Lu Kam Zhi (585-638 AD), Han Chinese, Suzhou people. He is Yu Shinan's nephew. Guan zhi Chao San Dafu, Crown Prince Si YiLang, Chongwen Shushu Bachelor. In his early years, he learned calligraphy from his uncle, and later learned the "second king", "the pen is muddy, shame is the wind of fluttering," so there is a reputation of "late at blue". The handwritings passed down from generation to generation are the inscriptions of the "Five Words Lanting Poem" and the inkblots of the "Book Lu Ji Wenfu".
In the history of calligraphy development, Tang Dynasty calligraphy was another peak after the Jin Dynasty, and many far-reaching calligraphy masters appeared, such as Ouyang Qian, Yu Shinan, Chu Suiliang, Zhong Shaojing, and Wang Zhijing, who led the early Tang Dynasty. Don't forget, Datang also has a Lu Cambodian Zhi.
"Book Land Machine Literary Endowment"
Lu Kam Zhi
The original manuscript of Lu Kam's "WenFu" was once in the Inner Palace during the Qing Dynasty, and was later stored in the Palace Museum in Beijing, and is now in the Palace Museum in Taiwan.
Lu Kam's "WenFu" or line or Kai, also Zhuang and harmonious, in line with the Tang dynasty law, and fly away, not limited to the shape, has the meaning of connecting the right army. With the pen clear and ethereal, the flow is round, and the dots are between the waves, so that when the turn runs, the place where the knot takes care of the body is in line with the meaning of Lanting. Xiang Muzan said: "When you taste his book "Lanting Poem", none of them can not be written out of the Right Army, and the first is ethereal and Chang Zhi miaoer. ”
As an inkblot, Wenfu is one of the few authentic works of famous artists in the early Tang Dynasty. It is said that when Lu Kam Zhi was young, he read Lu Ji's "Literary Endowment" and was extremely devoted to it, and wanted to write a piece in his own handwriting, but because he was afraid that his calligraphy was not refined and "insulted" the masterpieces of the former sages, he never dared to rush to write, until he wrote this wish in his later years when the title of the book was famous. The penmanship of this post is directly close to the king, and it has a deep charm of the Jin people.
The Yuan Dynasty calligrapher JieXisi once commented on this post: "There is a volume of the Book of Wenfu of the Right Land Cambodia, and the Tang Dynasty Law Book has a strong body and a Jin style, but see this volume. Although the Sui monk Zhiyong still hates too much femininity and is too neat. This volume alone is three sighs. ”
Yuan Zhao Mengfu spoke higher, saying: "The Tang Dynasty scholar called Ou Yu Chu Xue, and in terms of calligraphy, he was under the four sons." However, there are few traces in the world, so the one who knows it is Hee.' (See Zhao Mengfu's "WenFu")
Admire the inkblot of "Wen Fu", from which you can see the depth of Lu Kam's efforts in "Lan Ting". There is no authentic copy of Wang Xizhi's existing Fa shu today, most of them are Tang dynasty facsimiles, and therefore, later generations of scholars of Wang Shu are particularly fond of Lu Kam's "WenFu". Zhao Mengfu of the Yuan Dynasty once studied this post and understood the Jin people's penmanship and knotting body.
Lu Kam's pen, the beginning of the pen still has the solemnity of the letter, no matter the dot painting into the pen is not floating or grass. The line of writing is not late or fast, it can not only lay out the slightest moisturization, but also flow and not lag, the pen alternate clearly, the sharp edge is appropriate, and there are occasional returns. But there is no obstacle to the echo of hope between words.
What is particularly rare is that the knots of the land characters are different and extremely coordinated. Sometimes there is a stable specification of the work of the calligraphy, sometimes there is a relaxed step of the book, the flow of beauty and maturity, sometimes there are cursive words, convenient and simple, and even the strokes of chapter and grass are occasionally seen. Glyphs are large and small, horizontal and flat, longitudinal, staggered, and contrasted, so that people do not feel that they are relaxed, and they feel that the light Watson is between the lines. Beginners, starting from this, the book has many convenient points, which can be a transition from italics to lines. If you can study seriously, its beautiful and moving style of writing, calm and smooth charm, should give people a lot of new realms.
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