Text / Zhao Zuolong
(Original title: Yuan Ming shushu's acceptance of Chu Suiliang's aesthetics of writing- taking Zhao Mengfu and Dong Qichang's "Dead Tree Endowment" as an example)
Abstract: Chu Suiliang has long been famous for his calligraphy, but his writings are very easy to be less wind gods, and they have influenced Li Yong, Mi Fu and their Yuan, Ming, and Qing scholars, and have the ability to inherit the past and the future. His book "Dead Tree Endowment" is vigorous, and it has the charm of "Orchid Pavilion Preface", and Zhao Mengfu, Dong Qichang and others have been passed down from generation to generation. By comparing the "Dead Tree Endowment" approached by the two, we can understand the learning process of the Yuanming scholars, interpret the different views of the former sages on "Lingu" and "Huagu", conduct horizontal and vertical comparative research on the "Dead Tree Endowment" and its inscriptions, and expand the scope of aesthetic acceptance and evaluation of books.
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Chu Suiliang, Zhao Mengfu, Dong Qichang, "Dead Tree Endowment"
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Chu Suiliang, as a major figure of the Tang Dynasty, inherited the legacy of Wei and Jin, and the Yuxu of the Song Dynasty, the Ming Dynasty, and the Ming Dynasty. His book "Dead Tree Endowment" has always been respected by later generations of calligraphers, although the authentic manuscript was lost in the process of circulation, there are many engraved posters, Zhao Mengfu, Dong Qichang and other people have been handed down in the book, and Dong Qichang has included it in the "Xihongtang Thesis".
Chu Suiliang's "Dead Tree Endowment" Part (1)
Chu Suiliang's "Dead Tree Endowment" is thin and handsome, the bones are strong and healthy, and later generations of calligraphers mostly use this as a model, chasing after Yi and writing less, and its style of writing takes into account the meaning of words, which is very beautiful of the "Qingyuan Xiaoshan" artistic conception, which can be called a double absolute. Zhao and Dong have a pivotal historical position in the history of Yuanming calligraphy, and the "Dead Tree Endowment" integrates the fashion of the times, personal aesthetic implications, teachers, ancient and ancient elements, which greatly enriches the aesthetic categories of Xigu and Huagu.
First, the aesthetic characteristics of Chu Suiliang's "Dead Tree Endowment"
(1) Handsome and charming, strong and healthy
Chu Suiliang's "Dead Tree Endowment" won the legacy of the right army, thin and handsome, and the bones were strong and healthy. His dot painting is exquisite, with a pen and introverted, the body momentum is flying, the side is born, although there is no connection, but the line is through, the knot is retracted and placed freely, and the tension is measured. Its style is dignified and colorful, because of its "inward", and later generations of scholars have used this as a model to pursue less. Chu Suiliang's circulation of books is rare, this post is highly valued by later generations of scholars, the Ming and Qing Dynasties "Yuyantang Post", "XihongTang Post", "Linsu Garden Post", "Listening to The Rain Building Post" and so on are all included, and the engraving published in "Listening to the Rain Building Post" is particularly sophisticated.
Tang Taizong Li Shimin, with his own likes and dislikes, pushed Wang Xizhi to the position of "book saint", devoted all his efforts to collecting Wang Xizhi's inkblots, and asked Chu Suiliang and others to identify and treasure them. Li Shimin has little pursuit of Yi yi and most of his own opinions, such as in his "Treatise on the Book": "In the book of the ancients, I do not study its situation, but seek its bone strength, and the situation is born on its own."
Li Shimin believed that Lingu should pursue the "bone power" of the Fa Ti, especially emphasizing the importance of "bone power", believing that "situation" is a derivative of "bone force". Because the two junchen often talked about calligraphy, their ancient ideas inevitably converged, which also found a theoretical foundation for the thin style of Chu Suiliang's book "Dead Tree Endowment". Another example is chao's cloud of supplementation: "Right "Dead Tree Endowment"...'Chu Henan's pen is vigorous, and even Wang Yi has less posture. This book is all Lan Ting's penmanship, and the knowledge is sparse. It is not difficult to see that Chao believes that Chu Suiliang's book "Dead Tree Endowment" is strong and powerful, inheriting Wang Xizhi's wind god appearance, deepening the essence of the brushwork of "Orchid Pavilion Sequence", and few people can realize this level. Chu's "Dead Tree Endowment" inherits Wang Xizhi's "inward", a thin and stiff style that is mostly admired by later generations of scholars.
