Introduction: Zhang Yu is a famous Taoist priest in the Yuan Dynasty, with a very high talent in calligraphy, when he was young, he was influenced by Taoists, Ouyang Yuan, and Zhao Ziang, his writing style was clean and cheerful, and in his later years he was influenced by Yang Weizhen to abandon The Tao and return to Confucianism, although his words are untamed, but they are not conventional.
Part of the Preface to the Orchid Pavilion of the Chu Chu Sui Liang
As the saying goes, words are like people.
Just like Zhao Ziang's character Wenrun Taihe; Mi Fu's character jumps more and more; Huang Tingjian's word twists and turns, Su Shi's word is rotten and true.
Part of the "Thousand Character Text of the Seal Book of The Five-Year Seal"
Looking at their words not only gives them aesthetic enjoyment, but also understands their inner greatness.
The same is true of Zhang Yu, whose style before and after the words has changed greatly, from the early freshness and vigor, the elegance and elegance, to the late rough head and chaos, not conventional, it is his contradictory and legendary life presentation.
Part of the "Nine Locks Mountain Small Kai Poetry Volume"
In his early years, he entered the Tao with Confucianism, and in his later years he abandoned the Tao and returned to Confucianism
Zhang Yu, Zi Boyu, No. KouQu Waishi, Phantom Immortal, Dao No. Zhen Juzi, Late No. Lingshi Shanren, Dengshan Nunnery Lord, etc., Dao name Si Zhen, a life experience that is both contradictory and legendary, in his early years he was a Taoist priest entrusted with a yellow crown, and in his later years he abandoned the Tao and returned to Confucianism, wrote books and wrote poems after writing books and sayings, and lived in seclusion for the rest of his life.
Partial part of the Treatise on books
At the founding of the Yuan Dynasty, the hierarchy was strict, and as the lowest-level "Jiangnan" scribes, their hearts were extremely contradictory. Some people actively join the world, some people uphold integrity, and use poetry to pin their hearts on it to become a popular trend, just like Zheng Sixiao's "Han Ju" characters cry blood.
The flowers do not bloom and the flowers are not endless, and the independent hedges are not endless. I'd rather die with incense on the branches, and He once blew down in the north wind!
Zhang Yu grew up in this period, he was born in a family of Southern Song Dynasty remnants, and his ancestors had deep contacts with Zhao Ziang, Qiu Yuan, Zhang Yan, Huang Gongwang and other literati and inkers. The good family atmosphere made Zhang Yu knowledgeable and good at talking about fame and reason at a young age, but the various actions of the rulers of the Yuan Dynasty made him have no way out of his career and no way to serve the country.
So in pain, he wanted to seek a spiritual liberation, and when he studied the Dao Fa with zhou Dajing, the master of the Shangqing Sect, he woke up after reading the "Great Cave Sutra", and then entered the Kaiyuan Palace in Hangzhou as a Taoist monk.
Part of the Scrolls of Idle Poetry
He was in his 20s. During this period, except for 31-33 years old, who entered the Guanjing Division with the Kaiyuan Palace Daoist Wang Shouyan and his party, the rest of the time was spent in the Beautiful Waters of the Mountains and Rivers in Jiangsu and Zhejiang.
However, in the past two years of entering the Guanjing Division, it has become a strong stroke in his Daoist career.
Before becoming a Taoist monk, Zhang Yu became acquainted with Zhao Ziang and received his guidance. After entering the Guanjing Division, he was naturally cared for by him, and not only became acquainted with Yang Zai, Yu Ji, Fan Shu and other literati and scholars, but also worshiped under Yu Ji's men, and was summoned by the emperor under the strong recommendation of Zhao Ziang, and was given the title of Qing Rong Xuan Yi Wendu Master.
However, what is unexpected is that the glory is added to the body, and zhang Yu, who is highly respected, met Yang Weizhen at the age of 60 and was influenced by his wild and uninhibited thoughts.
He took off his Daoist robes, buried his crown sword, lived in seclusion in Hangzhou, and drank with Yang Weizhen, Huang Gongwang, Ni Zhan, Yu He and other scribes, drinking and playing with the United States.
The idyllic and bleakness of life decreased, the idea of timely pleasure rose, and the poems that reflected the sufferings of the people in the early years disappeared and were replaced by the praise of worldly pleasures. Coupled with his frailty and illness in his later years, his thinking was extremely contradictory, which led to the change of thinking and writing style in the later period.
Part of "Tang G Long Live Tongtian Tian Ti Xiao Kai Inscription"
Early book style, fairy breath fluttering, transcendent outside
The Taoist idea of quiet and inaction influenced Zhang Yu's calligraphy, and at this time his calligraphy was clean and cheerful, and the gods were flowing like a gentleman.
Although Yang Weizhen has been instructed by Zhao Ziang and is also a "retro" style of writing, he is different from Zhao Ziang in that he does not have any worries about the imminent demise of Han culture in his heart.
The retro he advocates is based on the ancient as the new, so he does not blindly inherit in calligraphy, but adds personalized innovation on the basis of inheriting tradition, fusing chapter grass, imakusa and seal, showing a simple, stubborn, majestic and unconventional style.
For example, he and Zhao Ziang wrote Li Yong's "General Yunli" stele together, Zhao Ziang still wrote Wenrun and Taihe, while Zhang Yu omitted Li Yong's process of starting and closing, forming an overall upward 30-degree angle of oblique posture on the knot, with the side of the body as odd.
