Portrait of Xu Wei
Xu Wei had a bumpy life, he tried his career eight times, but he tried and failed repeatedly, so he was frustrated and poor, so that he was wild and uninhibited, and he could not die, but inadvertently achieved his true colors in life, becoming a prodigy and deformed talent with an independent spirit and free thinking in the history of art. Although Xu Wei achieved high achievements in art, he did not enjoy the respect and well-being brought by his superb art in his later years, and eventually he was poor and sad, and passed away sadly. It was not until five or six years later, due to Yuan Hongdao's admiration and publicity, that his artistic value suddenly rose, so that "the calligraphy and paintings are passed, and the atmosphere is long, and the pieces are scaled, and people think that they are treasures."
The art ecology of the late Ming Dynasty is a typical example of the changing style and multi-directional trend of thought in the history of Chinese art development. Qi Gong once said: "The world changes, and the style of books changes." In the late Ming Dynasty, it is also common to break the world. "Xu Wei is the best of these. Xu Wei has high achievements in the fields of poetry, calligraphy and painting, opera and martial arts, and is in and out of the three teachings, proficient in musical rhythms, specializing in historical records, side and medicine, couplets, riddles, tea making, winemaking, sword law. To this day, we can still find inexhaustible artistic inspiration from his unique works. Xu Wei's artistic creation has always run through the reflection of life and the thinking of personality, in general, his style is anti-rules rather than anti-traditional, anti-simulation rather than anti-learning, and the fusion of innocence and wild temperament.
Xu Wei Durian real map
Appreciate Xu Wei's calligraphy art, from which you can feel the expression of his "true self" and "true color", the release of pathos and desolation, and the arrogance of madness and deformity. The Ming Dynasty calligrapher Xiang Mu, when discussing the relationship between the "form and quality" of calligraphy, said:
People's gifts are uneven up and down, the same sexual endowment, and many different habits, but they are just middle-aged, crazy, and cunning.
If You put Xu Wei calligraphy into the history of Chinese calligraphy style, it is the "crazy" all the way. He was "a genius and a poet." Good cursive writing, work writing flowers and grass bamboo stone. Taste yourself: 'My book is first, poetry is second, literature is second, and painting is second'." There is no lack of self-confidence and willfulness in the language. Xu Wei was particularly fond of cursive writing, calling himself "a straw worker with many books". If there is no true way of the certificate method, it is difficult to say this. Looking at Xu Wei's two-body calligraphy of xing and grass, cursive is the most self-contained. Dot painting is messy, horizontal and vertical, self-contained, using large freehand painting methods to express cursive writing. Later generations praised his calligraphy, and most of them also attached importance to this style. Tao Wangling said that he was "particularly proficient in cursive writing." Qian Qianyi also believes that his cursive writing is "strange and unrestrained". Cursive writing can be said to be the best form of Expressionism in Chinese calligraphy art. Han Yu described Zhang Xu's calligraphy in the "Preface to Sending Gao Idle to the People": "In the past, Zhang Xu was good at cursive writing, and did not cure other skills. Joy, anger, poverty, sorrow, pleasure, longing, drunkenness, boredom, unevenness, moving in the heart, will be in cursive writing. "It is because cursive writing can more freely express the mood and ideas of the writer."
Xu Wei Cursive Du Fu "Gifting Flowers to Qing"
Xu Wei and the "book saint" Wang Xizhi are both Shanyin people, he admires Wang Xizhi very much, and he pursues his Fa Ti, but in Xu Wei's calligraphy works, we rarely see the interest of Wang's calligraphy style, but feel the shadow of Mi Fu more. For example, his more representative calligraphy works "Sencha Seven Categories" volume, "Qingtian Song" volume, "Inscription Ink Grape Poem", "Ten Songs of the Female Fuguan", etc., are good examples. Xu Wei said in the "Inkblots of the Book of Minang Palace":
Reading the Minami Palace books is many, xiao scattered and relaxed, no more than this post, the desert of ten thousand horses, the only one.