Chu Suiliang's "Dead Tree Endowment" Part (II)
Chu Suiliang's writings have won the essence of Wang Xi's divine essence with his pen, and successive generations of calligraphers have tended to reach a consensus. Until the Ming Dynasty, it was also deeply influenced by the use of pens, such as Dong Qichang in the "Essays on Painting Zen Rooms": "The difficulty of covering the pen is difficult to use, and the difficulty lies in the strength, and the strength is not the word of the angry pen wood, but the strength of the powerful people, and they can rise up." Only Chu Henan and Yu Yongxing could get it. ”
Dong believed that it was difficult to use the pen to show a strong posture, and Chu Suiliang and Yu Shinan created the paradigm of the early Tang Dynasty calligraphy. Emphasize that the pen should be raised at the place of writing, and the brush cannot be allowed to fall, and the pen should be lifted and the lay down to achieve the beauty of "neutralization". It is as if Hercules is full of strength, even if he falls to the ground, he can stand in an instant, so as to realize the beauty of the pen. Make good use of the elasticity of the brush at the power point, integrate the force into the paper at the same time, do not spread too much force, and prepare to show the strength of the line.
Chu Suiliang's "Dead Tree Endowment" is thin and handsome, inheriting the right army penmanship. Its ethereal style of Qingyuan is fascinating, and it has a very lifelike beauty. The rigorous knot method and the strong bone of the penmanship have formed its unique style of writing, which has laid a solid foundation for its status as the "great master of tang".
(2) The artistic conception of the text and the style of calligraphy are integrated
"Dead Tree Endowment" was written by Yu Xin of Northern Zhou and written by Tang Chu Suiliang. Yuwen Chushu, its words and calligraphy have the beauty of the "Qingyuan Xiaoshan" artistic conception, which can be called a double absolute.
Yu's "Dead Tree Endowment" was written when he was detained in the north and was destroyed, expressing his sorrow for the suffering of his homeland and his feelings for the long future. The author's self-comparison with a dead tree not only expresses the helplessness of the country and the death of the family, the ambition is not rewarded and the inability to return to heaven, but also describes the value of the dead wood although the wood is dead, so as to obtain a little comfort from the soul. The whole text is poignant and sad, swinging back to the intestines, depicting the withering and sad scene of the tree, setting off the sadness and indignation in the heart, and the writing is extremely vigorous and desolate. Through the use of imagery and allusions, yu shi's mental journey of being in the country and the death of his family and the difficulties of his steps and where to go is explored.
The author borrows Yin Zhongwen's allusions at the beginning to imitate himself, feeling that the branches of the tree are luxuriant, but now it has the image of a lifeless dead tree, showing the image of desolation. Although it is a description of a dead tree, it is actually a self-portrait of the author, just like the sadness and despair of a person in his twilight years, the destruction of the country and the death of his family, and the wandering in a foreign country. I feel nostalgic for the "mother of the tree" but "the business is exhausted" in the past, so as to express the purpose of being helpless and not knowing where to go. Therefore, the author does his best to depict the image of the old tree, which is deeply rooted and intricately distributed inside and outside the cliffs, giving people a sense of vigorous beauty, but they are forced to endure the pain of migration, and the beautiful scenes such as "young phoenix", "winged duck" and "crane" form a strong contrast with the "bard ape" in a foreign country.
Chu Suiliang's "Dead Tree Endowment" Part (3)
However, this is not an isolated case, even if the Taishan pine tree that Qin Shi Huang sealed for himself to shield himself from the wind and rain is the "Five Great Masters Pine", and the large tree that shields General Feng Yi from the wind and rain, they are all destroyed by the wind and rain and the dew and moss, and will eventually end up cannibalizing insects and birds. With the fate of the tree, I feel that I will eventually abandon the repression of the years.
The author pretends to borrow a series of encounters such as "mountains and rivers blocking", "drifting zero parting", "wind and clouds do not feel" and so on, but in fact, it is the author's personal experience, feeling that he is "both wounded and shaken, and his life has declined". This is the author's lament and calm emotions in the face of ill-fated fate and anger. At the end of the text, Huan Gong "The tree is like this, how can people be ashamed!" "Allusions into the endowment, sighing at the cool scene of willow branches and branches in the past and withering away from today's dead wood, thus lamenting why life is not so sentimental, making people feel angry.
