At the closing ceremony of the Beijing Winter Olympics, under the song "Outside the Long Pavilion, beside the ancient road, the grass is green and the sky..." Is fresh and elegant, and the dancers are sincere and sincere, the dancers incarnate as willow branches, swaying with the wind, and some actors hold willow branches in their hands, walking slowly, and the painting style is unique and beautiful!
In the "memorial session" of the closing ceremony, South Korea chose to display it in a funeral-like format, and the Tokyo Olympics showed Japan's "material mourning culture". So how Chinese should be expressed? For the deceased, for life, the expression of Chinese tends to be more optimistic and upward. Chinese a phrase often said to the deceased is called "all the way to good", while commemorating and remembering the deceased, we often wipe away tears and look forward, so we choose the ancient custom of "folding willows to send farewell" to express.
The willow represents the gentle and generous national character of the Chinese nation. In fact, the ancients not only had the wind of "folding willows to send farewell", but also the custom of "folding willows to send far". Mr. Qian Zhongshu once said two meanings of folding willow: one is to send goodbye, and the other is to send far.
"Willow" harmonic "stay", everyone holds a glowing "wicker", in the music of "Farewell" slowly walk towards the middle, there are countless green lights slowly rising. Green means life, hope and growth, not too much sadness, more of a deep memorial.
This "Farewell" touched many people. And his author is the work of Master Hongyi (Li Shutong). A very artistically talented and legendary man.
Famous musician, art educator and calligrapher
Master Koichi
Li Shutong (1880~1942) was a famous musician, art educator, calligrapher, theater activist, and one of the pioneers of Chinese drama. After returning from studying in Japan, he served as a teacher and editor, and later became a monk, with the legal name Yanyin, the trumpet Hongyi, the late trumpet Evening Qing old man, and later revered as Master Hongyi.
Li Shutong not only excelled in music, but also in the art of calligraphy.
His calligraphy was born out of the Wei Monument in the early days, and the gestures were opened and the Yi Tang was flexible. In the later period, it is self-contained, diluting the simple wild and gentle and clear. Especially after the ordination, the works are full of extraordinary tranquility and the faint distance of the crane. This is the brilliant plainness, the quietness after the majestic, the childish simplicity after the old age, just as he confessed to himself: "The words of the decadent man show that the plain, the tranquil, the rushing is also." ”
▲Linwei Lingzang statue (early years)
▲Linzhang Raptor Monument (Early Years)
His calligraphy is like a golden jade, cool and dusty, exquisite and pure, leisurely and elegant, full of musicality, simple and humble to see the wind and bones, with a stateless preparation, the Confucian humility, Taoist nature, the Tranquility of the Interpreters in the art of calligraphy, smelling the words and hearing the Dharma, the people who love and treasure are immediately happy, and the winners are as precious as arches, which can be called the elegance in Chinese calligraphy. Hongyi and his calligraphy are also known as the most precious treasures of the country, the light of China.
▲ Sanitary golden mirror four screens (c. 1897)
Uncle Li has copied many masterpieces, such as "Stone Drum Text", "Yishan Carved Stone", "Tianfa Divine Stele" and a series of Wei stele statues, which can be said to be gifted and completely the same as the real ones!
▲Lishu Four Screens (1899)
Its lishu, square and round use, square pen steep, round pen light and thin.
▲Return to the baby (around 1900)
▲ A cut plum word half a song
Large characters in letters, thick lines and hard lines, dense knots and openings, the wind of the north monument jumped on the paper.
▲To Xu Yao Tingzha (1896)
▲ Excerpt from Wang Cihui's Question and Answer Volume (1899)
Xingshu, shi chengsu shi and Huang Tingjian, learned Su's wide flat knot body and Huang's opening pen very thoroughly.
▲Epitaph of Mrs. Jiang Muqiang (1918)
Let's take a look at Hiroichi's other calligraphy works!
Master Koichi calligraphy appreciation
Seven Words (1921)
The Buddha and the Lotus Pond Master (1922)
The Buddha trumpet and the Buddha's Lord's French
Zen Master Yuanmiaoye, "Ten Major Obstacles" (1927)
To Liu Zhiping
One Instant Text With Seven Words (1931)
The Vast Pure Seven Words (1932)
Rulai Puxian Eight Words (1933)
Buddha Number (1934)
Poem "Wing Chun Fung Temple" (1935)
Name of Grand Master of huayan sect (1936)
Elysium Amitabha Buddha (1937)
Recitation of the Buddha's Six Sayings to Save the Nation (1938)
One Heart Equality Five Words (1939)
The Four Sayings of Minnan Buddhism (1940)
Lingfeng (蕅益) Master Police Training (1941)
Chang Won Heng Tu Five Words (1942)
The Intersection of Sorrow and Joy - The End of The Pen (1942)
Although many writers in history regard the works of Master Hongyi as treasures, there are still many people in the society who have always held a critical attitude, believing that his calligraphy is too lacking in law, the structure is crooked, the ink color is single, the penmanship is not seen, and the rules are all missing.
What do you think of his calligraphy? Say your point in the comments section!