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Wonderful product | A man of unique genius: raising horses is like a breeder, genius is different
Ming Dynasty Zhang Ruitu's book "Book of Painted Horses", sprinkled with gold notes, 31.3 × 48 cm×30 kai, Shanghai Museum collection.
Drawing horses is like a picture dragon, and raising horses is like raising a soldier. Calligraphy is the same, different people have different talents, different creations, no doubt Zhang Ruitu is one of the unique ones.
【Interpretation】
Painting horses is like a picturesque dragon, and the vertical and horizontal changes are endless.
I look at the moon mountain, and I drop my pen to spy on the magic work.
He once looked at the sky with ten horses, and the ten horses did not have the same attitude.
This horse has been passed down for hundreds of years, and the ancient silk is like a desert wind.
The river in the trees has just rained, and the clusters of grass buds are cold and stinging.
The two sides of the water are pulled, and the grass is far away from the chaotic clouds.
It is suspicious to the wowa, the bottom of the wind and thunder crown dragon.
If you look closely, it is not a white-nosed beard, I am afraid that it is a lion flower.
Purple Swallow Fiber is far away from each other, and the rest are inferior.
Remembering the past, the beloved horse did not hesitate to spend thousands of dollars, and the king sat at the head of the building.
Hu Nu was yellow shirted and double embroidered boots, and rode out of the stable before riding out of the building.
The red pachu cage sweats and blood, and the jade whip gently flicks the peach blossom to break.
What a good thing to plaything, relics but make Dan Qingbu.
Only now that the beacon artillery has come from the northwest, the battlefield has not been heard for thousands of miles.
Thousands of miles of talent, inherent time, please ask the emperor who.
Jun looked at Chi Ji and Qi Qi, and pulled the car too far away.
Heart period Tian Zi Fang, hesitating to drive the rim.
Frost withered alfalfa Han suburb cold, fractured autumn wind self-hissing shadow.
You don't see that the ancients raised horses like cattle, and they can pay thousands of miles with a full meal.
Nowadays, people raise horses like dolphins, and they often pile tribulus thorns under the stables.
The good horses of the ancients have no generation, and it is ridiculous that the present people are empty according to the map.
Apocalypse First Year (1621) Mustard Rui Book.
Zhang Ruitu (1570-1644), also known as Changgong (長公), Wuhua (無画), Ershui (号二水), Guoting Shanren (果亭山人), Mustard Seed (伯子), BaiHao'an (白縣庵主道人), Pingping Jushi (平居士), etc.; Han Chinese, Ming Dynasty painter, Jinjiang Twenty-Seven Capitals Xiaxia Township (Qingyang Xiaxia Township, Jinjiang City, Fujian Province) people.
In the thirty-fifth year of the Wanli Dynasty, he entered the third place, explored flowers, was taught the editor of the Hanlin Academy, and later entered the cabinet with the Rebbe Shangshu, and was promoted to the JianjiDian University Scholar and Jia Shaoshi. Famous for his good calligraphy, calligraphy is strange, steep and sharp, vivid gestures, and strange postures. Zhong Xuan and Wang Xizhi were one of the four major calligraphers of the Ming Dynasty, with the same name as Dong Qichang, Xing Tong, and Mi Wanzhong, and had the title of "Southern Zhangbei Dong". Good at landscape painting, imitating Huang Gongwang of the Yuan Dynasty, vigorous and powerful.
Zhang Ruitu's calligraphy is different from soft and fashionable, and has a unique "quirky" attitude. He is good at italics, lines, cursive writing, hard and steep and indulgent, knotted body clumsy and wild, layout canine teeth staggered, the momentum is strong, constituting a strong sense of force, turbulent momentum, when people praise as "strange like a dragon moving snake, no dust gas".
Zhang Ruitu started from the thesis, advocating the "wild grass" style of writing and the "Su body" brushwork that emphasizes thick strength.
Qing Liang Wei's "Commentary" said: "Zhang Ruitu has to write with great force, but he is bent on supporting horizontally, with little subtle and quiet meaning, and his quality is not expensive." Rui tu xingshu first learned Sun Guoting's "Book Spectrum", later learned Dongpo cursive "Drunken Pavilion", Ming Ji shuxue JingShang Roumei, Wang (Wang Duo), Zhang (Zhang Ruitu) two family force to correct habits, single standard qi bone, although not into the gods, it is immortal. ”
The high maturity and greatness of the xingcao style is marked by the birth of Wang Xizhi's "Orchid Pavilion Preface", and the richness and subtlety of its sharp changes have long become classics. Since then, with the exception of Chen Sui Zhiyong's "True Book of a Thousand Characters", which has slightly adhered to the ancestral law, only Tang Sun Guoting's "Book Genealogy" and Song Mi Fu have emphasized this important technique.
Looking at the Sui, Tang, Song, Yuan, Ming, and Qing dynasties, although they all had their own characteristics in the use of fronts, they all had the tendency to concise (or simplified) this technique, and invested their energy on the pursuit of different degrees of "new theories and different states". Their sharpening method has a common feature, that is, they all conform to the nature of the brush "tip, qi, round, and healthy" and make their own sharp movements.
