Shiling + five points of Wu Changshuo = Chen Hengke". Sometimes even if the method is the same, it will be different in style due to different orders, "big grass + chapter grass = Song Ke", "chapter grass + big grass = high two fit". Li Ruiqing is happy to do such a thing, and many of his books are aimed at finding and defining this relationship. He has a great credit for this. But he himself did not understand it in the end, opening the way for later scholars. He is a super expert in lingu, and what he looks like can't be unified in the end, but his student Hu Xiaoshi is successful. Some scholars themselves are multi-body and good at it, and they can take the Fa at the same time, which will feel very comfortable. Ouyang inquired about the letter and the letter of action, and after taking the book of law, he took the book of law and the book of law. For example, Yan Lugong's calligraphy and xingcao are two bodies, and there is a gradual relationship between the Huang Valley's xingkaishu and the big grass, and it can also be seen by appreciating Huang's works, and his wild grass plus the xingkai book drops, which set off each other, which is breathtaking. The most typical is Wu Changshuo, whose seal writing and cursive writing, painting and seal engraving, are all connected. From books to prints, naturally.
Zhao Shuru has four screens
In copying, it is usually emphasized to pay attention to "complementarity", compatibility and complementarity are not completely equivalent, complementarity on the one hand, there is compatibility, but there is also exclusion. "Supplement" can often be encountered in life, before the exam, stay up late to read, temporarily hold the Buddha's feet, to a "bad supplement", it must be known that sometimes the body is too weak, and even a life will be whimpered. Some teenagers drink hormone-containing drinks, which are counterproductive, so "can not be messed up", standing on the shoulders of giants will see farther, but if there is no foundation for the giant's academic cultivation, it will fall nose and blue eyes. Everything is the same. Various inscriptions are like the "many nutrients" that the human body needs, which the body needs, but there will be order and appropriate time periods. Sometimes both dishes are normal and healthy, but together they will reject and produce adverse reactions. There are several cases of exclusion in calligraphy: First, there is rejection between different calligraphers and different calligraphers, which is more frequent. The second is the different styles of writing of the same calligrapher, such as the level between the line of writing and cursive is too disparity, mutual exclusion, as for the reasons for the time being, only in terms of creation, the techniques of writing are not visible in cursive creation, so the writing can be learned, cursive does not have to be strongly learned; Xu Sangeng seal carving Zhu Wen and Bai Wen are mutually exclusive, one is the Zhejiang school cutting knife, one is the Anhui school punching knife, the whole life does not change, can be described as "half seawater, half is flame"; Deng San wooden seal book to absorb hundreds of families, turn the ancient into the new, but the seal carving relies on sealing mud, All kinds of techniques, including the form of chapters, are too deliberate, resulting in a crack between the style of writing and the style of printing, which is mutually exclusive. The third is the same book style of the same writer at different times. For example, Yan Zhenqing's early "Duo Pagoda", the middle-aged "Magu Immortal Altar", and the late "Self-Confession Post" are in the same vein, but they are also rejected and cannot be studied at the same time. List a lifelong inkblot from childhood to old age, there will be different changes, but there will always be a habit that has not changed.
Deng San Wooden Seal Book
Order and relationships constitute "the systematization of copying". For a copy, avoid going to the twilight and tasting, but for their own has been practiced for a period of time, but still can not go deep into the inscription should be reconsidered, otherwise it will be half the work, or even achieve nothing. To clarify the context in the history of calligraphy and determine the relationship between each other, we must take into account our own needs and put ourselves in the shoes of individuals. Even beneficial elements can have negative effects in some time periods, such as ginger, the ancients said: "Eat ginger in the morning, better than ginseng soup; eat ginger in the evening, race through arsenic", "eat ginger early, tonic soup; eat ginger at noon, tuberculosis; eat ginger in the evening, see Yama", in line with the way of health. It is like starting to select a stele post at the beginning and then selecting a stele after having a certain foundation, which is very different from the right and the odd. The first inscription when one is new to learning will be marked for life, and it is necessary not to be careless. For book people, starting from the body is not necessary, nor is it mandatory, there will always be exceptions, but most people have experience and wisdom to be trusted.