The development of kaishu to the Tang Dynasty has been highly mature, reaching an unprecedented peak. After that, all those who studied Kai took Tang Kai as an example and were difficult to overcome. Until the Yuan Dynasty, Zhao Mengju used the brushwork of xingshu to transform Tang Kai, and the calligraphy was changed, and since then, in the history of calligraphy, there has been a "Zhao Kai" theory that is on a par with Tang Kai's "Yan, Liu, Ou, and Chu".
In the Qing Dynasty, Deng Shiru took the Six Dynasties Stele Method, and also took the posture of Ouyang Qing's father and son, and the brushwork was cut and cut, the knots were tight, and the momentum of the strong wind was strong, and a new road was opened in addition to Tang Kai. Although the achievements of his calligraphy works have not been compared with "Yan, Liu, Ou, and Zhao", from the perspective of the history of calligraphy, its pioneering calligraphy has become the empirical evidence of the Qing Dynasty epigraphy movement, which has had a great impact on future generations and has far-reaching significance.
Deng Shiru's "Four-Body Book of Gifts to Ken Garden" (one) 31.5 × 16.5cm
We know that the Six Dynasties of the Han and Wei Dynasties were precisely the period of great social turmoil, and from the perspective of philology, it was the transitional period of Lishu to Kaishu. It was not until the Tang Dynasty that the calligraphy was fully matured. Deng Shiru's calligraphy is very different from that of the scholars at that time, not the mature Tang Kai, but the Six Dynasties Kai method at the format of the Kaishu. Among them, there is a background of the style of the times, and there are also factors such as Deng's personal pursuits at work.
So, what is the background of the book style of the times? How did Dunn's personal pursuits come true?
Let's first take a look at the background of Deng Shiru's era of book style. The calligraphy of the early Qing Dynasty inherited the Yuxu of the Ming Dynasty, and the influential calligraphers on the book world were represented by Wang Duo, Fu Shan, Zhu Yun, Guizhuang, Song Cao, and Mao Xiang. They were all good at cursive writing, with Wang Duo, Fu Shan, and Zhu Yunzhi being particularly influential. At the end of the Ming Dynasty, the wild and uninhibited style of writing did not develop in the Qing Dynasty. The style of calligraphy is a reflection of the times, and the policy of imprisoning culture in the Qing Dynasty has made the wild style of writing lose its good soil for survival, so there are few calligraphers in the Qing Dynasty who write wild cursive.
Among the emperors of the Qing Dynasty, the Kangxi Emperor loved Dong Qichang's calligraphy, and the Qianlong Emperor admired Zhao Mengju's calligraphy, and under this influence, the general calligraphers only regarded Zhao and Dong as models. The pavilion style used in the Qing Dynasty imperial examination required Wu, Fang, and Guang, and for a time there was a weak and feminine atmosphere in the style of writing. At that time, the representative writers were Shen Quan, Gao Shiqi, Chen Yixi, and The so-called "Four Greats of Kangxi", such as Zheng Zhongguang, Jiang Chenying, He Zhuo, and Wang Shihuan.
Deng Shiru's "Gift kenyuan four-body book book" (part 2) 31.5 × 16.5cm
In the middle of the Qing Dynasty, calligraphers Zhang Zhao, Wang Youdun, Kong Jishu, etc., were all based on the study of thesis. Among them, Zhang Zhaoxingkai first learned Dong Qichang, followed by Yan Zhenqing and Mi Fu, and made some achievements. During this period, the four major scholars of Thesis were Liu Yong, Wang Wenzhi, Liang Tongshu, and Weng Fanggang. Liu Yong's calligraphy took the method of Dong Qichang, and in his later years he involved epigraphy, and strived to be calm and thick. Wang Wenzhi's calligraphy wins with the wind god, and the breath of elegance is exuded in a steady and steady way. Liang Tongshu's Kai and Xingshu are all won by Xiuyi.
Weng Fanggang's calligraphy is good at small zhengkai, and he spares no effort to learn Tang steles, and also dabbles in Han steles. In addition, Yao Nai's Xiao Shu (姚鼐行書), the Prince Cheng(永藜) Kaishu and Xingcao's elegant elegance, Qian Liyan's body calligraphy is rich and thick, Tie Baoxing's cursive writing is strong, as well as Zhang Wentao, Guo Shangxian, etc., all of which are quite famous in calligraphy. At that time, the mainstream style of writing had the four great sayings of "Weng, Liu, Cheng, and Tie", namely Weng Fanggang, Liu Yong, Prince Cheng (Yong quan), and Tie Bao, and their popularity was unmatched at that time.
Deng Shiru's "Four-Body Book of Gifts to KenYuan" (Part 3) 31.5 × 16.5cm
During the years of Qianlong and Jiaqing, scholars rose up to study the golden stone evidence, and calligraphers also broadened their horizons from the study of the golden stone examination, and the atmosphere of stele study gradually opened up. It is in this context that Deng Shiru is engaged in his calligraphy creation.
Deng Shiru's "Four-Body Book of Gifts to Ken Garden" (No. 4) 31.5×16.5cm
Deng Shiru's calligraphy mainly takes the Six Dynasties of the Fa "Zhang Ronglong", "Jia Lingjun", "Liang Sixing King Stele", "Shi Men Ming", "Crane Ming" and other stele. The starting and closing pen is mostly manifested as external and implicit, the knot body is straight up and down, there is a loose rhyme in the steady, and the stroke is drawn out by the wave of Han Li, which is often more elegant and elegant than the seal book in terms of temperament, and highlights the atmosphere in liveliness.
When the Qing dynasty learned the Tang Dynasty inscriptions and the style of the pavilion, the Tang Dynasty book specialized in the Wei Sui inscription, and in the solemnity of the knot, it showed that the changes were sparse, and the opening from the fierce and vigorous show showed a healthy retro wind, which required great courage at that time. In the Qing Dynasty Yang Han's "Miscellaneous Works of Shi Ke", it is said that the complete white "true book goes deep into the people of the Six Dynasties, and the law of sealing is practiced." Don't spare guze in the posture, it is not all in the near and present. ”
We read in the lower right of Deng Shiru's 54-year-old book "Kaishu Canghai Shaoling Changlian" in the Palace Museum that Kang Youwei said: "After the Baishan people's seal was solidified into a collection of recent generations, that is, the Kaishu was also originally a north and south stele and innovative body, the pen strength is like cast iron, and the painting method is particularly thick." "This joint killing blade starts with a sharp turn, a clear break, and a sharp knife carved into an axe. The orthography is more vertical, the middle palace is quite tight, the skim is stretched, the spirit shines, a new look, reflecting the innovative body based on the profound epigraphy.
The "Four-Body Book of Gifts to Kenyuan" is composed by Meng Dongyue (1799) of the Book Of The Year, which can be known to have been created by Deng Shiru when he was 57 years old, and its booklet part can be called Deng Shiru's representative work of calligraphy. This role is the center of the pen, the knot is square, there is a peaceful state, the atmosphere of the book. When Deng Shi was 62 years old, he composed "Seven Words when He Didn't Know", with a plain and thick pen, rigorous and free words, and a temple atmosphere, which is a rare masterpiece of Deng Shiru's late years.
Deng Shiru's "Gift of Kenyuan Four-Body Book" (No. 5) 31.5×16.5cm
Deng Shiru is the banner of calligraphy of the Stele School, and its calligraphy has been influencing calligraphy since the middle of the Qing Dynasty with its unique style. His pioneering approach from Tang Kai to Wei Kai enabled later scholars to be inspired in more aspects and less inhibited in their thinking, opening the door to spiritual freedom in calligraphy creation.