The Northern Song Dynasty Han Qi Kai Letters and Letters volume is a national treasure-level cultural relic, and it is also the only legal book handed down by han Qi, a famous minister of the Northern Song Dynasty. The volume is on display at the Guizhou Provincial Museum "Qing Ping Le – Han Qikai Letters and Letters" and song dynasty literati style exhibition (until April 10).
Han Qi's calligraphy is calm and calm, carefully observing his characters coming out of the willow, taking the law of the two families, the bones and bones, is the book's technique after decades of tempering, to achieve a considerable calligraphy presentation, coupled with the character of the temperament, so that the character is powerful, calm and naturally revealed.
This article is authorized to be selected from the Guizhou Provincial Museum Academic Series, Liu Heng's "Yellow Flower Tuberose: A Study of the Northern Song Dynasty Han Qikai Letters and Letters".
Another famous calligrapher in the middle of the Northern Song Dynasty, yan Zhenqing, was the writer of the Xinsu Ti and the Xun Ri Ti, Han Qi. He not only taught the Fa Yan body, but also had a great influence at that time. After Han Qi joined the army, he and Fan Zhongyan jointly guarded the Western Xia, went out and entered the same place for several years, and then the two co-presided over the New Deal of celebrating the calendar, and were deeply influenced by Fan Zhongyan in their thinking and behavior. The officials who participated in the New Deal for the Celebration of the Calendar, such as Fan Zhongyan, Ouyang Xiu, Wen Yanbo, and others, all advocated the dynasty with outspokenness and rhetoric, and all regarded Yan Zhenqing as a moral model, and also regarded Yan Zhenqing as a moral model in calligraphy, and vigorously admired Yan Zhenqing in calligraphy. It is not difficult to understand that Han Qi, who is known for his integrity and integrity, prefers simple, broad and thick Yanshu.
The statue of Han Qi in the Song Dynasty's anonym "Eight Phases Diagram" is collected by the Palace Museum
Han Qi had worked calligraphy. In the "Chronicle of Shulin", there is such a record: "When Han Zhongxian was poor, he studied books without paper, and there was a large stone in front of the zhuang gate. In the face of scorching sun and light rain, Zhang We umbrella self-covered, the rate is normal. This shows Han Qi's obsession and diligence in calligraphy when he was a teenager. Han Qi loved Yan Shu, and he thought that Yan Lugong was a man of good character, so his calligraphy was also similar to his own. Han Qi once said: "Yu Yu is fond of books, su loves Yan Lu Gongshu, and is jian jian, a family of his own, heavy and strong, similar to him." In addition, there are many records in the literature about Han Qi's Xiyan Book. In the "Epitaph of Han Qi" written by Chen Zhan of the same era, Yun said: "(Author's note: Han Qi) began to be a good Yan Wenzhong gongshu, and in his later years, his penmanship was old and vigorous, and he named himself a family. Tao Zongyi's "Book History And Painting Essentials" also has a record: "Han Qi, Zi Zhi Gui, Xiangzhou Anyang people, Ju Jinshi, official to the right servant, Feng Wei Guo Gong, Yu Zhongxian, later given to the King of Wei County, Gong Zheng shu, Shi Yan Lu Gong and quite prominent." The "Yushi" written by the Qing Dynasty Ye Changchi records: "Both Wenlu Gong and Han Wei Gong learned Yan, and Han was superior." "As an auxiliary minister of the three dynasties of Emperor Renzong, Emperor Zhezong, and Emperor Shenzong, Han Qi can be described as a heavy minister of sheji. His identity naturally influenced the liking and orientation of a group of literati for calligraphy, so the Northern Song Dynasty scholars took the Xi Yan body as a fashion, and Han Qi's influence could not be underestimated. In the "History of Books", Mi Fu once said: "Han Zhongxian Gongqi has a good face book, and the scholars and customs all learn the Yan book." ”