Zhang Ruitu is not satisfied with this traditional and "conventional" way of writing, but is guided by a kind of raw interest, using the pen to only make a cross-sectional and folding action on the exposed flank, thus creating a stirring and jumping momentum and the feeling of the sword going sideways. Expanding the new changes in the use of feng, Qing Liang Wei's "Chengjin Zhai Ji WenLu" said: "Zhang Ershui's book, the circle is full of posture, there are twists and turns, and the ancient law is a change." ”
Ni Houzhan also said: "His book has changed from the erwang cursive script, the chopping side has no turn, all the circles have been deleted, and it is known as ershui, but it is also seen from the structure, and the pen law is not also there." ”
Zhang Ruitu also drew a majestic and thick brushwork from the Six Dynasties North Monument. Zhang Zongxiang, a close friend, said in "The Theory of the Origin of Calligraphy": "Zhang Ershui, dissolving the Northern Monument as a grass, knotting the body is not the Six Dynasties, and using the law of the pen to teach the Six Dynasties." ”
The formation of Zhang Ruitu's strange style of writing is also the product of the turning of the aesthetic trend of the times.
Under the fashion of the Ariake generation in which the style of writing was dominant, a trend of thought sprouted that was still ugly and still crazy, and the cursive characters of Zhang Bi's "strange and great ups and downs" in the early Ming Dynasty, Chen Xianzhang's "clumsy and more skillful" Maolong pen cursive, and Zhu Yunming's (Zhu Zhishan) "scattered vertically and horizontally, and losing his pen from time to time" in the middle of the Ming Dynasty all showed a tendency to be anyorious.
After the middle of the Ming Dynasty, with the prosperity of commercial cities and the rise of civic culture, the "public security faction" Yuan Zongdao, Yuan Hongdao, and Yuan Zhongdao's "single lyrical spirit" theory in literature, and the emergence of the "heretical" ideas of Li Zhen and others in philosophy, this trend of anti-unification and "crazy monsters" was further developed.
In the calligraphy world, a number of "crazy" calligraphers such as Xu Wei, Zhang Ruitu, Zodiac Zhou, Ni Yuanlu, Wang Duo, and Fu Shan emerged.
Although Wang Duo was called the "Second King", in fact, his stubborn attitude had already destroyed the peaceful demeanor of the "Second King".
Zodiac Zhou Kai calligraphy Zhong Wang, Sambei Stele, Straight Pursuit of Suo Jing, Skillful and Clumsy; Cursive Writing Is Bizarre and Exquisite.
Ni Yuanlu's new configuration of Yan Zhenqing and Su Shi all started from Junqi's wind and bones. Its cursive writing, with a dangerous pen, the wind is clear and boneless, and there is the atmosphere of smoke and clouds.
Fu Shan's "Ning Humble Rather Than Qiao" theory is even more theoretically advocated.
These people have historically shifted the aesthetic atmosphere of the times, but the one who has gone the farthest is undoubtedly Zhang Ruitu. They abandon the neutral and graceful posture and norms, the knot is fragmented and the side, with ugliness as the beauty; the pen and ink are transported with pleasure, breaking the formal beauty laws such as hiding the head and protecting the tail, peace and stability, and wantonly waving, the edges and corners are exposed; the layout does not seek balance and harmony, but crosses vertically and horizontally, scattered and chaotic.
This style of writing, which is ugly and crazy, was popular in the late Ming and early Qing dynasties. As one of them, Zhang Ruitu not only has a unique style in the "Four Houses of the Late Ming Dynasty", but also can be called a leader in this rank. Zhang Zongxiang' "Treatise on the Origin of Calligraphy" commented: "The Ming Dynasty, the special riser of the different armies, got two people: one is Huang Shi Zhai (Zodiac Zhou), The Wild Force Zhangcao, the wrist bottom cover is not Jin Tang, He on Song and Yuan; the other is Zhang Ershui (Zhang Ruitu), disbanding the Northern Monument as Xing, Grass, KnotTing Body Is Not Six Dynasties, using the law of the pen to teach the Six Dynasties." These are all blessed people. ”
Zhang Ruitu's calligraphy, in terms of external form and pen and ink form, has many similarities with Huang, Ni, Wang and Fu, showing a convergent aesthetic pursuit. Qing Yang Shoujing's "Chibi Fu before The Journey of Zhang Ruitu" says: Zhang Shi "Gu Qi's calligraphy, wind and bone Gao Qian, together with Ni Hongbao (Ni Yuanlu) and Huang Shizhai (Zodiac Zhou) Bo Zhong. ”
However, Zhang Ruitu's name is not included in the Huang, Ni, Wang, and Fu schools of style, but it is also said to be different from Xing, Mi, and Dong, which can only show that Zhang Ruitu's style of writing and the various families have a complex relationship of similarities or similarities.
Zhang Ruitu's characters are indeed very "strange and easy", but sometimes they are out of place, and many of the characters are crazy and difficult to identify; Yi is also a bit excessive, and many of them use pens to indulge indiscriminately, like drawing symbols. According to the "Tong Yin On Paintings", "Zhang Gong's paintings are rare and there are many books, and it is said that Zhang is Mercury, and he can avoid fire in his library, and he is also curious." This statement at least shows that Zhang Rui's book method is very strange. But the Japanese book scene is also highly respected. From the Edo period onwards, the Uighurs were well known for the handwriting of Zhang Ruitu when the Yellow Tiller's Hidden Zen Master traveled east to Japan, and had a great influence on the Japanese book world, and Zhang Ruitu was called "Mercury". Japanese people call his calligraphy "consistent in pulse and in its own style".
Zhang Ruitu is anti-feminine and goes to the extreme, blindly stubborn, excessively exposed, and less subtle and elegant. Zhang's extreme, lack of degree and low taste in his artistic pursuits have some similarities with his political performance, which is undoubtedly the influence of character on books. Therefore, although Zhang Ruitu and Ni and Huang belong to the same strange stubborn style of writing, they cannot be classified into one category, let alone combined.
In the Ming Dynasty, Zhang Ruitu's book "Painting Horse Song Album" was super qing appreciation
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