Yu's literary words are poignant and far-reaching, and later generations of literati and writers compete to take this as the theme. In Zhao Mengfu's "Inscription on dead trees", Gong Xuan gave great praise to the books of Yu and Chu, such as his wandering clouds: "Between the wood and the earth, they died of wind and frost, and they could not live up to their days and years, and they were very unfortunate." And the famous people of the riots, the shape of the ink of the endowment, a hundred times more brilliant, hanging in the infinity, the glory of the real withering. To the old and the weak. Stroke the scroll for a shh. The Nine Mountains are ancient. Chu Shu is exquisite, and Zi Ang's late pen is the most satisfactory. ”
Chu Suiliang's book "Dead Tree Endowment" is smooth and strong, like a steel warrior standing firm and standing tall, perfectly reproducing Yu's life experience in the face of the destruction of the country and the death of the family, with nowhere to rely, and a combination of sadness and tragedy. His calligraphy style is strong and strong, thin and handsome, his body is flying, and his artistic conception is far-reaching, which perfectly realizes the integration of words and calligraphy.
Second, a comparative study of the aesthetics of "Dead Tree Endowment" by Zhao Dong's second family
(1) Zhao Mengfu "Shangyi Rhyme Heavy Law Degree"
Zhao Mengfu held high the banner of "retro" and had extremely high achievements in poetry, calligraphy and painting, and seal engraving. Its style of writing is directly approaching that of the Jin and Tang Dynasties, changing the state of the Song Dynasty losing its "legal degree" due to "Shangyi", and has an irreplaceable historical position in the history of calligraphy in the Yuan Dynasty. The "Dead Tree Endowment" is written with a charming and colorful pen, and the knot is rigorous and measured, which not only has the essence of Chu, but also has the dignity and elegance of Zhao.
Zhao Mengfu's "Dead Tree Endowment" is steady and precise, dignified and beautiful, and it is still one of Wang Xi's pulse brushwork. This is not contrary to its "retro" thinking, the late Southern Song Dynasty to the early Yuan Dynasty literati and scholars excessively pursued the "Shangyi" style of writing, and for a time the law was lost, and the phenomenon of "trending expensive books" is still not uncommon. Therefore, Zhao Mengfu advocated taking the Jin and Tang Dynasties as the sect, and put "Shangfa" and "Shangyi" in an equally important position.
Wang Shizhen wrote in Zhao's "Dead Tree Endowment": "Chu Shu is extremely beautiful, has a beautiful woman Chan Juan, and is invincible to Luo Qi's state; Zhao is stable and delicate, often has the meaning of the pen, and is in the room of the Shanyin Hall, which is not appropriate for the era." Wang believes that the Chu characters are beautiful and elegant, like a richly dressed woman, with a graceful posture; the Zhao characters are steady and close, dignified and stable, and the meaning of the Chu characters is not interesting, and its penmanship and knots all have one of wang Xi's veins, which is a rebellion against the phenomenon of "trending to the time and your book" in the early Yuan Dynasty. Zhao Mengfu's patriarchal law Jin Tang, the most influenced by Wang Xizhi, was deeply impressed by Yi Shao's rhyme, and the "Dead Tree Endowment" was also copied with the Second King's Law, weakening the Chu character Yiqi and making the knot more rigorous.
Zhao Mengfu came to the "Dead Tree Endowment" part
The Zhao clan takes the second king as the sect and is deeply inspired, and the Chu character also takes the king as the sect, so Zhao Zhilin does more reference and less penmanship. Sun Chengze's trek "Zhao Wenmin's presence, the teacher's intention does not practice its traces, and the yuanxiu is gentle and moist, that is, Henan sees it and is also careful." Sun Shi believes that Zhao Shi's presence, the teaching method Chu character rhymes, but it also tends to follow the trajectory of Chu's pen, and its pen is round and vigorous, thick and ancient, even if Chu Suiliang himself saw Zhao Shu's "Dead Tree Endowment", he should be convinced. It can be seen that Sun's high evaluation of Zhao Zi is that although it is a temporary work, it is self-contained, and "round and gentle" is beyond chu's expectations, and the law is more rigorous. Compared with the two, it is not surprising that the Chu character is more than strong and warm.
