February 20, Mibu-to-Zuki 20.
Compared with before the fifteenth day of the first month, the number of people coming to xiurong academy museum was significantly reduced. However, yesterday and today are Saturdays and Sundays, and some schools have not yet opened, and after noon, there will still be many tourists entering.
In the museum's "Xiurong String Song" and "Former Sage Relics" exhibition halls, in addition to other precious exhibits, many people are very interested in several calligraphy works in the exhibition hall. Some have stopped for a long time to taste, some have taken photos to keep, and some have discussed with each other. In short, everyone has a sigh that people in the past, whether they are civilians or military generals, calligraphy is really good.
I can't help but think of the various "debates" about calligraphy in recent years, the most important of which is the view of "ugly books".
Not long ago, 11 associations and societies, including the China Book Association, jointly issued the "Initiative on Standardizing the Use of Chinese Characters".
There are a total of 6 proposals, which put forward requirements from different angles, requiring "actively promoting the application of relevant national standards and industry standards", "strengthening the review and control of the use of fonts in the font library", "improving the awareness of practitioners to use Chinese character specifications and professional ability literacy", and "giving play to the role of mass media". The initiative emphasizes that Chinese characters are an important carrier for inheriting Chinese civilization, the root of Chinese culture, and the most representative logo of China's excellent traditional culture.
Many people believe that Article 4 can be the biggest highlight of the "initiative", because this article points out that "consciously resist the 'ugly book', 'strange book,' and information-like font that ignores the chinese character writing norms, writing techniques, cultural connotations, and aesthetic characteristics, and deliberately deforms the strokes and structures of Chinese characters in vulgar and hasty exaggerations." At the same time, Article 5 requires that "the standardized use of Chinese characters should be regarded as an important criterion when organizing relevant reading, quality inspection, assessment and evaluation." ”
It is undeniable that the "Initiative on Standardizing the Use of Chinese Characters" will certainly play a corresponding positive role. However, the standardized use of Chinese characters and the "calligraphy" of Chinese characters are actually two levels of problems.
People with a little common sense should be clear that the earliest function of Chinese characters is symbols, and its core function is not exactly the same as the function of Chinese characters now. More precisely, our "character" was actually "painting" at the earliest, which is also the root of the Chinese character "pictogram". As the functions of this "painting" become more and more inclined to communicate and remember, the "shape" becomes more and more fixed, becoming the "Chinese characters" we use, and from the oracle bone to the golden script, all the way to the simplified characters we use now, every time the font evolves because of "practicality". In this change, "calligraphy" is only an appendage. Moreover, all the outstanding "calligraphers" in history have also been constantly infiltrating personal aesthetics in "practical" writing, and then "calligraphy" has become an art form. Definitely not "calligraphy" and then the "practicality" of Chinese characters. If we pay a little attention, we will find that many of the contents of many outstanding calligraphy works are daily memories, such as Zhang Xu's "Belly Pain Post", as well as many "works" of Mi Fu, even Wang Xizhi's "Orchid Pavilion Collection", which is also full of alterations.
Therefore, the "calligraphy" we are emphasizing now was because it was a necessity for daily memorization and communication, and it was also the most basic way. In other words, writing well is the most basic requirement, and there are not many people worth showing off.
In the exhibition hall of "Xiurong String Song", many people admire the calligraphy works of Dong Yuwei and Mi Yurui, the chief of Xiurong Academy. This kind of "pavilion style" performance was actually originally to adapt to the imperial examination. "Pavilion body", also known as "Taige body", refers to the common font of the examination hall formed by the imperial examination system, which has appeared as early as the Song Dynasty, characterized by square, smooth, black and flush size, and the Ming and Qing dynasties are prosperous. Let's imagine how some examiners can get high scores if the exam is mainly cursive, and maybe some examiners can't fully understand it. However, in daily life, when people "write", they are much more casual and spontaneous, and the personal aesthetic temperament is more obvious. Therefore, how to show the "artistic" characteristics of writing in the "norm" is something that "calligraphy" should pay more attention to.
At a time when most people are far away from "writing" and have not even touched the pen, ink and paper at all, the beauty and ugliness of arguing about calligraphy are probably often scratched by the itch of the boots. We may have a hard time going back to the era when everyone is based on traditional writing instruments, but it should be feasible and more practical to guide and cultivate how people understand the rules of writing, understand the difference between "calligraphy" and ordinary "writing", and then be able to understand "calligraphy".
In the "Xiurong String Song", Ning Chaowu, who is sometimes the secretary general of the Shanxi Provincial Government of the Republic of China, wrote a poem and calligraphy work to Zhi Jingru, the director of the Northwest Correctional Institution in his hometown. The handwriting is vigorous and straight, round and majestic, and the charm is mellow. Those who have studied "calligraphy" can clearly see at a glance that Ning Chaowu's calligraphy is obviously a fusion of Yan and He, that is, both Yan Zhenqing's style and What Shaoji style. Its writing content is also selected from He Shaoji's "Forty Absolute Sentences of Jinling Miscellaneous": "Along the river, there is no willow swaying, and it is walking towards the Qingxi Changban Bridge." The T-shaped curtain is still in front of it, and who gossips to the Southern Dynasty. Bo traveled to Jiangnan and heard that Tianliu Miaoxiang'an was said. Begonia empty monks are gone, and the pond pavilion is not restored to the old essence blue. Xiang Gong embraced the sea and the sky wide, and the festival paper was not cold. The hats are gathered together, and the old rain is followed by the new joy. (Regarding this work of Ning Shaowu, Mr. Zhang Liujin also has another "The words in the museum collection contain reverence for the predecessors of the calligraphers")
He Shaoji was a poet, painter and calligrapher of the late Qing Dynasty. He has served as the master of Shandong Luoyuan and Changsha Chengnan Academy. He Shaoji is proficient in Jinshi calligraphy and painting, and is famous for his calligraphy, especially cursive calligraphy, and is known as the first in the Qing Dynasty. Anyone who studies He Shaoji's calligraphy knows that He Shaoji's calligraphy takes the Yan character knot, and at the same time incorporates the northern dynasty inscriptions and the calligraphy characteristics of Ouyang Qing and Ouyang Tong, as well as the aura of "Zhang Heinu's Epitaph" and "Daoyin Stele". Therefore, if you want to use the "standard" of "norms" to measure He Shaoji's calligraphy works, I am afraid it is not easy to classify. Especially in his later years, because of eye diseases, he wrote books with intentions, and often had the magic of not arriving at the pen. This is probably not what the "standard" can do.
Although the Xiurong Academy Museum is not mainly based on "calligraphy", from the perspective of the interest aroused by the existing "ink treasure", various factors of traditional culture are attractive to people at any time.
The core function of the museum is to show, through the display to let people understand the history and culture, and because of the understanding and love, and then attract some people to become the researchers of history and culture, inheritors, and the great ones.
Only then, the value is revealed!
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