Regarding Han Qi's admiration for Yan Zhenqing and his teaching of the Fa Yan body, there is also an elegant talk in the history of calligraphy. In the fourth year of Emperor Shenzong of Song (1069), Han Qi served as a pacification envoy of the Daimyo Government, and saw tang Hanyu's "Murata Song and Dance Diagram" on the wall of the official residence, followed by Yan Lugong's tail. On a whim, he inscribed poems on the wall. Later, in the sixth year (1073) of Emperor Shenzong of Song,Han Qi changed his sentence to Xiang prefecture. Wen Yanbo succeeded Han Qi and sentenced him to daimyo. Wen Yanbo (1006-1097), a famous minister of the Northern Song Dynasty, was known for his good books during the four dynasties of Ren, Ying, Shen and Zhe. When Wen Shi saw that there was An inscription poem by Han Qi on the wall of the official residence, he knew that Han Qi was a teacher of Fa Yan Zhenqing, and immediately wrote "Sending Xiang Zhou to Wait for the Duke of Han Wei" and sent a preface poem to Han Qi. The poem reads as follows:
Xiang in the three cities, retired from the public for more time, the Japanese play book title painting for entertainment, the Inner Han Jin Gong "Murata Song and Dance Map" and Yan Lu Gong Pa Wei. Although it is a facsimile in Puzhong, it is actually quite a kind of authenticity. Now come back to the daimyo, the book of the emperor between the walls of the house, is with the Yan class, the number of the Kaide Gong is the tail, with the light of the front trace, is the wish also, not dare to hope also. It is also used as a small poem to dry ze.
The Jin Dynasty painted the Lu Gongshu, higher than Zhang Wu and Liu Yu. Fortunately, Duke Wei wielded the treasure ink, and the Gong Kai Fa was also a disciple.
In the poem, Wen Yanbo not only said that Han Qi's characters were shifa Yan body, but also compared Yan Zhenqing with Liu Gongquan and Yu Shinan of the Tang Dynasty, believing that Yan characters were much higher than those of Liu and Yu. Such comparisons are also found in Su Xun, who wrote in the poem "Fourteen Rhymes of Yan Shu" in the Jiayou Collection: "Yu Liu is not good, end the annoyance." The penmanship is not out of the ordinary, and the mediocre hands still dare to peep. For Wen Yanbo's praise, Han Qi was very modest, and specially wrote a poem, that is, "The Second Rhyme Answer Wen Shizhong Sent Han Jin Gong Murata Song and Dance Tu Yan Lu Gong Bao Wei Still Makes the Question Behind":
Han paints Yan Shu's pearls in the world, and he is full of joy when he is in the bell. He is sincerely shy, not a dragon jumper.
After that, Wen Yanbo asked Han Qi to write an inscription on the facsimile of the "Han Di Murata Song and Dance Diagram" that he had collected. After the facsimile, there was original Wen's self-written poem:
Zhi Shi Shu long day, Tian family affairs Li Su. Gango did not know for a long time, and the drums were used for entertainment. The turbid wine line is not counted, and the face is more supportive. Will seek the Taiping Elephant, this is the Taiping Chart.
Han Weigong also inscribed the "Second Rhyme and Wenlu Gong Title Han Jin Gong Murata Song and Dance Diagram" after Wen's poem, ShiYun:
Shengping Hu can be shaped? Singing and dancing into the woods. Everyone is happy with the years, and the government and the wild are entertained. The heart is restless, and the original is not upside down. I wish to rule in the future, and to draw like this.
Both poems are a tribute to the peaceful and idyllic life under the rule of taiping. The poem was written in the seventh year of Xi Ning (1074), and Han Qi was sixty-six years old. This good story of the two humble gentlemen's calligraphy and painting reciprocation has been passed down to this day, but the authentic works no longer exist.