However, for Zhao Mengfu's method of attaching importance to meaning and not following the trend, not everyone can accept it, such as Sun Yiyun: "This Linchu, only the real line of dot painting does not change its face." Its knot body is all self-transporting, and it is not known what it is. However, compared to the self-book, it is slightly more ancient, is it true that the Lu people learn from the Liushi master?" Sun Believes that the Book of Temporary Study should take its form or posture, and then take its state. Even if the knot layout cannot be exquisite, it should grasp the meaning of the poster itself, even if the individual strokes are not properly positioned, but they must be similar. And Zhao's work, just dot painting has not changed the appearance of Chu characters, its knot and pen operation method, are all Zhao's own pen habits, I don't know why it is marked with copying. However, compared with Zhao's non-copy works, this work is much more quaint and interesting, which is like Lu people learning Liu Xia hui, implying that Zhao Shi knows that he is very good at two, so he uses all his own will and does not dare to cross the thunder pool.
This also reflects from the side that Zhao Mengfu is not copying Chu Shu in step by step, but is mixing his own intentions and selectively copying under the premise of following the shapes he uses to dot the shape. However, in the face of the problem of similarity and dissimilarity, we should look at it dialectically, Zhao Mengfu lived in the early Yuan Dynasty, as a descendant of the Song family to seek inner sustenance, in the calligraphy and painting with the purpose of "retro". However, it is not blindly retro, and it is extremely repulsive to the Song people's "oblivious" style of writing, so in the face of the colorful characters, it is natural to go to its wild escape. Therefore, it is not difficult to understand that Sun Mining's cloud is not difficult, and Zhao himself has "the knot word has been passed down from time to time, and it is not easy to use the pen for eternity." Therefore, it is reasonable that he can stand on the height of the history of calligraphy to learn Chu characters and chase after the Second King's Law, and it is not reasonable to copy them step by step.
Zhao Mengfu's "Dead Tree Endowment" has a broad and dignified ending, with a rich and warm pen, changing the thin and unbridled state of the Chu characters. Zhao shi is good at copying in the way of combing the history of calligraphy, and in the face of the Chu characters of the two kings and one vein, they do not follow their dot paintings step by step, but take their intentions to chase the two kings without losing the law.
(2) Dong Qichang's "ShangShen seems to be heavy Zen"
There are two factors in the formation of Dong Qichang's calligraphy: one is that his township examination and scientific examination "because the book is second" and "angry at the pond"; second, it is influenced by Zen thought. He specifically discussed "Zen Yue" in "Painting Zen Room Essays", which undoubtedly provided an opportunity for the improvement of his concept and practice of "introducing Zen metaphors" and "introducing Zen into books". There are two versions of the Dead Tree Endowment, one is "Bing Yin (1566) Zhengyue Lin", when he was 72 years old, and the other is "Jia Shu (1634) Leap Mid-Autumn Festival Back Linben", when he was 80 years old, and he was remembered at the age of eighty. Its pro-work rhyme is scattered, the knot is simple and spontaneous, and the back-to-back work is even more xiao scattered and simple, and it is "light" fun to participate in zen in line with one's own intentions.
Dong Qichanglin's "Dead Tree Endowment" Part (1)
Dong Qichang is good at "quoting Zen metaphors", as his "Painting Zen Room Essay" says, "If you suddenly meet a stranger, you don't have to look at his eyes, eyes, feet, and heads, but look at his demeanor, laughter, and spiritual expression." Dong believes that Linti is like encountering a stranger, not paying too much attention to his "eyes, feet, and heads", but should be good at grasping his speech and demeanor and his mental state. This also alludes to the "non-relational theory" of Zen thought, which does not care about the details of the concrete, but should grasp its demeanor and spiritual outlook. In the face of the unfamiliar writing, he opposed the depiction of the details of the dot painting form, the length of the stroke, and the dense opposite, and advocated taking its intention to seek god-likeness. Because it is a strange writing post, the desire for its subtlety of dot painting is bound to fall into rigidity, and fall into a situation of losing its god-like, which is not worth the loss, and also shows the "god-like" learning concept of Dong's Linti Shang.
