Zhang Xu and Yan Zhenqing finished talking about the "Twelve Meanings" with a question and answer, and finally Zhang Xu said that "the words are quite close", giving Yan Zhenqing a passing score. Interestingly, every time Zhang Xu said "ran", at the end he said that Yan Zhenqing's answer was "quite close", and it seems that "ran" is not "absolutely correct" but "almost" meaning.
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What did they say next? Zhang Xu said that calligraphy is not written casually, Yan Zhenqing: Then how to write?
I'm going to start acting again, even if you don't want to see it, please be patient, although you are not obliged to listen to me, I can't stop you from quitting.
< h1 class="pgc-h-decimal" data-index="01" data-track="3 >" summary of the gist</h1>
"The beauty of the husband's writing is refreshed with purpose." Calligraphy has a gist and a standard, not a casual writing.
Today, this sentence seems to be commonplace, even nonsense, but for Yan Zhenqing, who has asked Zhang Xu for brushwork many times and has not been able to do so, he has almost knelt down to pray, it is not rare nor commonplace. You must know how difficult it is for "the servant to teach Zhang Gong in the second year of Chang'an" and "the servant will not meet again under Luoxia and not replace him". Perhaps it confirms Confucius's saying that "sensitive and studious, not ashamed to ask", once you don't say, I will cheekily ask a few more times.
"The scholars of the world, the second king of Emperor Zong and Yuan Chang, have quite a good track record, and they have not looked at the magic of the eight laws of bìnì, so they are similar." The world revered the calligraphy of the Two Kings (Wang Xizhi, Wang Xianzhi) and Zhong Xuan (Ziyuan Chang), but they did not understand the mystery of it, so they all wrote the same.
Learning from erwang and Zhong Xuan, not only yan Zhenqing lived in the Tang Dynasty, before and after, and even today people are still learning. We cannot see those who are similar to those who have learned in the past, but those who are similar in learning today can be seen. The works in the previous French book exhibitions, especially those that learn the cursive writing of the second king, if not the text content is different, it will make people think that it is the work of one person, and the style of writing also has a name "exhibition body". It is too advanced, and even today's "similar" ancients have foreseen it.
Similarity is taboo in calligraphy, or it is a major drawback of calligraphy.
<h1 class="pgc-h-decimal" data-index="02" data-track="31" > "ancient fat and now thin" theory</h1>
"The offering is called ancient fat, and Zhang Xu is said to be thin now." Ancient and modern are different, fat and thin are quite anti-, such as self-examination, there are different theories. Wang Xianzhi said that the ancient character is fat, and Zhang Xu said that the present character is thin. Ancient and modern times have been different, and the views on fat and thin are also opposite, and if you can observe carefully, it will certainly be different from the public.
In the Book Genealogy, "Gu" refers to Zhang Zhi and Zhong Xuan, and "Present" refers to the Two Kings. The difference is that the "Book Genealogy" is "ancient quality and now Yan", and here it is ancient fat and now thin, although the literal meaning is different, it is actually the same thing.
What is said here is the problem of trade-offs and aesthetics, that is to say, although the ancient fat is now thin, Zhang San and Wang Er will write differently because of the differences in trade-offs and aesthetics. You want to say, those who learn "Tian Kai" are the same, how to explain? In fact, there are differences, but the differences are not big and not easy to find.
Absolutely similar to that it is a photocopier, people can't do it, even if the same person uses the same method to write the same word, the second time will be different from the first time. Jiang Kui commented in the "Genealogy of Continuation Books" that Wang Xizhi's calligraphy "has no similarities, but has not tasted different", which is also the meaning.
Of course, you have to say that you can write two identical words, and I won't raise the bar with you, I can't do it anyway.
<h1 class="pgc-h-decimal" data-index="03" data-track="32" > "fat and thin bones, slow meaning"</h1>
"Zhang Zhi and Zhong Xuan are ingenious and delicate, and they are all the same as the gods, fat and thin, is it easy to greet?" Although there are few authentic works, they can be obtained and pushed. "Zhang Zhi and Zhong Xuan's calligraphy is ingenious and delicate, natural, fat and thin, how can we clearly explain the meaning of it? Although their authentic works are few, one or two pieces can be inferred from all.