All of the above records show that Han Qi's calligraphy was based on the Yan body, and at that time, he was also a well-known and trend-setting calligrapher. Unfortunately, his works have not been circulated much. Or because Han Qi was focused on political affairs, he had no time to take care of calligraphy creation. Or because of his outstanding merits, whenever the future generations mention it, they do their best to say meritorious things, but the title of the book is not obvious. In the inscription after the volume of the "Northern Song Dynasty Han Qikai Letters", the Yuanren Zhang Shengqingyun: "The great festival of the Wei Gongli Dynasty and the Conspiracy of the Country, it is not necessary to resign, although its remains are rare today, who does not treasure the gold and jade." It can be seen that six or seven hundred years ago, Han Qi's inkblot was rare. Gao Shiqi of the Qing Dynasty also mentioned in the text of this volume: "Loyal to the two dynasties, the longest reign, doubted about the affairs of Han Mo, do not pay attention to it." Sun Chengze, who was famous for his rich collection of ancient calligraphy and paintings in the Qing Dynasty, also said: "Yu Yu Song Mingchen's inkblots are always seen, but they have never seen public handwriting." It can be seen that in the Qing Dynasty, Han Qi's characters were even more rare.
Judging from the literature alone, it can be seen that there are more than ten pieces of Han Qi's calligraphy works, but half of them have been scattered. What can still be seen today is seven or eight pieces, including the inscriptions. There are only four original ink copies. Two of them are the "Letter Su Ti" and the "Ten Day Ti" in the Northern Song Dynasty Han Qi Kai Shu Xinzha volume. The other two are inscriptions and ornaments from other calligraphy and painting works. They are described as follows:
In the Song Ren Yue Ke's compilation of the Baozhen Zhai Fa Shu Zan, there is a cursive inkblot of Han Qi, entitled "Han Zhongxian Early Summer And Spring Two Poems", and the book review is as follows:
Right Han Zhongxian "Early Summer" two sentences, "Spring Garden" seven words of poetry, all three authentic works in one volume. Beitang Zhongchun is in Zhongshan, tang starts with Xuanhui Li Gongliang, the garden begins with Gong, Gongzhi Jiwen, taste books in the Emperor's room,...... Jiading Jiashen was awarded to WeiYang in February, and his penmanship was vigorous and correct, which was similar to the two posts of the Gong "North Province" and "Jingyi". It is also a kind of ink, and it is beneficial to test its true cloud.
Judging from the text, the poem is mentioned as cursive and its style is strong. When later generations mentioned Han Qi's calligraphy, they only spoke of the correct book, and did not mention cursive writing. Zhu Xi also said that the words he saw in Han Qi's calligraphy were "not a stroke of the grass". From this record, it can be seen that Han Qi also wrote cursive.
In the "Records of the Imperial Song Dynasty" written by Dong Shi of the Song Dynasty, Han Qi's calligraphy stone carvings are recorded, and the full text is as follows:
The Duke of Wei was loyal to Han Qi. "Book History" Yun: "Han Zhongxian gong good yan book, scholars and customs all learn Yan book." "There is a volume of stone carvings "Painting the Crane Line" in large characters, and there is also a "Day Jintang Poem", accompanied by Secretary Cai Junmo, carving the stone to the world. Yuzhang Guanfengtang also engraved a volume of "Yangzhou Peony Poetry".
The above mentioned the evaluation of Han Qi's calligraphy in the History of Books. The author Dong Shi did not comment on Han Qi's style of writing, but only recorded that Han Qi had three stone carvings in large characters of "Painting the Bird Line", "Day Jintang Poem" and "Peony Poem".
The Southern Song Dynasty theologian Zhu Xi once saw a letter from Han Qi and Ouyang Xiu, and Zhu Zi had a postscript on it, Yun:
Zhang Jingfu tasted the words, and the Wang Jing Gongshu he saw in his life was written as if he was busy, and he did not know that the public security was as busy as Xu, although this was a joke, but it was really in his illness. Looking at this volume today, because the province usually sees Han Gong's handwriting, although he is humble and young with his relatives, he is also serious and serious, slightly the same as this, he has not tasted a sloppy posture, covered his chest quietly and carefully, calmly and hesitantly, so there is no moment of busyness, nor is there any hesitation, and the impatience of Jing Gong is the opposite, the book is a detailed matter, and it is related to human morality, there is such a person. Xi then stole a warning. Because of its language on the left. Qingyuan Ding Wei Gengchen, Zhu Xi.
