Stone furnace calligraphy:
For a while, Wei Liushi bravely defeated the three armies and seventy cattle
——How to sketch Jinnong's calligraphy brushwork summary
Jinnong's calligraphy is mostly used in inscription paintings, "every painting must have an inscription, and it will be triggered at a touch". The calligraphy is strong and simple, and the weather is majestic, which complements the picture perfectly. We know that Jinnong's beautiful hair is full of majesty, strange character, and willful romance, and it can be imagined that Jinnong inspects the picture when he writes a book, looks around, studies ink feelings, and improvises books. Wang Yu of the Qing Dynasty said very well in "On Painting in Dongzhuang", "Before painting, it was all in Yangxing. Or to see the clouds, or to watch the flowers and birds, or to walk and chant, or to burn incense and sip tea, to have a good time in the chest, to itch and develop, that is, to stretch the paper to soothe, to stop the excitement, until there is a continuation of the time, the natural opportunity is lively, out of the dust table. ”
Improvised inscriptions, it seems to be exerting temperament, but also different from the heart of the letter, it is indeed easier said than done! This test is skill and change, understanding. Picking up its critical points, from the understanding of the jinnong calligraphy of the stone furnace, it is outlined that calligraphy should strengthen the foundation, deeply cultivate the tradition, accumulate thick and thin hair, and expect to transform, of course, this refers not only to the material foundation, but also to the spiritual temperament, which can be summarized as, the popular moment will stay in stone, and the courage to defeat the three armies is to eat cattle.
First, true kung fu is hard work, and you can't step on the void. True calligraphy follows the law of the Tao, "The Tao is not far from people, and people are far away from the Tao, and they cannot be the Tao." The two sentences used to emphasize that the state's civilian and military generals, especially the selection of high-level officials and generals, must be selected from people with practical work experience at the grass-roots level, know hardships, can bear hardships, and are not afraid of suffering, otherwise handling government affairs and leading troops in combat may be talking on paper and delaying major state affairs. Calligraphy seems to be a simple line, but its changes are inseparable from the seal grass, Hanjian painting, cliff carving, folk craftsmanship, etc., a combination of special groups, from the craftsman into the Tao, pay attention to the Tao, work to nature, water to the natural. However, "painting is expensive and has charm and boldness." But they all come from the spirit. If you focus on the real place to seek strength, although you do not lose the rules and do not know the magic of into the transformation. We can see from Jin Nong's calligraphy and painting process that his poetry, calligraphy and painting are proficient in archaeological identification, and his life is embarrassing when he lives in Yangzhou, and he has a self-portrait of "Sending People Under the Fence". The inscription poem also has "Painting plum beggar rice is a common thing, but less high flow to send rice to." I am often hungry for cranes and lack of food, and I sleep with cranes and plum blossoms. ”
"Hardships and hardships, Yuru Yucheng." Suffering is either the norm for calligraphers and painters, or it is also the luck of the times, or it is also the soil. The knower is relieved, relieved of the open-mindedness of those who know that "born of sorrow, died of happiness" (Mencius).
Second, the foundation is initial, original, and simple, not red tape, let alone extraneous. At the beginning of man, nature is good, and calligraphy is also good. Just like the dot thinking, small and no inside, large and no outside, even if the big dot, is also a small circle, otherwise it is only a partial fan shape of the circle. Zheng Banqiao's inscription poems are known for their sparseness. He himself once said: "One rod is thin, two rods are enough, three rods are enough, four rods are saved, sparse and dense, and the side of the pole is thin, and the enlightened one is self-satisfied." In the poem "Ink Bamboo", it is emphasized that painting bamboo is better than a simple province: "One or two or three bamboo poles, four or five six bamboo leaves." Nature is faint and sparse, why overlap and overlap?" One stone, two poles of bamboo, less good-looking, more than not. ("Bamboo Stone"), which is exactly what the predecessors called "the number of slackers" ("Yunlin Painting Spectrum"), and can even achieve the effect of winning more with less. "Dare a little cloud, win more people." "Orchids are quiet at first sight", "Orchids are only a few inches thin, and the world's fine products do not need to be more". It is precisely because the foundation is solid that there will be no, no need, no need for red tape, otherwise there will be no need for confusion, loopholes, and fun. Of course, "there are books and volumes that are good, otherwise they will be scattered and scattered, and they must not be too detailed." ("Painting And Cultivating Dolls", Shao Meichen). Jin Nong, who is also the "Eight Monsters of Yangzhou" and a good friend with Zheng Banqiao, is also written horizontally and vertically, with a strong sense of three-dimensionality, a sense of layering, simple and simple, and there is no silk belt of Wang Xi's style. Lai Shaoqi, who worships Jin Nong, has inscriptions such as "Huangshan Fake Me A Big Piece", "Cloud Mountains Are Stacked on Top of Each Other, and Smoke Trees Are Heavy." "It is indeed a sight to behold.
