Emperor Huizong of Song (1082-1135), the eleventh son of Emperor Shenzong of Song, the younger brother of Emperor Zhezong of Song, and the eighth emperor of the Song Dynasty, was successively named King of Suining and King Duan. Emperor Zhezong died childless in the first month of 1100 CE, and Empress Xiang made him emperor in the same month, and the following year changed his era name to "Jianzhong Jingguo".
After Emperor Huizong of Song ascended the throne, he introduced the new law, and at the beginning of his reign, he had the spirit of a Ming Emperor, and then after being induced by Cai Jing and other ministers, the political situation plummeted, and later the Jin army came to the city, and at the word of Li Gang, he hurriedly gave zen to the crown prince Zhao Huan, and reigned for 25 years (February 23, 1100 - January 18, 1126), the country died and was captured and tortured to death, at the age of 54.
"Leap Mid-Autumn Moon Poetry"
He created a calligraphy font called "thin gold body" by posterity, he loved to paint flowers and birds to become his own "courtyard body", and was a rare artistic genius and all-rounder in ancient times.
Emperor Huizong of Song was an emperor whose calligraphy and painting were quite distinctive, and the calligraphy of Emperor Huizong of Song was generally referred to as "thin gold body".
"Thin" is not difficult to understand, Chinese character calligraphy lines can be thick or thin, Yan Zhenqing's calligraphy is thick and wide, and many people write that the yan body is less rigid and easy to become "fat". "Fat" has the meaning of "loose" and "loose".
Song Dynasty Zhao Tuo thin gold body italics
Inkblot Ouyang Inquiry "Zhang Han Ti"
Collection of the Palace Museum in Beijing
"Thin" is the "tight" and "narrow" of the line, and the general history of calligraphy often says that the thin gold body of Emperor Huizong of the Song Dynasty came from Xue Ji in the Tang Dynasty. Xue Ji's calligraphy is also "thin". Generally speaking, the calligraphy of the early Tang Dynasty inherits the rigor of the Sui stele, and the lines are thin, so is Ouyang Qian, and so is Chu Suiliang, but Xue Ji's thinness is rigid with a twist, which is deeply related to the "thin gold body". The calligraphy of Li Yu, the lord of the Five Dynasties of the Southern Tang Dynasty, is called "Golden Wrong Knife", and the word "jin" is used as a metaphor for lines, and the complexity and depth of aesthetic meaning are not easy to understand.
Inscription of the "Xianglong Stone Scroll"
"Gold" is metal, it is bronze, and it is also gold. "Gold" is a flickering light, a sharp edge of the line. The pre-Qin process popularized "wrong gold", in which gold wire or silver wire was embedded in bronze, and gold and silver filaments shone on the dark bronze surface, showing the beauty of "wrong gold".
Ruihe diagram inscription
The calligraphy of Emperor Huizong of Song was special, but the four great calligraphers of the Song Dynasty, Su, Huang, Mi and Cai Li, did not have Song Huizong. Song Huizong's calligraphy is like the beauty of walking on the edge of danger, which makes people love and also makes people afraid.
Emperor Huizong of Song made the Chinese character lines sharp, and "feng" and "mang" were taboos in the aesthetics of Chinese characters. Calligraphy speaks of "Tibetan feng" precisely because the mainstream tradition of Confucianism as a whole does not encourage "sharp edges". "Sharp edges" are to be feared, and they will be punished by heaven. Lao Tzu philosophy always believes that "sharp edge" is the easiest place to break, not lasting.
"Title Tang Eighteen Bachelors Picture Scroll"
"Skinny gold body" is actually a very "Western" aesthetic, and the people who have long suppressed the possibility of personal wanton sexuality will be afraid of "thin gold body". The "skinny gold body" is a spell that intertwines beauty and destruction. The "thin gold body" does not hide the edge, does not compromise, prefers to be jade broken, and writes a beautiful poem of "dancing in the evening wind" on the verge of death in the entire empire.
Peony Poems, National Palace Museum, Taipei
"To Borrow, Wind and Frost Two Poetry Papers" Letter
Collection of the National Palace Museum in Taipei
Volume of the Poetry of Thesis
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The full text of the post is:
The suffix is in the middle of the calyx.
Zero dew is drunk, and the remnants of the sun seem to melt.
Dan Qing is difficult to write, and the creation is left alone.
Dancing butterflies are fascinated by the incense path, and the evening wind is fluttering.