This book review has been reprinted more often in later generations. Zhu Xi compared Han Qi's calligraphy with Wang Anshi's calligraphy, believing that Han Qi's writing was rigorous and heavy. Seeing the words like people, it is known that Han Qi is also a person who is "quiet and detailed in the chest, calm and yu", and Wang Anshi's words are "like busy in the middle".
In the Ming Dynasty Zhu Cunli's "Iron Mesh Coral", there is a collection of "Suiyang Five Old Figures", and it is recorded that there are inscription poems by Fan Zhongyan, Ouyang Xiu, Han Qi and other celebrities. Among them, Han Qi Shiyun:
The rule of the road has just been idle, and the etiquette has been crowned. Advise the province of agriculture to know the people. Retire to Anbang jian xia huan. The Six Dragons of the Law drive are friendly to the Emperor, the five elders of the Bard are cold, the Qingming Dynasty is admired by ancient and modern people, and the Jiqi Yufeng learns to see. Han Qi embellished the preceding rhyme.
Later, there is a small note "The above authentic works are dead". It can be seen that this inscription poem no longer existed in the world as early as the Ming Dynasty.
The above-mentioned handwriting of Han Qi is now invisible, only recorded in the literature. There is no evaluation of Han Qi's style of writing in the text, only the transcription of Mi Fu's "Han Zhongxian Gong Good Yan Shu, Scholars and Customs All Learn Yan Shu" in the "Book History". Nevertheless, we can still get a glimpse of Han Qi's calligraphy activities.
In Anyang County, Henan Province, Anyang, Xiangzhou during the Song Dynasty, that is, Han Qi's hometown, has several inscriptions written by Han Qi and Danshu, such as "Han Kai's Epitaph", "GuanYuxuan Stone Carved Poem", "Fox Pavilion Poetry Carved Stone", "Reconstruction of the Jigong Temple Stele" and so on. Although most of them are engraved, to a certain extent, they can still reflect Han Qi's calligraphy style.
Fig. 5-7: Rubbings of Song Hanqi's "Han Kai Epitaph" (partial)
The Han Kai Epitaph (Figure 5-7) is now in the Han Wei Ancestral Hall in Anyang, written by Han Qi and written by Dan. Written in letters, with a total of eighteen lines and eighteen characters per line, the book was written on November 29, 1062, the seventh year of Song Jiayou (1062). Han Kai was Han Qi's nephew, Zi Hezhong, who was incurable due to his father's illness, and was 20 years old at the time, and was buried in Xin'an Village, Anxiang County, Xiangzhou. This stele is recorded in the "Guzhi Shihua" compiled by Huang Benji of the Qing Dynasty, Yun: "Wei Gong's calligraphy is absolutely similar to Yan Lugong's, and his character is also matched with it." "Tasting the characters in the inscription, the strokes are full and powerful, and the glyphs are wide and elegant, quite similar to yanlugong's brushwork." Some of these words, such as "write", "write", "should", etc., seem to be between the "Yan Qinli Monument" and the "Yan Family Temple Stele", which shows Han Qi's ability to learn Yan characters.
Anyang also has three inscriptions written by Han Qi, namely "Guan Yu Xuan Stone Carving Poem", "Fox Ou Ting Poetry Carved Stone", and "Rebuilding the Ji Gong Temple Stele". These three stele are engraved for posterity, but the glyphs are wide and square, without losing the atmosphere of the temple, and the meaning of Yan Shu is still there.