In addition, Dong Shi is also good at "introducing Zen into the book", as stated in his "Painting Zen Room Essays and Comments on Calligraphy": "The masters of the Gai Shu are wonderful in being able to merge, the gods are able to leave, and those who want to leave, the tricks of the famous masters of Fei Ou, Yu, Chu, and Xue, who want to get rid of the habits of Lao Tzu of the Right Army, so it is difficult to hear." Nezha dismantled the bones and returned the father, and the flesh was broken to return the mother, if there was no other flesh and bones, it was said that the void was shattered, and the whole body was exposed. After the Jin and Tang Dynasties, only Yang Ningshi solved this trick, and Zhao Wuxing did not dream about it. ”
Dong Believes that the study of books should emphasize "mysterious harmony" and "divine separation", which is also influenced by the Zen thought of "separating from phase and departing from thought", and using "detachment" and "detachment" as a metaphor for calligraphy learning. This practice of "introducing Zen into the book" has opened up ideas for his study of books, and also provided theoretical support for the application of the concept of "transforming the ancient" to his own will. Dong Believes that Xi Shu knows its origin and can get rid of the "habits" of the Right Army and achieve the state of divine power by "dismantling bones" and "dismantling meat". Dong's "clutch view" invisibly influenced his pro-book, such as his "Dead Tree Endowment" does not pay attention to the depiction of pointillist painting, and breaks away from Chu's habits and seeks its divine appearance, in order to achieve the realm of conformity with the ancient law.
Therefore, Zhu Weiliang grasped Dong's Xishu thought, pointing out that "the highest goal of the predecessors on Lingu is to have three levels of non-god-likeness, shape-likeness and form-likeness, and directly to the highest ideal goal of showing one's own nature through Lingu." This goal is the result of the mutual reference between Dong's profound Zen cultivation and Lingu experience", dong's "Lingu" as the highest goal of showing his extraordinary ability, which also verified his large number of Lingu behaviors in his later years. It is not difficult to understand that Dong Shi's many inscriptions in the "Dead Tree Endowment" in his later years to memorize the Fashu Chu characters, its posture is dangerous, and it is calmly condensed with the pen, which is a kind of self-affirmation based on a large number of ancient experience and a high degree of unity in Zen thinking.
Dong's "Dead Tree Endowment" is a kind of expression based on "Shang Shen-like", and his later works are an expression of "Zen Realm" based on his own intentions and based on the pursuit of Jianyuan's artistic conception.
Dong Qichanglin's "Dead Tree Endowment" Part (II)
(3) Differentiation analysis of Zhao Dong's "Shi Gu Guan" of the Second Family
Zhao Mengfu takes "retro" as his lifelong pursuit and strives to pursue the penmanship of the second king, which has achieved remarkable results and far-reaching influence. Dong Qichang pursues "god-likeness", strives to find a retro concept that is different from Zhao Shu, and through continuous study of Zhao Zi Chapters, Knots and Brushwork, and "Introduces Zen into the Book" as theoretical support, turns to many teachers and integrates their own intentions, and finally becomes a great instrument.
Dong Qichang believed that Zhao Mengfu attached too much importance to the law and overcorrected it, and did not care about this, and said in the "Rongtai Beiji": "The Jin people's book takes rhyme, the Song people's book takes the meaning, or 'the meaning is not better than the law?'" Otherwise, the Song people thought that the book was not the intention of the ancients, but Zhao Ziang corrected the shortcomings of the Song, although he did not have to do it, this must be what the Song people said, and the cover was turned by the law. It is pointed out that zhao shi vigorously saved the ills that led to "getting carried away" in the late Southern Song Dynasty, strictly abided by the strict law, and concretized the retro into the restoration of the Jin dynasty and the Tang Dynasty. He believes that although Zhao Shu has obtained the Law of the Two Kings, it is a retrospection on the basis of losing his intentions, and this kind of "correction of the song" is the shangfa degree of losing his "own intentions". Compared with Zhao Shi's "Dead Tree Endowment", it is not difficult to find that its conclusion is rigorous, the pen is round, and it is heavier than Chu's fa, losing its mood and frustrated interest.
Another example is Zhao Mengfu's "Linyou Jun Le Yi On Thesis" in Yun": "The method of Lintian Is not wanton, and it is not prudent to want to be careless; but it is better to be cautious than to be reckless, and those who are not good at books cannot know it." "It is more in line with his concept of ancient times, so his knot is relaxed and measured, rigorous and arbitrary complement each other, and what he comes to and creates is both heavy on ancient meaning and law, and his arbitrariness is the arbitrariness that establishes the law and rationality.
