The late Yuan calligrapher Yang Weizhen was a generalist, a prodigy, and a geek, and his life can be summed up in seven words: poetry, literature, books, paintings, wine, sound, and color. His calligraphy style is wild and grotesque, high and strange, chaotic and compelling, which is a typical example of the hidden literati calligraphy in the late Yuan Dynasty who pursued individuality and emphasized the spirit of freedom.
Yang Weizhen (1296-1370), courtesy name Lianfu, was a native of Shanyin (present-day Shaoxing, Zhejiang) by the late Dong weizi (東維子) and Tieya Shanren (陳崖山人). Author of "Orthodox Debate"
"True Mirror Ann Collection Scroll" on paper, 33.3 cm in length and 278.4 cm in width. The so-called "True Mirror An" in the volume is the "Zhenjing An", or "Tennō Son".
The date of writing is unknown, but Yang Weizhen swam on the sea in the 20th year of Zhizheng and made several monks and friends, including Master Jing'an. Master Jing'an died in the twenty-eighth year of Zhizheng, and Yang Weizhen paid tribute to his friends with the article "Sending Away The Tranquility of Jing'an to Live in Ni Feng", so this work should be written between the twentieth year of Zhizheng and the twenty-eighth year of Zhizheng, which is Yang Weizhen's later work. After this work, Yang Weizhen fell on the railway people, and used the seal as the Nine Mountains Baiyun House Yang Wen, Yang Weizhen Yin Yang Wen, Lian Fu Yin Wen 'Tie Di Dao Ren Yang Wen Four Seals.
Part of the "True Mirror Ann Collection"
The full text of the Zhenjing'an Collection of Fortunes is 145 words, with a total of 42 lines, each line is 3 or 4 words. I looked at the whole book, but I saw that the pen was swallowing and moving between the lines, and the clapping was stuffed with paper, dry and wet, and the real anger was compelling.
The entire book frame completely reproduces the strong artistic personality of a generation of literary generals, as well as the perfect artistic realm of pure fire in the later years. This kind of calligraphy, which is born entirely from temperament, can be said to be rare even in terms of the entire history of calligraphy.
The Ming Dynasty scholar Wu Kuan once used: "The great general BanShi, the three armies play Kai, break the axe and lack the axe, and return backwards." Such an excited word to praise the Yang family, I want to be not a lie.
"Zhenjing'an Fundraising" is one of the works that best represent Yang Weizhen's calligraphy style. In this work, his unrestrained momentum and boldness are fully revealed.
At the beginning, the title of the essay is quite well written, and perhaps at the beginning, he is still rationally thinking about how to write a loose article that raises a fortune. When the work enters the front part of the main text, Yang Weizhen's strong, stiff dotted lines and knots gradually appear, and the use of ink is gradually aggravated.
Writing to the middle of the article, the pen speed gradually becomes faster, the ink color begins to move from the thick black in the front of the work, the dry transition of the brush stroke, the center and the flank are constantly converted, and the knot song side takes the posture, the word and the word, and the line and line are interspersed with each other to avoid each other, and they are integrated.
When the writing entered the second half of the text, Yang Weizhen may have forgotten that what he wrote was an article for worshiping The Buddha. Strong contrasts constantly appear with the weight of the pen, the heavy pressure of the pen, the vigorous lines that sweep out with the belly of the pen, the light lines that are lifted by the pen tip, and the light and strong lines formed. Here, the strong contrast between solemnity and lightness is perfectly integrated in Yang Weizhen's pen.
"True Mirror An" uses the pen to be spicy and hard, changeable and colorful, the lines are some hard and thick, and some even sweep with the pen belly, amazing heart, like a thousand jun; Some are thin and weak gossamer, which are like steel wires, full of elastic tension, but also make the rotation flexible.
Some are as fast and fierce as the speed, the ink color is thick as the clouds rolling, and some are as delicate as the moon wind, thick, light, dry, astringent, resulting in the knot of if sitting, if walking, if moving, if flying, with the momentum, let the heart come out.
The wild and jumping brushstrokes and strange shapes make the whole work like a scattered monk drunk, chaotic and rough, sad and angry. Its foot is more exaggerated, heavy press, crazy and ancient. But through the whole text, clumsy but fluent, ancient and innovative, its sense of innovation, can be described as a unique step through the ages!
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