The meaning of admiration is beyond words. Su Shi, on the other hand, commented on Mi Fu's calligraphy: "Haiyue Pingsheng Seal, Li, Zhen, Xing, Cursive, Wind And Tree, Calm and Happy, when parallel with Chung (繇) and Wang (羲之), it is not only worthy." "The spirit of art, ancient and modern. Xu Wei and Gu wei are friends, the same breath, and their words are similar to Dongpo's words.
Xu Wei Cursive Seven Words and Poems
In terms of calligraphy theory, Xu Wei has also made great achievements. Tao Wangling said that he "discussed the master of the book with the pen, probably imitating Zhu Mishi", but in fact, he could not summarize the whole thing. Xu Wei's book theory still has its own unique perspective. In addition to What Dow said, "the main thing is to use the pen", he also has unique insights in the personality, style, and future of calligraphy. His calligraphy treatises mainly include the "Xuan Scribe Excerpt" biography "The Essentials of the Pen Xuan" and some discussions on calligraphy scattered in the poems. His view of calligraphy can be roughly summarized into the following aspects.
Xu Wei wrote books and looked at poetry
First, use the pen: "Do your best." Penmanship has always been the foundation of learning books, and Xu Wei is very careful about the method of writing. He argues that:
The law of enforcement must be held before the middle knuckle of the big finger, and must not be a knot to hinder its movement, and must be in the midst of movement. ---------------------------------------------------------------------- If the knot is mastered like a pivot, it must not be free every time, the rotation will be hindered, and where the whirling place is more angular, the pen is dead, and the words of Anwang are vivid?
He also said:
Although the big must be tight, the luck must be lived, and it should not refer to the pen, but should be carried by the wrist. Therefore, the grasp is in the hand, the hand is not the main luck, the luck is in the wrist, the wrist does not know the attachment, although the attachment is expected to be stable, the use must be light. However, light must be heavy, and poop must be astringent. Its path is mainly Tibetan feng, if it is not astringent, then the dangerous qi is born for no reason. As for being too light and not sinking, it becomes floating, and floating is vulgar.
Xu Wei Cursive Poem "Hejia Zhishe People Early Dynasty Daming Palace" poem
Such a delicate exposition is no less than that of the ancient masters, indicating that whether it is theory or practice, he has a unique artistic perception, which prompts him to show more of a perceptual spirit supported by rational self-consciousness when creating calligraphy, and it is precisely because of this that he has the following wonderful argument:
From writing to calligraphy, hand also, from book to shu dan fa, heart also, book original bibliography also, book critic mouth also. The heart is the first, the hand is secondary, and the eyes are at the end. Yu played the ancient book, the cloud has a snake fight, if the sword dance, if the bearer fights for the Way, the first do not understand, and the thunder of the big simple cloud, listen to the sound of the river and the brushwork advances, and then know to the cloud snake bucket, etc., not to dot the glyphs, but to transport the pen. Knowing this, the lonely canopy vibrates itself, the sand sits and flies, the birds fly out of the forest, and the snakes fall into the grass, but there is no doubt about it. However, the demolition of the wall, the leakage of the house, the folding of the strands, the printing mud, the cone painting sand, are the image of the dot painting, but it is not a good luck, nor can it be perfected. In this way, the book is exhausted.
From the fun of writing and running the pen, and the realm of using the pen, this is also the mental process of calligraphy from beginner learning to creation, from imitation to self.
Xu Wei cursive Bai Yan poems full volume ink on paper
Collection of Shaoxing Institute of Archaeology
Second, copy: "The true self." Copying is the beginning of learning calligraphy. When Xu Wei advocates copying, he does not necessarily have to be exquisite, but must be compared. He noted:
Non-special words also, there are things in the world, where the imitation of the straight ear, baht and comparison, inch and fit, is not really my face? There are many copies of "Lan Ting", but those who always reveal their own pen intentions are called masters. Although you cannot necessarily know who he is, he will be able to see his own penmanship, and he will be a master. Youmeng is like Sun Shu'ao, is it not similar to his bearded torso? It is also just a matter of taking its own intentions.
This means that artistic creation must have a "true face" or "self-will", in order to be a "master", and it is difficult to last without its own personality. Of course, this criticism is related to the background of the retro afterglow of the time. However, Xu Wei has seen very clearly the direction of the future development of art.