Figure 5-8: A rubbing of Song Hanqi's book "Guan Yu Xuan Poetry Stone Carving"
The "Guan Yu Xuan Stone Carved Poem" (Figure 5-8) has 11 lines of inscriptions, each line of 8 characters, which is incomplete, and now only more than 20 words can be recognized. The inscription of the "Fox Ou Ting Poetry Carved Stone" (Figure 5-9) is inscribed with 8 lines, each line is 7 characters, well preserved and recognizable, the full text is as follows:
The pavilion presses the east pond to restore the broken foundation, and the garden must be happy to return to the owner. Yu Tang Yu Mao should have love, and planting willows can only be frightened. Fish swimming algae between the material properties, the moon Shen Bo bottom zen machine. The flock of gulls is only on the side of the light boat, knowing that I have no intention of flying.
Figure 5-9: Song Hanqi's book "Stone Carvings of The Poetry of the Fox Pavilion"
This poem is contained in the Anyang Collection, which is only one word away. This stone carving is recorded in the "Anyang County Chronicle of the Golden Stone Record" and said that its writing is majestic.
Monument to the Reconstruction of the Beiyue Temple in the Great Song Dynasty (Figure 5-10)
The Monument to the Rebuilding of the Beiyue Temple in the Great Song Dynasty (Figure 5-10) is another inscription written by Han Qi and written by Dan, and has a considerable position in the history of inscription. In the eighth year of the reign of Emperor Renzong of Song (1048), Han Qi, as a senior scholar of the Imperial Palace, an advanced Guang dafu, and a practitioner, was a dispatcher and appeased envoy to Dingzhou (present-day Dingzhou, Hebei). At that time, the Beiyue Temple in Dingzhou was destroyed in the war, and After Han Qi arrived in office, he ordered it to be rebuilt and wrote an inscription to commemorate it. This stele was erected on the 19th day of the first month of the second year (1050) of Emperor Renzong of Song, and is now in the Beiyue Temple in Quyang County, Hebei Province.
This stele has been recorded in many documents after the Song Dynasty, and can be described as a famous stele, such as the Ming Dynasty Zhao Kun's "Graphite Engraving Hua", the Qing Ren Qian Daxin's "QianyanTang Jinshi Wen Baowei", the Qing Ren Wuyi's "Zhitang Jinshi Script Continuation", the Qing Wang Chang's "Golden Stone Compilation", and the Qing Ren Ding Shaoji's "Qiu Shi Zhai Stele". This stele also has a lot of Tuoben passed down, so there are also records of Tuoben in many calligraphy and painting bibliographies after the Ming and Qing dynasties, among which the late Ming Sun Zhen's "Calligraphy and Painting Trek" Yun: "Beiyue Temple in Quyang, there is a white stone beam, it is said that Yun was from Yue Fei when Shun, because of this, its saying is not credible, but the ancient trees are sparse, there are two plastic ghosts, strange, all are thousands of years of foreign objects, the inscription is also called." The inscription (Figure 5-11) of the Monument to the Rebuilding of the Beiyue Temple of the Great Song Dynasty is the "Record of the Rebuilding of the Beiyue Temple of the Great Song Dynasty" The nine large characters of the seal book are arranged in three lines, and the font is symmetrical and heavy, which is written by Qian Yifan. Qian Yifan's birth and death are unknown. From the literature, it can be seen that when Han Qi was in Zhiding Prefecture, Qian Shiren was a judge and was Han Qi's deputy. The inscription on the inscription is written as "Changshan Guo Qingzhi", but the matter is unknown. This stele is now mostly mutilated, and the heirloom version is incomplete (Figure 5-12), but fortunately Han Qi's "Anyang Collection" and "Quan Song Wen" contain the full text, named "Dingzhou Reconstruction of the Beiyue Temple", which can fill the lack of the original stele and the Tuoben.