Third, the foundation should be continuously inclusive, absorbed, summarized and upgraded. The roots of plants must be drilled deeply in order to be rooted in the leaf, and the expressiveness of calligraphy and its innovation are the same, it must come from the masses, return to the masses, come from life, higher than life, and learn from daily life, ordinary people, various crafts, and front-line posts, because they are the majority of creation and aesthetics, both the source and the destination, both the audience and the teacher, and even may be the opponent. Of course, calligraphy pays attention to the law, and writing with the law is a kind of interest, hanging in the heart, remembering in the hand, and enjoying it all day long, integrating into life, so that it can stand upright, sit down, integrate and penetrate, and all have knowledge. We are appreciating genres of books and should not force everyone to have the same point of view. Seeing anything is pleasing to the eye, seeing anything can become your own teacher, seeing everything has to see a unique landscape, understanding others, respecting others, supporting others, so that experts and the masses are no different. The Buddhists say that compassion is the result of natural rejoicing; "Born in the human world and raised in the human world, all buddhas became enlightened in the human world." Mencius said, "He who loves others will always love him; he who respects others will always respect him." "Posting and creation is also one of the contents of practical activities in nature, and the magic of nature is to look up and look down, make heaven and earth, accumulate bit by bit, such cultivation and pattern, naturally can write a peaceful mentality, not ashamed, not fire, arbitrary lines. Jinnong has lived in Yangzhou for a long time, and the stone furnace analyzes according to this, whether Jinnong's "lacquer book" is also a skill of hearing and witnessing "lacquer workers", Yangzhou's lacquerware has been famous in the world since ancient times, Yangzhou workers are more exquisite and unique, Jinnong has also written lanterns in black paint, lantern paper is oil wax paper and the like, and the pen is smooth. However, on rice paper, the paint is extremely sticky, the ink is as thick as lacquer, can not be sprinkled, can only be light hands and feet, holding breath, so Jinnong can write the same lacquer book as the art word, and is also known as the originator of the art word. Jin Nong has an inscription on the calligraphy "Empty Incense Dipped hands", which is exactly what he got from his experience!
Fourth, the foundation should be directed at people's hearts, and the heart should be strengthened, so that when the learning is deep, the spirit is calm. From the perspective of cultivation, "epiphany" (qualitative change) is of course the best, but it is easy to mistake it for being too hasty to lead to the opposite direction, "gradual enlightenment" (quantitative change) is to take it slowly, slowly qualitative change, which is originally the kung fu of "taking it slowly", the key is to choose what "convenient method" to achieve. For the mentality, Shi Lu believes that when writing, he can never let go of his past writing habits, and the consciousness of "I" is too strong, too early, too fast, and cannot do self-denial and obedience (Fa Ti, pen and ink, paper, chapter law, etc.). According to zen theory, "Mindfulness is awareness, enlightenment is nothingness, long-term collection, natural mind is correct." In this way, it is possible to achieve "no self" first, and then "me". Everyone is relative to the product of time and space, do not have the anxiety of catching up with time, summer worms can not speak ice, flowering and slowly waiting for results, the grasp of time, just like it can be a flowing river, it can be a rushing river, it can be a sloping waterfall, it can be a storm, ask yourself what degree of perception of time, what is used to deal with it, how to reflect the prescriptiveness of time, how to accumulate the inevitability of time, to deal with the accident of time, to seek speed, to expose ten cold, to drag mud and water... It's all patients! "Great heart, tolerant of the things of the world." Be humble and receive the goodness of the world. Calm your heart and talk about the affairs of the world. Immerse yourself in the world and look at the world. Settle your mind and respond to the changes in the world. (The True Record of the Immortals of the Western Mountains) We need to use this method of Daoist mind. Jin Nong wandered all his life, returned home without encountering anything, and lived in the Yangzhou Temple (Heart Monk). Jin Nong's self-composed "Qiulan Words": "Chu Mountains are stacked with greenery, Chu water is contending for flow, and there are Youlan growing in Fangzhou." The branches are slender and the spikes occupy the autumn. No one asked, and the national fragrance was scattered and nostalgic. Wouldn't you go with the onion and the garlic and go buy the street? "To express one's heart, to be lonely and self-congratulatory." Ouyang Xiu praised Wang Anshi: "Three thousand hanlin wind and moon, two hundred years of official articles." Old age and self-pity are still there, and later who competes with the Son. Wang Anshi knew to himself, "It seems that the most strange thing in the ordinary, it is easy but difficult." "It makes sense.