"Yi Shao as for learning Zhong Shiqiao's description, and its unique luck, the meaning of loose words slow. For example, Chu Yin Xi Xia, can not be without Chu. Yì (yì) is not a matter of discouragement. Some people have commented that Wang Xizhi (Zi Yishao) was clever and dense when he first learned Zhong Xuan's calligraphy, but later he made a single intention to slow down the characters. It's like Hubei people learning Henan dialect, it is impossible to have no Hubei accent. It's too much to be taken as the right comment.
In the previous paragraph, I do not agree with the calligraphy of Zhang Zhi and Zhong Xuan as fat and thin bones; in the second paragraph, I oppose the evaluation of Wang Xi's meaning of being slow. Interestingly, the back uses an allusion to the Chu people learning Xia yin, yes, can not be completely without a little hometown accent. I have not heard Hubei people speak Henan dialect, but I have heard Cantonese people speak Mandarin, and the recognition of "Guangpu" is very high.
At first, it was clever and dense, and then it was slowed down, which is like a Cantonese person learning Mandarin and forgetting how cantonese is spoken. Wang Xizhi's independent intention is not false, but it does not mean that he has completely separated from Zhong Xuan to form a system that has nothing to do with Zhong Xuan, and today it seems that Wang Xizhi's Xiaokai still has the shadow of Zhong Xuan.
<h1 class="pgc-h-decimal" data-index="04" data-track="33" > conclusion</h1>
"Moreover, Zi Jingzhi is not as good as Yi Shao, and Yu Yi is less than Yuan Chang. Students pay homage to the tiger, and students draw the dragon. If you think about it, you have thought about it halfway. If you are diligent, you should be a wonderful pen. The commentary also said that Wang Xianzhi was not as good as Wang Xizhi, just as Wang Xizhi was inferior to Zhong Xuan. Learn from Wang Xianzhi like a pictured tiger, learn from Zhong Xuan like a pictured dragon. If you look at it in detail, you'll find that half of them are not right. If you are diligent in kung fu, you can naturally learn calligraphy well.
In fact, many of the treatises have quoted "Zi Jingzhi is not as good as Yi Shao, and Yu Yi is less than Yuan Chang (or Zhong Zhang)", and the author almost does not agree, such as Sun Guoting's "Book Genealogy": "The yi thought that they had evaluated its outline, but did not detail its origins." ”
The dragon has a higher status in people's minds than the tiger, although it is a fictional animal. Drawing a tiger is obviously not as advanced as drawing a dragon. In other words, the tiger is not as good as the dragon, and the Xuewang Xianzhi is not as good as the Xuezhong Xuan. Fallacy! There is no one who is inferior to anyone.
In fact, whether you learn from Zhang Zhi, Zhong Xuan, or the Second King, you can, mainly because you can do what Sun Guoting said: "When the ancients were not obedient, the present is not the same as the drawbacks", to learn from the past without losing today's trend, and to learn from the present without mixing with today's ills.
<h1 class="pgc-h-decimal" data-index="05" data-track="34" > description</h1>
The content of the above is the content of the "Twelve Meanings of the Brushwork of Zhang Changshi", which is not in the books summarized by the general book theory, such as the "Selected Calligraphy Papers of past dynasties" of the Shanghai Calligraphy and Painting Publishing House, only "If the work is diligent, it should be a wonderful pen (the original text 'should be a wonderful pen')", and there is no "the magic of the Fu Calligraphy... If ingenuity" of this part.
In addition, some people say that this content is Zhang Xu's point of view, and they dare not agree. Emperor Xiao Yan of Liangwu's "Twelve Meanings of Guan Zhong Shu Calligraphy" is almost exactly the same as it, only a few words are in and out, such as "The Ancient Fat of the Offering, Zhang Xu Is called the Present Thin", and the "Guan Zhong Shu" is "Yuan Chang refers to the ancient fat, and the Zi Jing refers to the present thin" (Wang Zi Jing is Wang Xianzhi). It is not excluded here that Zhang Xu's further interpretation of the Guan Zhong Xuan, or that the version at that time was different from today's version.
But in any case, this passage is worthy of the attention of calligraphy lovers, because there is a lot of knowledge about calligraphy that we have never heard of.
Unconsciously, it was more than two thousand words, and even patient people were tired of seeing it, so let's talk about it here. The next lecture is the last lecture of "The Twelve Meanings of the Brushwork of the Long History of Zhang", which mainly revolves around "like cone painting sand, like printing clay".
For other contents of the "Twelve Meanings of the Brushwork of the Long History of Zhang", please check it out in the homepage of The Second Small Calligraphy.