Figure 5-11: The Great Song Dynasty rebuilt the beiyue temple monument
Figure 5-12: The Great Song Dynasty rebuilt the beiyue temple stele rubbings
The whole inscription is about a thousand words, the end is rigorous and heavy, the line pen is different from the weight, the thickness and thickness of the strokes are strongly contrasted, the font is lush and thick, the structure of the interstitial frame is wide and flat but not loose, the style of writing is simple and thick, and it is deeply known as Yan Lugong. Ming Ren Wang Shizhenyun: "This book of the Duke of Wei is all Fa Yan Plain." Sun Chengze, a Qing dynasty, commented: "This stele imitates the Lu Gongshu, just like the "Portrait Praise". Resolutely, there is no shame in it. "But looking closely at his strokes, some of them are too fat, slightly insufficient, or because of the many times that have been engraved in later generations, some of them have lost the meaning of the original monument."
In addition to the "Xinsu Ti" and the "Xun Ri Ti", there are now two famous paintings and calligraphy that can be seen in Han Qi's ink marks. The first is the "Yan Liben Emperor Diagram" now in the Boston Museum in the United States. This picture is recorded in the Qing Dynasty Wu Rongguang's "Records of gengzi extinction": "The picture is in the li ji'an Mei gong family, and there are only thirteen emperors in the picture... Xiao Looks like a life, and most of the later inscriptions are destroyed, but Han Weigong and Cai Zhonghui are still recognizable, and they are Zhou Yi's family property. ”。 From the text, it can be seen that Han Qi has an inscription on this map, and the ink is still recognizable. Now compared with the picture, there is indeed a Han Wei public inscription at the back of the volume, but the rest of the handwriting is indistinct, only the word "Han Qi" is clearly legible. (Fig. 5-13) The second is the "Ping An Thesis" now in the National Palace Museum in Taipei. This post is a post of world-named names, which is recorded in Wu Qizhen's "Records of Calligraphy and Painting" in the Qing Dynasty, titled "Tang Ren Kuo Fill Ping Ping Recitation Post", which records Yun:
Filled in on the cold gold note, wonderful as new, the filling method is like writing, so wonderful is no less than the "Long Live the Heavenly Post", and the tone is victorious, fill in the first volume for the Tang Dynasty, before there is the inscription of Huizong and its label, there are two Song Xiaoxi, after the volume there are Zhuge Ying, Liu, Shi Zhiguo, and then there are Ouyang Wenzhong, Cai Zhonghui, Han Weigong and other ten people with six inscriptions. Ming has the inscription of Xiang Molin and Zhang Ze....
Figure 5-13: "Tang Yan Liben Emperor Chart" Han Qi guan model
Judging from the high-definition pictures released on the official website of the National Palace Museum in Taipei, there is indeed a four-character view of "Anyang Hanqi" at the back of the volume, which is clearly visible. (Figure 5-14)
Figure 5-14: "Tang Dynasty Double Hook Jin Wang Xi's Trip Cursive Peace Post" Han Qi guan paragraph
The two characters "Han Qi" on these two volumes of calligraphy and painting works are both in letters, with clear ink color, similar glyphs, and thick pens. Its knot body has the rigor of "Confession Ofe", and the simple and humble meaning of "Yan's Family Temple Stele". Comparing the word "Qi" with the same word in the Xinsu Ti, both the meaning and the glyph are very similar, and should come from the same person's hand. However, a closer look at the word "Anyang" after the "Peace Post" has a feeling of being too rigid and square. It is in line with the evaluation in the "Calligraphy and Painting Trek", that is, "Wei Gongshu Quanshi's "Duo Pagoda Stele", but the force is not deep, only its shape is similar, so fang yan is more, less beautiful, but the people who heard the effect at that time were quite numerous, and they were proud of it." This is a brilliant statement.
The two posts in the northern Song Dynasty Han Qi Kai Letters and Letters collection by the Guizhou Provincial Museum, namely the "Letter Su Ti" and the "Xun Ri Ti", were written by Han Qi. The Xun Ri Ti cannot determine the exact time, but the Xin Su Ti can be determined to be the autumn and winter of the eighth year of Jiayou (1063), or the spring of the first year of Zhiping (1064), when Han Qi was about forty-four years old, in middle age. If you take the juvenile study of books, at this time, Han Qi's book style should be more mature, but it is still in a rising state.