Xu Wei Banana Stone Drawing, Collection of the Oriental Museum, Stockholm
Third, creation: "out of oneself" and "natural". In line with the "true face" or "self-will" proposition, Xu Wei attaches great importance to "Tiancheng". He said:
Those who do not learn and become natural are still young; secondly, they begin to learn and finally become heavenly. The one who is made in heaven is not born in heaven, but out of himself and not because of man. We are not ashamed of ourselves but by others; we are not ashamed of others and we are devious to ourselves. Everything is nothing, and Xi is alone in the book? In recent times, the writer has lost his penmanship, tricked his way into thinking that he is alone, using the name of stealing the world, and he is unconscious about what he is doing in his dot paintings, and asking him to imitate the ancients with a few so-called people, he must not do it, and he hopes that he will become a natural person!
The needlework is flawed, the temperament is straightforward, and the calligraphy lacks the freedom of personality, which cannot but provoke its tart. This passage comes from the profound background of the retro atmosphere of the art world shackled creativity. At the same time, Xu Wei also emphasized the "business" of the work, he quoted the meaning of calligraphy from the factor of calligraphy techniques, believing that "covering the flesh and slightly more than the bone, cutting like a folded begonia, not even the iron dry, adding makeup can be, but the business is a loss.". This theory is also in line with Dongpo's proposition that "a book must have God, qi, bone, flesh, and blood, and none of the five can be written into a book."
Fourth, style: "high book" out of the ordinary. For the world's admiration for the elegance and charm of calligraphy, Xu Weishen did not think so, he was unusual, and the shocking words of the times were shocking: "High books do not enter the vulgar eyes, and those who enter the vulgar eyes must not be high books." However, this statement can also be said with the knower, and it is difficult to speak with the layman. "It is true that art is art, and it cannot be enough to feel flat. Xu Wei bluntly criticized the dreary folklore of the book world:
It is the generations that rise, advocate the future generations, turn their backs on the advanced, and often say that Zhang Donghai is a vulgar pen. Tired of chickens, pheasants, pheasants! Cover the ears of the dead of the snail worms! Oh, ridiculous also!
But it hurts too! With Yu's so-called East Sea Weng good learning and heavenly attainment, the world said that it is like Huaisu, a special ear, do you really know the Weng! In previous years, Yu passed through Nan'an, and Nan'an also went out of the place, there are "Dongshan Liuzhi Grass" and "Tiehan Lou Stele", all of which are left with ink, and the book Golden Lotus Temple has more than ten walls, with several kinds of methods, all of which are exquisite, and the famous books of recent times have not tasted it. But now that I see it again and again, it is grass in the doorman Lu Zishou, and Yu feels the delusion of the devious, because the strangeness seen in the past is similar to this book, and it is so described. Remembering the world's events, how can it be a book! What a book!
Xu Wei's "Flower Diagram (Twelve Paragraphs)" is part of the collection of the Furrell Art Museum
There is really the arrogance of happiness and vengeance. Art that is full of individual creativity or real art is often not accepted by the aesthetic habits of the world, or is not accepted by the ideology of the time, and even leads to secular denigration and rejection. This is true of Xu Wei in the East, and it is also true of Van Gogh in the West. This is because the profound cultural heritage, humanistic connotation and free spirit contained in art itself are not only technical manufacturing experience and production methods that can be realized, but only in the Realm of "Heart Fasting" or "Sitting and Forgetting" in the Taoist realm, which can only be tasted and realized. This is also the main reason why it is difficult to fully reconcile the elegance of art with the worldly ornamentation.