Zhao's "Dead Tree Endowment" glyph is rigorous, turning the meaning of subordination into a kaifa, such as the word "lose" (see Table 1), the chu character "丿" to participate in the law, while the Zhao character is flowing and strong, the point of force is moved up, paying more attention to avoidance relations, turning the ancient clumsiness into ethereal; turning the oblique momentum into a flat as the word "Po" (see Table 1), the Chu character is free and spontaneous, and the Zhao character tends to be straight, turning the flow into dignity, turning the fly into a flat, and more thick.
The risk is absolutely wide, such as the word "ping" (see Table 1), the chu character is thin, the center of gravity is shifted upwards, the left is put and the right is closed, which is very dynamic; while the Zhao Zi knot word is wide and broad, and the proportion is neutral. The curve is straight as the "Gu" character (see Table 1), the Chu character line is extremely varied, and the Zhao character is straight and powerful, and more with his own pen method, a change of Chu's Ana duozi, more stable and thick. The Wei stele means introverted, such as "temple" (see Table 1), the Chu character is more handsome, and the Zhao character pays more attention to the fa.
Table 1 Comparison between Chu Suiliang's "Dead Tree Endowment", Zhao Mengfulin's "Dry Tree Endowment" and Dong Qichanglin's "Dry Tree Endowment"
Dong Qichang did not care about Zhao Zi, and was forced to see the method of Linti, as in his "Rongtai Beiji": "In his spare time, he wanted to write a book, so he copied it, did not see the real handwriting, and talked about taking it with intention, but it was not like an ear." Dong Qichang's pro-thesis is more than an attitude, and the book can no longer see the shadow of the original work, and his "back-to-back" work is even more in line with his own intentions, which is completely different from Zhao Mengfu's "retro" proposition. The method of Zhao's Linti is aimed at "retro", and it is a "Shangfa degree" based on the shackles of double evaluation standards of penmanship and glyphs.
Dong Qichang, on the other hand, is good at "alienation", and performs a teacher-oriented interpretation of the practice of the same sect's calligraphy style, such as in the "Rongtai Beiji" Yun: "Every time Huairen's "Sacred Order" book has a strange path, it is not very imitative, and if you want to use Yu and Yongfa for it, fang Yu's inscription habits are different. He pointed out that every time he studied the "Holy Order", he took a different path, did not take the image as the purpose, and liked to use Yu Shinan and Zhiyong's brushwork to write the "Holy Order", hoping to break the criticism of the "Holy Order" because of the lack of rhyme caused by the collection of characters. This concept of copying the "transformation of the ancient" is based on the practical summary of the style of master inheritance under the premise that he is highly familiar with the history of calligraphy, which provides an opportunity for the formation of his calligraphy style.
Dong Qichang's "Dead Tree Endowment" inscription
Dong Qichang's "Rongtai Collection" said that "the calligrapher has not studied the ancient and has not changed." It shows that his ancient concept is to seek "change", his temporary work is numerous, he is more involved in his own intentions, he is good at grasping the spirit, and in his later years he pursues the "light" meaning of Zen. In his later years, he paid more attention to the grasp of "potential", and the gesture flew and the pen was steady. Dong Jia Shu (1634) came to "Dead Tree Endowment", which was already at the age of 80, although this work is a back, it is based on the posture of the Ginseng Yan characters in the early exploration stage, full of the free and vigorous beauty of "participating in one's own intentions" and "chasing the ancient method".
"Introducing Zen into the Book" makes its works more leisurely and idyllic, and the knots are more concise. With the continuous mastery of the penmanship, the use of the pen is more skillful, and the writing posture is more changeable, and the retraction is more comfortable. The name is copying, but it is actually a novelty. Compared with his Ying Yin Zhengyue Ben (1626), the 72-year-old "Dead Tree Endowment" found that its "potential" state has long been in place, and it is nothing more skillful and pertinent with pen knots, and the artistic conception is more relaxed. It also reflects that Dong Qichang's copying attitude is light and heavy, which provides a practical basis for his "posting" or even stripping. In his later years, the books he wrote were free from nature, without drying up pens, and became more gentle and elegant (see Table 2).