Figure 5-15: Song Hanqi's book "Xinsu Ti"
Part of the "Letter Post"
The Xinsu Ti (Fig. 5-15) is 42 cm long and 37 cm wide, with 15 lines and more than 150 characters, written in letters. The characters are majestic and heavy, plump and handsome, with a temple atmosphere, just like Yan Lugong's penmanship. As Tai Buhua said in the back of the volume: "The Cantonese text of sincerity is shown in the second post of the book of the wei gong of the previous generation, and the end is only vigorous, and the Yanlu gongfa is more." The gentleman is in the middle of the temple, and the atmosphere of the temple is seen in the paper and ink. "Looking closely at its words, it is very charming to the "Yan Family Temple Stele", and the contrast between the thickness and blunt sharpness of the strokes is obvious. Such as vertical, dot, apostrophe, pinch and other longitudinal strokes are thick, round and full. The horizontal strokes are lighter and slightly more delicate, so that there is a clear difference in horizontal light and vertical weight. The same is true of the left and right strokes, which are thicker and rounder than the left strokes. Moreover, the horizontal painting end is flat, and the left and right vertical pens are slightly inwardly curved, making the font structure round and thick, such as "and", "elimination", "reading", "self", "mean" and other words. (Figure 5-16, 5-17)
Fig. 5-16: Comparison of Yan Qinli Monument (left) and Xinsu Ti (right).
Fig. 5-17: Comparison of Yan Qinli Monument (left) and Xinsu Ti (right).
However, if you taste it carefully, its characters are also mixed with the style of Liu Gongquan's calligraphy under the breath of the magnificent Yan body italic book, especially at the turn of the pen to pick the hook, which shows the characteristics of the willow character, such as the vertical hook of the words "measurement" for "measurement", "end" and "re" are all written in Liu Gongquan's "Divine Strategy Military Monument". And there are many square strokes in the horizontal strokes, such as "hundred", "dry", "not", "before", which are also very characteristic of willow books. (Figure 5-18, 5-19)
Fig. 5-18: Comparison of the Divine Strategy Monument (left) with the Xinsu Ti (right).
Fig. 5-19: Comparison of the Divine Strategy Monument (left) with Xinsu Ti (right).
From the overall style point of view, "Xinsu Ti" has many strengths and abundant tendons, not only has the broad and introverted and majestic of the Yan characters, but also has an extra layer of the tall and steep willow book, so it is particularly solemn and rigorous, which is a typical Yan tendon and willow bone, which can be called a masterpiece. In the post-volume text, Cai Jingxingyun: "The silver hook iron painting, in and out of Tang Xian's Yan Liu, its end is heavy and strong, similar to a human." The Ming Dynasty Wang Shizhen also commented on Han Qi's words in the Ancient and Modern Law Book Garden: "Wei Gong's book is all Fa Yan Plain, and the willow bones are exposed from time to time. ”
Han Qi has been in the three dynasties, going in and out of the world, known for his rigor and integrity, and has a high reputation. Therefore, when evaluating his calligraphy, later generations often associate his books with his character, the so-called "books are characters". When Zhu Xi looked at Han Qi's calligraphy, he compared Han Qi's characters with Wang Anshi's, believing that "Jing Gong's impatience and urgency are the opposite." Finally, it is concluded that "the book is detailed, and there are those who are related to human morality." Since ancient times, China has had the saying that "books are paintings for the heart". Indeed, a person's temperament, state, and cultivation can be conveyed through the tip of the pen. Guan Hanqi is indeed calm and thoughtful in his dealings with the world, just as Ouyang Xiu said in the "Records of the Day Jintang": "As for the big things, deciding on big discussions, the gentleman is just wat, and quietly and quietly taking the world to the safety of Mount Tai, it can be said that he is a minister of the society!" "Looking at the "Letter Su Ti" again, the handwriting is neat and neat, with a calm and unhurried atmosphere. Commenting on his calligraphy, Wang Shizhen said: "The distance between the fronts is four, which makes people unable to face them squarely, and the public has been bequeathed to the second." With the weight of the body, this can also be seen. Sun Chengze of the Qing Dynasty also mentioned in the "Record of gengzi's summer consumption" that the characters of Guan Han Wei Gong "resolutely have the color of inviolability." ”