Fifth, the cornerstone of the foundation is feelings, nature, and passion. "Painting, the way of one of the laws also." The Tao has ten thousand laws, and one breath and one inhalation are the beginning! However, all laws do not depart from their origins. The method of painting, stroke by ink, stems from one breath and one inhalation. Breathing is the instinct of life, and insight into the mysteries of breathing can only be used. Pen and ink are the basis of painting, and the meaning of pen and ink knows the meaning of painting. ("On Painting" Feng Haitao) Breathing can be controlled consciously and emotionally, and the internal skills of traditional martial arts have "can be soft, so it can be flexible, can breathe, and then can be hard", the so-called "sweating", "wooden hands" and "honorifics" do not mean feelings, nature, and passion? The use of breathing should be the so-called "mental method", that is, the essence and mystery, of course, there is a "heart" to have a "law", and the key to whether it can achieve "intention" lies in "intention".
Stone furnace believes that writing sad and lonely lines is as beautiful as writing ordinary lines, and Jinnong's strange stubbornness and twists are as beautiful as Hongyi's heart as stopping water, so the personality of each person's unique temperament is beautiful, so it can also be understood why all beings are beautiful, because of beauty, so all sentient beings are also undifferentiated, this is the tolerance of beauty, that is, compassion. If you understand it in this way, you will be strange and not "strange" to Jinnong calligraphy, and your peaceful criticism will be almost objective. The freehand we call "literati painting" is actually "intention writing", and the "intention" in it is not derived from the real feelings of the heart, especially romantic emotions? "I hate Mengjiao poetry and revert to Mengjiao. Hungry intestines chirp to themselves, empty walls turn hungry rats. Poetry comes out of the heart, out of the heart. ("Reading Mengjiao Poems Two One" Su Shi), poetry and calligraphy are in common. Lang Shaojun has an article dedicated to painting people, in which he said that Su Dongpo was discouraged after being frustrated with the officialdom, and Mi Fu's "History of Painting" said that "Zi Zhan is a dead wood, and the branches are bent for no reason." The stone is hard and strange for no reason, such as the depression in its chest. "A dead wood, a strange stone, the mood is empty." That piece of head came out with a swirling pen edge, and it really felt like it was unprovoked. This is apt to refer to Jinnong's calligraphy! Of course, "Classmate Cha is a teenager, full of style; bookish, waving fangs." Pointing out the country and mountains, stirring up the words, dung soil was ten thousand households in the year. (Mao Zedong's "Qinyuan Spring, Changsha") This kind of hesitation and ambition, full of spirit, is a lofty realm.
Stone furnace believes that writing sad and lonely lines is as beautiful as writing ordinary lines, and Jinnong's strange stubbornness and twists are as beautiful as Hongyi's heart as stopping water, so the personality of each person's unique temperament is beautiful, so it can also be understood why all beings are beautiful, because of beauty, so all sentient beings are also undifferentiated, this is the tolerance of beauty, that is, compassion. If you understand it in this way, you will be strange and not "strange" to Jinnong calligraphy, and your peaceful criticism will be almost objective. The freehand we call "literati painting" is actually "intention writing", and the "intention" in it is not derived from the real feelings of the heart, especially romantic emotions? "I hate Mengjiao poetry and revert to Mengjiao. Hungry intestines chirp to themselves, empty walls turn hungry rats. Poetry comes out of the heart, out of the heart. ”
("Reading Mengjiao Poems Two One" Su Shi), the poem and the calligraphy of the same intention. Lang Shaojun has an article dedicated to painting people, in which he said that Su Dongpo was discouraged after being frustrated with the officialdom, and Mi Fu's "History of Painting" said that "Zi Zhan is a dead wood, and the branches are bent for no reason." The stone is hard and strange for no reason, such as the depression in its chest. "A dead wood, a strange stone, the mood is empty." That piece of head came out with a swirling pen edge, and it really felt like it was unprovoked. This is apt to refer to Jinnong's calligraphy! Of course, "Classmate Cha is a teenager, full of style; bookish, waving fangs." Pointing out the country and mountains, stirring up the words, dung soil was ten thousand households in the year. (Mao Zedong's "Qinyuan Spring, Changsha") This kind of hesitation and ambition, full of spirit, is a lofty realm.
