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Divine | The tip of the iceberg is also enough treasure: the master's calligraphy, although it has been intercepted by mediocre people, is still in style
Northern Song Dynasty Huang Ting Jianxing's book "Yin Changsheng Poems Three Pieces and Treks". It is included in the 5th volume of the Law Book of Qiu Bi Tang. Collection of the National Library.
Right Zhen Ding Liang's QiuBi Tang carved the HuangGu book "Yin Changsheng Poem".
This poem is inked, the characters are cut open, and the volumes are affixed into volumes, see Wen Hengshan's "Futian Collection", Yun: "It must be a large axis, which has been intercepted by the Yong people." It was later packed into a book, see An Lu Estate's "Ink Edge Huiguan". The order of its words and sentences, as recorded by various families, such as Du Yuanjing's "Nan hao ju shi wen bao" and Wang Yushui's "Coral Gang", have similarities and differences with this post, and each of them has already interpreted the second. I don't see the original traces, I don't know what the shear marks are. Qufu Kong's "Yuhong Zhen Ti" is also this poem, the words and sentences are the same as the Qiu Bi Ben, since the Liang clan, the order of mounting is so.
Huang Tingjian (1045-1105), also spelled Lu Zhi, was a native of Fengning, Hongzhou (present-day Xiushui County, Jiujiang City, Jiangxi Province), a famous writer and calligrapher of the Northern Song Dynasty, and the ancestor of the flourishing Jiangxi poetry school, and du Fu, Chen Shidao, and Chen Youyi were known as "one ancestor and three sects" (Huang Tingjian was one of them). Together with Zhang Qian, Chao Shuzhi, and Qin Guan, they all studied under Su Shimen and were collectively known as the "Four Bachelors of The Gate". Before his death, he was on a par with Su Shi and was known as "Su Huang".
Huang Tingjian's calligraphy is unique and is one of the "Four Houses of the Song Dynasty". Huang Tingjian introduced the "Crane Ming" into the grass, strong and easy, and the realm was new. "The people of the world have learned the Lan Pavilion noodles, and they want to exchange all bones for gold." Who knows Luoyang Yang Fengzi, the next pen will go to the Wusi column. This is the praise of the fifth generation of Yang Ning, and it is also a spur to himself.
The biggest influence on it was Su Shi. For example, "to learn from the Yan Plain with the eastern slope." However, if you are clumsy, you will not be close to your karma in the end", and "Dongpo this post is very similar to the tombstone grass of Princess Yu Shinan." It is his nature to comment on the Dongpo Shanshu. To taste the East Slope to see the second sac of Tezawa, there are similar to Liu Gongquan and Chu Suiliang's number of papers, which are better than the Xu Hao characters made in ordinary times. And for Yu Lin a volume of Lu Gong Ti, where twenty pieces of paper are obtained, they will receive six or seven, and they will not be able to learn." Judging from the inkblots of the Xingbang Codex that Huang Tingjian has passed down to the present day, its skimming opening, the flat shape of the glyph, and the upward movement of the characters to the right all clearly show the characteristics of Su Shi's calligraphy, and even some exaggerations and emphases, but it is too jerky and not familiar with Su Shupu. Huang Tingjian, on the other hand, used the Zen Enlightenment Book to influence Su Shi. For example, Su Shi's "Prayer for rain", the pen is very similar to Huang Tingjian, especially its end number, calm and elegant, the line is loose, almost like Huang Tingjian's ghostwriting.
The formation of Huang Ting's jianxing kai big character calligraphy style was due to the formation of his own family style after he saw the cliff "Crane Ming" in Jingkou and continued to learn the fa and milk, forming a long gun euphorbia and a vigorous and sluggish style of writing.
Huang Tingjian's cursive writing was well-thought-out when he was a student. Su Shi regarded the Zhou Yue book as "dangerous and inferior", and Mi Fu commented that the Zhou Yue book was "imposing and strong and sharp". Huang Tingjian later expressed his views on Zhou Yue calligraphy after his calligraphy and calligraphy ideas matured in a discourse: "Wang Shulin's "Lan Ting" and "Le Yi Theory", and the Supplementary Yong Zen Master and Zhou Sanqi's "Thousand Texts" are all wonderful, and at the same time they are extremely good at using pens. If you have thousands of books in your chest and do not follow the world, then the books do not rhyme with the disease, and they are victorious over Li Xitai, Lin and Jingyi. Gaimei and sick rhyme, Wang Zhu; energetic and sick rhymer, Zhou Yue. All are guilty of the chest, and non-scholars are ineffective. ”
Huang Tingjian's profound understanding and mastery of cursive brushwork should be "the magic of Zhang Changshi, Monk Huaisu, and Gao Xian's inkblots". He wrote in the "Poetry of the Emperor of the Eights": "In recent times, the scholar dafu has rarely obtained the ancient law, but the pen is wrapped left and right, so the number is cursive, and I do not know that the tadpole, the seal, and the same law agree." For hundreds of years, only Zhang Changshi, the Yongzhou mad monk Huai Su and Yu Sanren realized this fa. Su Cai Ong has enlightenment and cannot do his best, and the rest is lukewarm. ”
The maturity of Huang Tingjian's cursive writing also benefited from the enlightenment of his external skills. In the boat of the Road of Fire, watching the oars for many years, the group of Dings pulling out the trees, is the feeling of less progress, the joy of the gains, the use of pens. Yu Yu lived in the Kaiyuan Temple Xiyisi Hall and sat in the Jiangshan. Every time you make grass in this, it seems to have the help of the country. However, the long history and the mad monks are all leaning on and psychic. Yu did not drink alcohol, and for fifty years, although he wanted to do good, but the instrument was unfavorable, the pen was always sluggish, and the plan could not be restored as if he were drunk. Zhang Xu and Huai Su zuocao both entered a state of irrational self-forgetfulness and ecstasy with drunkenness, and the cage was waved, often unpredictable and fascinating. Huang Tingjian does not drink alcohol, and his herbs are all in the mind, in order to make the pen. However, although it is more rational and rational, it can also open and close, gather and disperse, and enter the realm of sprinkling. And its pen, in contrast, is more calm and elegant, although it is vertical and horizontal, it can also stay everywhere, stay everywhere. Huang Tingjian's "Theravada Theravada" and other Buddhist scriptures and cursive texts are really wonderful, and Huang Tingjian has created a new realm of Chinese cursive writing.
The Northern Song Dynasty Huang TingJianxing book "Yin Changsheng Poems Three Pieces and Treks" was super Qing appreciation
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