Table 2 Comparison between Chu Suiliang's "Dead Tree Endowment" and Dong Qichanglin's "Dead Tree Endowment" with Yan Zhenqing's "Seat Fighting Post" and Mi Fu's "Shu Su Ti"
The concepts and appearances of the Zhao and Dong families are different, and the use of the fa and the intention also has its own trend, all of which are exemplary models for later generations. In the same way as writing "Dead Tree Endowment", Zhao Zi pursues the use of pen and glyphs to be exquisite; while Dong Zi is colorful, seeking the potential outside the book and the "Zen realm" outside the word.
Third, accept the enlightenment of Zhao Dong's second family under the threshold of aesthetic vision
(1) Zhao Mengfu's revelation of the book
Zhao Mengfu's feat of holding high the "retro" banner influenced the literati at that time, and also made the entire Yuan Dynasty form an atmosphere of almost all Jin and Tang dynasties. Therefore, the study of Zhao's "imitation view" can explore his ideas for learning books and the concept of studying books, and understand the aesthetic acceptance of Chu Suiliang's books by representative calligraphers of the Yuan Dynasty, which has important contemporary value. As Qian Zhongshu said: "The atmosphere will affect the calligrapher's choice of copying themes and styles, give him the opportunity, but also limit his scope, the atmosphere and trend of thought of an era are important factors that affect and restrict people's behavior choices and value judgments." ”
Zhou Tianqiu of the Ming Dynasty inscribed in Zhao Mengfu's "Dead Tree Endowment" "Zhao Wenmin comprehensively examined the Tang Law Book, and the raft landed, but he was able to learn his intentions and not mud his traces." According to the Linben whole dense and beautiful, many exposed Beihai posture, but also exhausted as the enemy. It is pointed out that Zhao Shi is clear about the lineage of the Tang Dynasty fa shushi, so he can move forward and backward freely, and easily achieve the meaning of the teacher's fa chu character, without the patriarchal law and its dot painting trajectory. Zhao's knotted characters are neat and tight, beautiful and warm, and many glyphs show the font posture of Li Yongjie, and also hope to learn from Li Yong's successful experience in learning Chu Shu (see Table 3). Zhou Shi realized that Zhao Shi's concept of "turning into ancient" books will invisibly affect his concept of learning ancients.
Table 3 Comparison between Chu Suiliang's "Dead Tree Endowment", Li Yong's "Li Sixun Monument", "Jizi Sacred Order" and Zhao Mengfu's "Dead Tree Endowment"
However, what Zhou Shi realized was not a case of the Ming Dynasty, as wang Shizhen said in the "Four Drafts of Yizhou": "Zhao Wuxing took the Second King's Knot Law Linzhi, dense and beautiful, and did not know the true deeds of the Mountain Yin Hall Room Ear." ...... Chu Shu is taking the posture, Zhao Gui is hiding the front, Chu Fengyun is flying, and the so-called Lady Xie has a forest atmosphere. Zhao Ze has a precise structure, the flesh and bones are even, and the Gu housewife is pure and jade, and he is also the show of the boudoir. ”
Wang Believes that the Book of Zhao is based on the law of the Erwang Knot, whose knots are dense and beautiful with a pen, and judging by the authentic handwriting of his book, it can be seen that he has entered the room. Chu Shu is flying in a relaxed state, flying vigorously, like the elegance and elegance of the "forest atmosphere". The knots of the Zhao Shu are exquisite and solid, and the lines are even, just like the "boudoir show". Wang used the allusions of "the atmosphere under the forest" and "the show of the boudoir" to describe the style of Chu Shu and Zhao Shu, and depicted the "with it" of Chu and the "dignified" of Zhao shi just right. In contrast, it was found that although Zhao Shu did not reproduce the "posture" of the Chu family, he showed a dignified and handsome, noble and beautiful temperament (see Table 3).
Zhao Mengfu's "Dead Tree Endowment" is based on a deep grasp of the ancient law, and is a play on the premise of a high degree of clarity in the Jin, Tang, Song, and Yuan laws, rather than acting arbitrarily. Based on the Two Kings, the Zhao clan has a clear understanding of the teachings and development contexts of Sui and Tang Zhiyong, Chu Suiliang, Li Yong and other scholars. Therefore, in the practice of Chu Shu, you can adjust the "habits" of Chu at will, in order to chase the North Sea and trace the second king through the Chu character.