Sixth, to consolidate the foundation, we must be humble and humble, and we must have a large body and a small body, so as to prevent arrogance and ignorance and clinging to the shortcomings, and still less can we cause vulgarity because of falsehood. When Mr. Liu Yeqiu read "Zhuangzi >, he had the experience of "treating things with specialization and nourishing the heart with relaxation". "Specialization" is to concentrate on the qi, and "scattering" is to get away with things. (See Hong Pimo's "Ancient Chinese Health Preservation Technique") How can we "scatter" our hearts? In the Qing Dynasty Wang Shangshen's "Notes on Xiangzu", there is, "Yu is sickened by the si past people such as Qin Shaoyou Guan Chuan Tu, while Huang Dayi, Cao Yunxi, Shen Shitian, and Wen Hengshan all worked on paintings, and all enjoyed the Great Year, which is said to be the smoke cloud offering." "Smoke and clouds are provided, and this is the good answer that nature has given." Gong Zizhen also has the saying that "those who have never been great have a single face", in fact, they also explain the use of humble weapons from another angle. The bookmaker, scattering nostalgia, dissipating resentment, obscurity, and hostility, and righteous qi entering the void, at this time, this scene, "a thousand acres, all mirror pure, pouring bifeng." Suddenly, the waves rose and danced a white-headed man. Kan Xiao Lantai Gongzi, unsolved Zhuang Sheng Tianlai, Gang Dao has male and female. A little bit of mighty qi, a thousand miles fast wind. (Su Shi, "Water Tune Song Head, Huangzhou Kuaizaiting Gifts Zhang Weiyi"). Martial arts everyone Lu Gonghan said that the strength of the body is like opening a bow and shooting arrows, pressing the shoulders to sit on the crotch, pressing the back of the door, pressing the back of the door, forcing the two kidneys back, stretching the middle section, that is, the "thoracic vertebrae" section is ripped open into a "bow", and the "through the chest" mentioned in the boxing score is this meaning, which is the most reasonable way of "spine" strength, through the chest, provided that the back is solid (pulling back) the chest is weak (including the chest), and the sitting posture of calligraphy is the same. Calligraphy also needs to be well-written and inked, especially beginners need to lead the entry with hobbies, shoddy pen and ink paper and stone is indeed not fascinating, but to buy and read a lot of posts, in order to make the instrument, law, degree more attractive and temperamental. The calligraphy master Lin Sanzhi has the teaching of "reading through ten thousand volumes, you can heal a custom". Han Yu wrote these two sentences in "The Saying of Horses": "Is it Ma Ye, although it has the ability of a thousand miles, it is not enough to eat, it is not enough to have enough strength, it is beautiful and not to be seen, and it is impossible to get it with Chang Ma, so I can ask for it to be able to go a thousand miles?"
Seventh, the ability to practice and the level of change is the verification of whether the foundation is solid. "The magic of application, the existence of one heart" can only be said at the height of freedom, such as Zeng Xiang, Wang Yong, Shao Yan, Wo Xinghua and others, they are all decades of pure work. The Tang Dynasty poet Dou Ji wrote that Huai Su did not have it, "There are dozens of powder wall corridors, and there are small open-minded breaths, and suddenly there are three or five shouts, and the walls are full of tens of millions of words." "Huai Su is a monk who has escaped into the empty door, we have never abandoned his "ugly book", Zeng Xiang and others have only been intensively cultivating in the traditional fertile soil, taking innovation as their ability, embracing the times, storing up for a long time, and describing their inner calligraphy understanding with higher forms, special forms, and novel forms, not "vain and vain happiness in the world" (Huayan Jing sentence). As admirers and commentators, we should be more objective than himself, not from a one-sided point of view and personal subjective position, but also pay attention to their efforts to promote calligraphy into ordinary people with the appeal of calligraphy behavior! The ability to embody practice often lies in seeing the inevitability from chance, making the essence bigger and stronger, giving full play to the essence into a characteristic, inheriting the past and opening up the future, without losing reality, and having lasting influence. Lai Shaoqi, a follower of Jinnong calligraphy, once wrote a book that reads, "If you don't draw a long sword, An Zhi blood is a flower." "It's a boldness of calligraphy innovation. Climbing high and looking far, the mountains are high and man-made peaks, based on each other, Tan Yanmin also has "independent thousands of years who and friends, their own family is realistic", are calligraphy and calligraphy, and even with the society, life, natural laws of the high degree of fit!