Xu Weiju crab figure Ink and pencil on paper 83.5cm×38.5cm
Collection of Guangzhou Museum of Art
Fifth, pinshu: art and nature. In Xu Wei's book treatise, there is a considerable amount of discussion about the style and personality of ancient and modern calligraphers. Xu Wei commented on books, learned more about the methods of the ancients, used nature as a metaphor for art, felt through the heart, and could better appreciate it. For example, he said that Sui Zhiyong Zen Master's thousand-character text is "round and mature, undulating position,...... Embellished with pearls, hanging jade in rows"; Li Yongshu "is higher than man". Li Sishu 's books are rich in bones and are exquisite in all directions'; Cao Cao's books are like "Golden flowers are finely falling, everywhere is exquisite, Jingyu is brilliant, and Yaoyan is brilliant"; "Lady Wei's books are like flower arrangement dancers, and Hibiscus is low; it is also like Meiyu on stage, Xian'e Makes Shadows, Red Lotus Reflects Water, and Blue Along the Floating Xia"; Wang Xi's Book is like "The Strong Man Pulls the Mountain, and the Water Flows"; The Book of Lu Kam "Seems to be Impressive, And It Can Be Imagined"; Yu Shinan's Book "The Body is Beautiful, the Behavior is Extraordinary, It Can Be More Beautiful, and the Magic is More Wonderful"; the Ouyang Inquiry Book is "If the snake in the grass is frightened, the clouds are electric; and the Book of Lu Kong is like a king Kong's eyes, and The Lu Shi is swinging his fist." Chu Suiliang's book "The character is golden, the line is jade, the law is gentle, and the beauty is multi-faceted." From song and yuan to the time of the dynasty, he also commented from time to time: for example, the Huanggu "the book is like a sword, the density is its strength, and the xiaosan is its short"; the Su Changgong (Shi) book "is dedicated to the old Pu Sheng, not like the dashing of its people"; the Minang Gong book "a kind of dust, difficult for people to reach, but it is raw and mature, almost as good as Huang Zhi's even ears"; Cai (Xiang) Book "Nearly the second king, its short ear is slightly vulgar, strong and even, is its strength"; Zhao Mengfu's book "Although it is charming, it can be said that it is also beautiful." It seems to be an operator, and the popular book is indescribable"; the book of Ni Zhan is "ancient and charming, dense and scattered". And so on, and so on. His comments are not blindly praised, and he often points out the omissions of his predecessors, and sometimes he makes observations. For example, when talking about the calligraphy of Zhao Mengfu and Li Yong, he pointed out that "Zhao Sheng Li is better than Li, and Li Sheng Zhao is moved." "Charming" and "moving" are typical styles of calligraphy art, and Li and Zhao have their own strengths, and they are famous in the book world with their own characteristics. If we look at it from a more macroscopic perspective, Xu Wei's evaluation of ancient sage calligraphy actually has a natural nature in it.
Xu Wei Sanqing Tu Collection of Nanjing Museum
Sixth, calligraphy: the prototype of the system. "Calligraphy (Law)" is an art discipline that only really began to be established in the 1980s and 1990s, and it includes calligraphy techniques, calligraphy history, calligraphy criticism, calligraphy aesthetics, calligraphy education and many other aspects. In the "Preface to the Xuan Scribe Class", Xu Wei has the consciousness of sorting out and constructing a system similar to today's so-called "calligraphy":
Calligraphy has been dead for a long time, and the "Calligraphy Hook Xuan" and the "Excerpts from the New Book of Character Studies" have been passed down. However, the text is clumsy and scattered, the words are too bad, the reading is dazed, and it is also necessary to pretend to be a judean death. The rest is therefore divided into categories, to remove those who do not want, and to pay a little attention to their clumsiness, the right ones, and those who have no understanding of the suffering, then they are absent. About the beginning of the book to write; to carry out the fortune, so the second luck pen; the book of fortune, the book has the law, the law of the law is also, the law of the law is also, so the second calligraphy example, and the second calligraphy; the calligraphy example, calligraphy, the beginning of the work, the book is also with the end of the law, so the second book gong; the work is endless, the beginning of its purpose, so the second book is to the end; the book is not stopped, the beginning of its purpose, so the second book is to the end; the book is thought, to the extreme, so it is the second book thinking; the book is waiting, the thinking is also, so it is the second book waiting; and the book is slightly, attached; the book is so far, can it be obscured its originality? Therefore, the book is original again; the book can then be commented on, so it is reviewed again; and Sun's "Book Genealogy" is about the same, so it is finally a genealogy.
Although the above is extremely brief, it involves many aspects such as writing, calligraphy techniques, calligraphy history, calligraphy aesthetics, calligraphy criticism, etc., and seems to have a prototype compared with today's calligraphy system. Xu Wei's thinking on the art of calligraphy is a forward-looking vision.
