Speaking of Wen Zhengming, in the impression of the calligrapher and painter, he has always been a person of duty, stability and elegance. His words are also the same as his people, revealing gentleness and beauty, steady and old.
Its law is rigorous and vivid, although it does not have a majestic momentum, it is very elegant in Jin and Tang dynasty calligraphy. His writing style is less fiery, and in his happy writing, he often exudes a gentle and elegant atmosphere, perhaps because the ups and downs of his early career have consumed his heroic vigor, so it presents this state.
Wen Zhengming's first calligraphy master, Li Yingzhen (his father-in-law), later extensively studied the famous handwriting of his predecessors, and was accomplished in seals, li, kai, xing, and grass, and half of his calligraphy achievements were due to his decades of diligent study and hard work. He is especially good at writing and Xiao Kai, teaching Fa Jin and Tang, li becoming strong, gentle strokes, and a gentle rhythm, known as "the first of the Ming Dynasty". His big characters have Huang Tingjian's penmanship, bone rhyme and proficiency, and Zhu Yunming and Wang Pet are equally important at that time. Among the works that have been passed down to later generations, most of them are small kai or xingshu and small grass, and wild grass works are extremely rare. I only saw three works by the age of 43, 50 and 51.
Today we are admiring his wild grass "Lake Light Phi Su Lian". From this work, it can be seen that Wen Zhengming is also a generation of masters in the field of wild grass, but he does not write it often.
【Explanation: Lake light Phi Su Practice, Wild Color Rise】
"Lake Light Phi Su Practice Poetry Volume" Wild Grass, paper, 20.9 cm in length and 11 cm in width. It was written in the eighth year of Sejong Jiajing (1529), when he was 60 years old.
【Green smoke, a rain tree like a mu, a thousand】
The penmanship is arbitrary, indulgent and majestic, the momentum is majestic, and the calligraphy is strange, like a horse out of the reins, unrestrained.
【The forest flowers are burning, and the monks return to the White Lotus Society,】
The dot painting is vigorous and powerful, and the knot body is unrestrained and relaxed.
[Man-carried magnolia (boat).] Line】
The whole work echoes up and down, left and right, blood veins, and breath overflowing.
[In the early spring of Lesu, there are cuckoos on the top of the mountain.] 】
It can be seen that Wen Zhengming has found his own style and posture in Zhang Xu and Huai Su's crazy cursive style, and has used it flexibly.
[The first harvest of the kasawa rain.] Along the stream lane】
Under its rhythmic brushwork of ups and downs, the pen gestures are rounded and smooth, thin and hard. The ink color is dry and moist, and the cloth is full of fun during the day, which can be described as imposing and heroic, otherworldly, especially showing the superb book art of the book writer's hanging wrist and sharp pen.
[Small boat, Pu Qiantian suddenly exhibited.] Day】
This article changes the previous gentle and elegant style, and Zhang's madness is not lost to Huai Su, Zhang Xu and other predecessors.
[Out of the water scramble, the peach dock wears.] Vertical】
With the pen calm and painful, although there are dry pens from time to time, but the ink method is natural, in one go.
[Yokomi Orange Island, floating green hundred stacks.] 】
There are no rules in the rules and columns, no fixed moments in size, interspersed with staggered, and local changes are mixed with the overall rhythmic rhythm.
[As if in the mirror, Jia Jing has been ugly in the spring.] 】
One has to sigh that this is a rare and excellent work.
[The book is in the Shuyun Pavilion, Zheng Ming.] 】
What kind of book do you prefer? Let me know in the comments section!
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