Moderator: Mao Guodian
Exhibition Author: Hu Kangmei
Moderator: Just now, when you talked about the question of "the meaning of brushwork", you said that "Chung Wang" is the source of theology. Please follow this source and talk about your understanding of the theory.
Hu Kangmei: On the issue of theology, Kang Youwei has a definition: "The book of the Jin people, circulating the thesis." "He defined the theology very accurately, and Yan Zhenqing, Zhang Xu, Huai Su, Su Dongpo, Huang Tingjian, Mi Fu, Cai Xiang, Yang Weizhen, Xu Shu, Wang Duo, Fu Shan, and so on, which we often encounter when we study calligraphy, are all representative figures of the theory.
There are two historical stages in the development of Thessalism. The first is that the Tang Dynasty copied the Jin Dynasty, such as the "Orchid Pavilion Preface". The "Preface to the Orchid Pavilion" that we see today is actually not written by Wang Xizhi, but copied by Ouyang Qian, Chu Suiliang and other Tang Dynasty people. Second, in the Song Dynasty, the inscription began to be made, and the books of the Jin people, including the classics of the Tang people, were engraved, which is the Cabinet Post. We need to distinguish the difference between theology and the thesis, the thesis is a big level, including the Jinren book and circulation, engraving, as well as all the thesis behavior, the phenomenon of theology, and the thesis is a special reference, especially from the beginning of the "Chunhua Geltei", which has formed such a special phenomenon. Our understanding of the theory actually begins with the thesis. Because none of us have ever seen the real jin people. From the Book of Jinren to the Cabinet, there are 600 years of history in between. At the end of the 19th century and the beginning of the 20th century, Kang Youwei proposed that "the thesis is very bad" and criticized the thesis. How we look at this problem involves the relationship between inscriptions and posters, and when I talked about the meaning of penmanship earlier, I actually already touched on such a problem.
How do we learn the thesis?
First, Huang Tingjian said: "Those who study "Lan Ting" today do not follow its pen and do what they want, just as Misiko holds her heart and does not humiliate herself. Yu tasted the stone carved seal of the Han Dynasty, and was quite proficient in the Law, and if he studied the "Lanting" with Yu Shuo, he deserved it. "If you study the Orchid Pavilion Preface and don't learn the Seal, you will definitely not be able to learn well." In the process of epigraphical thought, a euphemism was proposed, called "two kings outside the book", because before the epigraphical trend, the thesis was unified, at least from the Tang Dynasty, until the middle of the Qing Dynasty, the thesis produced such a concept. The "two kings" themselves are associated with epigraphy.
Second, you may have read Sha Menghai's "Calligraphy in the Past Three Hundred Years", in which Sha Menghai said: "In the past three hundred years, there is a faction (most) of the thesisians who have observed the law of the two kings and only sought activities within the scope of the two kings; there is a faction (a minority) who wants to open another path outside the two kings. For example, he said, such as Dong Qichang, Wang Duo, Jiang Chenying, Zhang Zhao, Liu Yong, Yao Nai, Weng Fanggang, and Mei Tiaoding, this is purely to go "two kings", this is within the scope of "two kings to seek activities". Then, in addition to the "two kings", he gave examples of Zodiac Zhou, Ni Yuanlu, and Shen Zengzhi.
Third, Sha Menghai listed a separate "Yan character" in this article, which is an important link, because the loss of the meaning of the seal that I mentioned earlier began in the Tang Dynasty. The "Second King" as we understand it now may not include Zhang Xu and Huai Su, nor does it include Yang Weizhen and Xu Shu, and the significance of Yan Zhenqing lies in his contribution to the return of Zhenli. Sha Menghai said: "Some of Yan Zhenqing's characters say that he is from the Gao Zhi Epitaph, some say that he is from the Taigong Wangbiao, some say that he is from the Crane Ming, and some say that he is from the Ode to the Pavilion ... These comments have their own meanings. In fact, he learned everything, and his majestic and profound spirit was all derived from the Han Tablets, and the method of using the pen was to include Chung Sui in the body, in other words, to use the method of writing the book to write the real book. "I think he makes a lot of sense. People's inertia of thinking about theology and epigraphy has caused many misunderstandings of calligraphy, and I think the essence of the trend of epigraphy is the defense of Wei and Jin thesis. The measures to defend are to effectively solve the problems in the development of theology, such as in different eras, the engraving has caused distortion and flavor change at the source of the thesis. Epigraphy is not only the source of theology, but also through the epigraphy movement to concretely propose some specific solutions to the thesis.
In addition, there is a problem of the relationship between the knife and the pen, the knife learns from the pen, and the pen also learns from the knife. This is a very important concept in the understanding of theology. The knife and the pen are a transformative relationship, and we should not artificially oppose the two.
(Based on recordings, not reviewed by myself)