After the volume, the eleven people of the Yuan and Qing dynasties also mostly discuss their calligraphy based on the character and attitude of Han Weigong. Rutai buhua said, "Oh! Duke Lu was a loyal vassal of Tang, and Duke Wei was a saint of Song, so the magic of his calligraphy was also as if it were also. The ancestor Wei Gong saw that every time he ascended to the court, if there was a size, he carried the Guan Si Ti, so he took evidence. Another example is Li Qi's words: "The exile fuzi zai chancellor should also be careful, the Duke of Wei is a gentleman, and he is silent and silent, and the world is like the peace of Mount Tai, because it is a word and can be analogous, in vain. "Tai Buhua and Li Qi were both courtiers of the Yuan Dynasty, and naturally attached great importance to the embodiment of character in calligraphy. Zhu Fan was a famous Confucian scholar, and he also implemented a set of Confucian evaluation criteria in the appreciation of calligraphy, and his Pai Wenyun said: "Wei Gong Xiangye Huanghuang in the brochure, did not wait for Han Mo and then passed on the second post, the pen was thick, although the powder ink was long, Yu Yiyi was full of vitality." Chen Liangbao's words, like Zhu Xi's comments, not only resemble people, but also compare the calligraphy of Han Qi and Wang Anshi with those of Han Qi, which has a clear meaning of promoting Han and suppressing the king: "Yun Hanfuzi ruled the three dynasties, Xiangye was upright, Qingmiao Xianggong could stand in the same dynasty, and The words of Yuyun Xiangzi were like Xiangren, and these two pens were on the peak, and there was some evil qi?" Its Hidden Edge is not seen and can think of its prudent adherence to the country. When Gao Shiqi of the Qing Dynasty discussed his Han Qi calligraphy in the Paiwen, it was also a typical theory of "character is a book": "The pens circulating today are elegant and the structure is precise, if The Yanju is fine, he will calmly come out." Although calligraphy experts are contemptuous. Because he wanted to see the ancient minister with a solemn heart, no matter how delicate things were, he was slow and easy to desire, and he was willing to think of it. Liu Cheng's suspense is correct, and it is not vain. ”
Indeed, as the predecessors said, Han Qi's calligraphy is dignified and calm, calm and atmospheric, with a temple atmosphere, which is as respected as his life in the world. However, a closer look at its characters coming out of the willow, taking the law from two families, and having bones and bones, is not purely passed on to people by books, but the calligrapher has achieved a considerable calligraphy presentation after decades of refinement in technique, coupled with the character and temperament, so that the characters are powerful, and the calmness between the lines is naturally revealed.
In the middle of the Northern Song Dynasty, under the initiative of a group of readers who took Confucian morality and ethics as the criterion for handling things, the field of calligraphy linked books with personality, setting off a wave of admiration for Yan Zhenqing's calligraphy, and Han Qi was also among them. With the personal practice of teaching Yan Zhenqing, he led to a momentary trend of learning Yan characters. When han qi calligraphy is mentioned in the literature of the past, all of them are clouded with words like yan style. As far as the calligraphy that exists today is concerned, it is indeed as recorded in the literature, and it is deeply rooted in Yan Lugong's ignorance, majestic and dignified. In particular, the "Xinsu Ti", which was handed down as an ink paper, has an iron hook and silver painting, and the bones and bones are preserved, which can be regarded as a masterpiece of song dynasty calligraphy.
Yellow Flower Tuberose: A Study of the Northern Song Dynasty Han Qikai Letters and Letters, by Liu Heng, Guangxi Normal University Press, 2021.10
(The author is an associate research librarian at the Guizhou Provincial Museum.) )