Eighth, "pen and ink when the times", what is the era? It is to proceed from the characteristics, laws and changes of the times, from the actual conditions, and from the possibility of practice, to take calligraphy as a product of history and constantly innovate the history of calligraphy. Traditional culture may not be able to solve modern problems, but their social basis is the same, this is the materialistic view of history, the art of calligraphy to be both in the same vein and with the times, familiar with not boring, tireless change, this is the road trip, the era is big! "I taste all day long and think, not as much as what I have learned; I taste and look forward to it, and it is better to ascend to the heights of Hiromiya." Ascend and move, the arms are not lengthened, and the seeer is far away; the wind is calling, the sound is not added to the disease, and the hearer is prominent. The false horse is not a foot, but a thousand miles; the false boat is not able to water, but there is no river. A gentleman is not born different, and is good at faking things. ”
Xun Zi said that he had meditated and pondered all day long, but (but) it was not as great as the knowledge he learned in a moment (the harvest was great); I once tiptoed up and looked into the distance, but it was better to climb to a high place and see widely. Ascending to a high place and waving, the arm is not lengthened, but the people in the distance can see; shouting with the wind, the voice does not increase, but the person who listens can hear it very clearly. People who use cars and horses are not fast on their feet, but they can reach thousands of miles away, and people who use boats are not good at swimming, but they can cross the Yangtze River and the Yellow River. The qualifications and disposition of a gentleman are no different from ordinary people, but they are good at using foreign objects. The era is the form and the external cause, and the external causes all play a role through the internal factors, but they cannot affect and prevent the development and change of the internal factors.
Ninth, the foundation is to temper pure qi, which has the characteristics of stability and continuity. Confucianism studies interpersonal relations, The Interpreter studies the relationship between man and society, and Taoist studies the relationship between man and the universe, the three perspectives, starting points, and conclusions are different, but they are all related to the study of "qi", and all produce representative calligraphers with very different styles. Relatively speaking, for example, Yan Liu Ou Zhao is a Confucian, Hongyi, HuaiSu, and Bada Shanren are Shijia, Chen Zhuo is a Taoist, and it is said that "Fuchun Mountain Jutu" is the work of Huang Gongwang, a Taoist of the Quanzhen Sect, whose name is Yifeng Daoist and Great Foolish Daoist. Qi is pure and righteous, Wen Tianxiang was imprisoned as a "Song of Righteous Qi", saying, "There are seven qi (evil qi), five qi (righteous qi) has one, and one is against seven, why should I suffer!" He who is mighty is the righteous qi of heaven and earth. "The gas can be large or small, the gas is not visible, and the lines are visible." Although the painting is small, the qi is generous, the word is small, the aura is large, and it is small but inside, and large and has no outside. The point-and-soldier debate also has "the three armies can seize the marshal, and the soldiers cannot seize the breath." "Tai Chi Chuan theory has" Qi is harmless to be directly nourished, and strength is more than enough to be curved. All of them are discussing the same "qi" problem, and Shi Lu believes that in the basic cultivation of calligraphy cultivation, it is good to learn from the above, and to make the good qi such as yuan qi, righteous qi, middle qi, and middle qi stronger and bigger, and naturally "the righteous qi exists within, the evil cannot be done, and the evil is gathered, and the qi will be empty." Therefore, this is also the basis for calligraphy to cultivate the mind. Isn't the wind, cold, summer, wetness, and dryness of Chinese medicine also the sick and evil atmosphere of calligraphy? Spring, summer, autumn harvest, and winter hiding are not also the norm of calligraphy with pen luck? The southern shi is concise and clear, the northern people are profound and extensive, the Jiangyougong ShangfaYue, and the Heshuo word is strong and strong, is not it also the reason for the humanistic atmosphere of the north and south factions of the stele? From personnel, physics, the universe to calligraphy, good at deduction, there will be miraculous feats!
It is better not to be a general for ten years than not to be a pawn for a day. Bow down and encourage!
Text: Resident of The Garden
Inscription Calligraphy: Stone Furnace
Seal engraving: Wang Yong, Yu Tianyu, Han Hehuan