Part of the "Bao Deng Wen Yuan Rushed to the Chapter Volume"
For example, his "Bao Deng Wen Yuan Rush chapter volume", the whole is inclined to the upper right, from the beginning of the first "to" word, the pen and pen are pressed freely, fresh and vigorous. You can feel Zhang Yu's strong sense of rhythm when writing, as well as a free mood.
This is to get rid of the interference of the world, the appearance of personality outside the transcendent, but the real advantage of Zhang Yu's calligraphy is not how skillful and precise he is with his pen, but in the "meaning" he expresses, and the "clean" atmosphere revealed from the lines.
Part of the "Ascension Poems"
Another example is "Ascending Poetry", the pen is soft and charming, the turning point is replaced by a circle instead of the square fold, the stroke connection is rich in silk, the glyph is sparsely dense, and the white space in the word pays attention to the degree of law, especially the surrounding structure under the words "gao" and "shang", the "mouth" of the two words is on the left side, and the white space on the right side is larger.
Horizontal paintings are generally left low and right high, and vertical paintings are tilted downward to the right, so the visual effect of the entire word state is slightly tilted to the right but does not deviate from the central axis. Although this work consciously shows the difference from Zhao Meng, there is still a Jin and Tang style running through the work."
Yao Shou once wrote a biography for Zhang Yu, saying: "The Qu of the Mountains, the Confucianism of the Immortals". These eight characters can be described as the essence.
Zhang Yu can be described as half Taoist, half Confucian, half hidden and half vulgar, and a scribe who "entrusts the yellow crown". During this period, his writing style also changed dramatically, and the sentence was like two people before and after.
In his later years, he was bookish, unbridled but not crazy, indulgent but not wanton
In his later years, Zhang Yu was influenced by Yang Weizhen's strong and wild consciousness, and calligraphy developed to another height. At this time, the style of writing was reclusive and indulgent, showing personality, and did not serve as a teacher on the road of learning books, becoming one of the few calligraphers in the Yuan Dynasty who formed a personal face.
In the second year of Yanyou, Zhang Yu returned to the Qiantang he was familiar with, and returned to the Jiangnan cultural circle that he had been thinking about, in addition to presiding over the Taoist palace and repairing the classics, most of the time was reserved for himself to enjoy life.
Part of "Title Li Longmian Luohan Diagram"
The next ten years were Zhang Yu's most comfortable decade, he resigned from the palace to bury the crown sword and indulged in wine, and frequently traveled with Yang Weizhen and others to enjoy the jiangnan landscape. This glorious decade is also the explosive period of Zhang Yu's works, and most of his surviving calligraphy works were born during this time.
Although the style of the book has changed greatly, it looks rough and messy, dry, wet, thick, light, and the changes in thickness and fineness are untamed, but carefully examined, each word is dark and legal.
Part of the "Climbing south peak absolute poetry cursive scroll"
For example, "Climbing the South Peak Absolute Poetry Cursive Scroll", a change of normal, with the pen naïve and free, not limited to small portrayal, the size of the glyph and the dry, wet, thick, light changes of the ink color with the natural appearance of the pen, in one go, its "one" word first obliquely and then brushed out, you can imagine his unfettered mood when creating.
"The writer of the husband, the traces of the heart, so there are all the middle and the form and the outside, and the heart should be in the hand" is the portrayal of Zhang Yu's mood when he climbed to the top of the South Peak, which was expressed through the words and lines.
Part of the "Youlongjing Fangyuan An Inscription Five Sages and Two Kaishi Portrait Poems"
Another example is the "You Longjing Fangyuan An Inscription Five Sages and Two Kaishi Portrait Poem", Zhang Yu through the gradient of ink color rhythm, resulting in dot painting virtual reality, light and heavy, dense contrast, and large and small glyphs interspersed with such as "branch, purple" two words, "dragon, luan, zai, worship" four words, the ink color of the ink color of the ink and dry pen thirst ink formed a strong contrast. He is not limited to the fineness of the structure, and creates a harmonious and vivid image through relaxed strokes, changing body posture and gradient ink color.
Such a work was not available in the early stage of Zhang Yu, not only the creation of immediacy, but also a breakthrough for himself, its vigorous lines, slender knots, it seems to have the shadow of Huai Su, extensive knowledge, coupled with his outstanding talent, thus forming his unique appearance.
Part of the Ten Sons of the Ancestral Gate of the Paihua Dynasty
epilogue:
Practicing words can make people calm and calm, but also can be debauched, depending on where the mood of the people who practice words stops at this time, and what kind of book style to work hard to study, the so-called free swing, the premise is that it is in the chest.
Escaping into the empty door is not what Zhang Yu wants to do the most, but the spirit that has nowhere to be placed wants to be liberated in this world, except for the empty door, it can only be released in a certain hobby. Therefore, from the time he entered the Tao in his 20s to the age of 61, before he was still Confucian, the pen and the pen were still from Wei Jinzhong, reducing the twisting of the strokes and replacing the curve with straight, enhancing the strength of the strokes, and the style of writing was firm and strong.
After the age of 61, under the influence of Yang Weizhen's wild and uninhibited personality, Zhang Yu's bland attitude towards life turned to wild and unruly cynicism, resigning from the palace, burying the crown sword, returning the body, indulging in eroticism, drinking and poetry, and even calligraphy has a "chaotic atmosphere".
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