(2) Dong Qichang's book of revelations
Dong Qichang was seventeen years old and devoted himself to learning, and successively studied the Fa "Duo Pagoda" and Yu Shinan, and then pursued Wei Jin and learned the ancient fa all over the world. Dong Shi was also good at combing the history of calligraphy, and constantly collected and improved his engraved "Xihongtang Inscribed Book", which provided a precondition for him to learn the ancient change method. In the chaotic political arena of the late Ming Dynasty, literati and doctors believed in "Zen Buddhism" and pursued the expectation of individual liberation in order to find spiritual sustenance, which provided an opportunity for them to "enter the book of Zen".
Dong Qichang "introduced Zen into the book", rationally "shigu", and was good at "transforming the ancient". The calligraphy concept of "wonderful union" and "divine separation" arising from Zen "no phase" and "no mind" provides an opportunity for the improvement of its calligraphy theory and practice. Dong Qichang wrote in the inscription of the "Dead Tree Endowment" that he came to: "Chu Henan's "Dead Tree Endowment", Yu Ren was copied into the "Hongtang Thesis". The number of advent cannot be as if it were a tithe, but this volume is back to it, and it is synthesized with its own will. Jia Shu leap Mid-Autumn Festival, Lou Jiang returned to the boat, Chen Zhengjun Dongyu Shan Xiang and Zhou Xuanxin returned, and the boat had a lot of time to know it. Qichang was eighty years old. ”
Dong Shi's journey again and again can be seen that in his later years, he had a ten-minute affection for "Dead Tree Endowment", and "Counting Linzhi" means that there are more Probens, not just limited to the two models we can see. The emphasis on "back to the front" and "participation in one's own will" means that it is not in accordance with the layout of the Chu Shu knot and the dot painting, but is heavy on god. Compared with the model of the 72-year-old ying yin (1626), his body is more flying, the pen is more gentle and elegant, the knot is more relaxed, and the chapter is more loose.
Although this post was written in his later years, it is gentle and graceful, and there is no trembling atmosphere, which should be closely related to the external pen habits he developed by not practicing the seal and the "light" character formed by the inner meditation and enlightenment. The second post of "Dead Tree Endowment" that Dong Shi came to, although the teachers and methods were the same, had different styles, one was visited by the age of 72, and the other was carried by the 80-year-old, and the idea and mood of the post were not the same. Through comparative research, it was found that Bing Yinben (72-year-old book) used the "potential" of Li Yong and Mi Fu to legalize Chu Suiliang's elegance, with a simple meaning, a round and beautiful style, and a plain and simple. (See Table 4)
Table 4 Comparison between Chu Suiliang's "Dead Tree Endowment", Dong Qichanglin's "Dead Tree Endowment" and Mi Fu's "Shu Su Ti"
Dong's book is innovative and does not share the same people, pays attention to line spacing and word spacing, and exerts the beauty of Xiao Scattered and Simple, Sparse and Elegant to the extreme. In his "Painting Zen Room Essay", Yun "is the most taboo person in the book, and the position is equal." And just as there must be a word in which there must be a collection and a release, and there must be a spiritual support. It is pointed out that the most taboo position of xishu writing is evenly arranged, and the chapter method is similar to the one-word knot method, and it also pays attention to the artistic elements such as self-containment, jagged, size, dense, and leaning.
Dong Qichang's pen is flowing in the clouds, the middle side is used interchangeably, and the trajectory of the pen is clear at a glance. The knot is more than self-intentional, and the ethereal and vague is the main tone. In view of the homogeneity of calligraphy and painting, its brush is mostly based on the single "light meaning" of painting, which is also in line with its aesthetic concept of "introducing Zen into the book". Although it is approached by the age of 80, its pen is moist but not dry, and it is scattered and simple, which shows its adherence and confidence in its own aesthetic concept. Its simple strokes, dense knots and loose and generous chapters complement each other, adding to the simple and distant "Zen realm". It has achieved the realm of two advances in technology and two advances, and people are old and old.
Zhao Mengfu and Dong Qichang, two former sages and scholars, are also the teachers of Chu Suiliang's "Dead Tree Endowment", both of which are ancient and not ancient, and have come up with new ideas. Or with the Li Yong pen of the same era as chu, or with the same vein of Wang Xi's legalization of chu characters. Or for the sake of the back, or for the sake of one's own will, or for the sake of zen writing. Learn the ancient law for us. Wang Shi also collected the fa books of the past dynasties, and the model books of the famous masters were engraved into the "Law Book of Xi Hongtang", and they were good at "introducing Zen into the book", which provided a broad concept of learning for future generations of calligraphers.