Xu Wei Cursive Beauty Xie Que Ta Hua Flip
In summary, Xu Wei's calligraphy art not only reflects the personality characteristics of his freedom of thought, but also contains humanistic concern for the future of art, thus further enhancing the spiritual realm of art. Yuan Hongdao praised him: "Regardless of calligraphy, the god of books, the scattered saints of the Eight Laws of Sincerity, and the chivalrous guests of the Zilin Forest." "Scattering" and "chivalry" are maverick and unusual martial arts spirits. As a "scattered saint" and "chivalrous guest", Xu Wei reconstructed the traditional laws of calligraphy with an uninhibited rebellious spirit, broke through the conservative atmosphere of calligraphy, impacted the world's aesthetic threshold, and opened up a new and strange spiritual wind. Reflecting on today, what Yuan said is true. Dongpo Zengyun: "At the beginning of the book, I had no intention of Yu Naijiaer... Although my book is not very good, it is self-innovative, and it is not a fast one to practice the ancients. "Xu Wei's calligraphy is just so unintentional. It looks unkempt and uninhibited, but it has both law and meaning, making it turn freely and implying order. If we talk about brilliance and temperament, it is far beyond the intuitive aesthetic state of calligraphy itself, and the artistic level has penetrated deep into the essence of personality and spirit. The Japanese scholar Watanabe Hanou was very appreciative of Xu Wei, and once had a poem: "The beginning of the volume is angry at the end of the spring wind, and the green vines are ups and downs." Although the wave I was arduous, the strong poetry books were scattered. "Waves I, poetry and books scattered, human art is like this, how many people can know?"
Xu Wei Cursive Li Bai "Gift to Wang Lun"
As quoted earlier, Xu Wei considered himself "book one, poem two, text three, and painting four." However, this seemingly simple self-evaluation, although many people at the time agreed, the so-called "wise people promised", but later some people disagreed with this statement. For example, Zhu Yizun, a scholar of classics in the early Qing Dynasty and a scholar of calligraphy and painting, believed that his paintings should be the first, "his books and texts are not inevitably complicated, but they are not as good as paintings, small paintings and large smears, and they are all high and ancient." The early Qing Dynasty poet Zhou Lianggong thought even more: "Qingteng said to himself, 'The book is the first, the painting is the first; the text is the first, the poem is the second', which deceives people's ears." I thought that "Four Voices ape" had no second place with grass and flowers. To see the green vine flower roll, all he built in the building. But this scroll is not from the human world. Then he said exaggeratedly: "Tang Linchuan saw the "Four Voices ape" and wanted to pluck this old tongue (press: Tang Xianzu's ancestral home was Linchuan, Jiangxi. Tang Shi was very impressed with Xu Wei, saying: "The Four Voices of the Ape" is a flying general in the field of words, and he sings and performs several times for it. Anderson to the long, self-extricating tongue! 'Zhou's citation of this). Oak Xia Sheng (Zhou LiangGong) saw this volume and wanted to break this old wrist. My generation has a tongue wrist, talking all day long, ten fingers like a hanging hammer, would you rather die? "The meaning of admiration is overflowing with words. Xu Wei commented to himself, the painting hall at the end, as if he wanted to promote the meaning of suppression first. Zhu and Tuesday both had high opinions about his paintings, and that was the case.
Xu Wei banana bamboo leaf diagram
In the history of Chinese painting, Xu Wei pioneered the practice of literati painting with freehand techniques. Its "painting flowers and grass bamboo stones, super elegant and elegant." "His painter Fa Chen Chun (字道復, Baiyang Shanren)," Chen Daofu HuaHao I. Xu Wei is precisely to absorb the "Hao" qi in Chen Chun's painting style and carry forward it into a freehand splashing ink style. Later, the two were called "Qingteng Baiyang", and many people in the world were influenced by it, such as Chen Hongshou (Lao Lian), Zhu Yun (Bada Shanren) of the Qing Dynasty, Shi Tao (bitter melon monk), Zheng Xie (Banqiao), Li Kun, Li Fangyi, Gao Fenghan, and even modern Wu Changshuo, Qi Baishi, Pan Tianshou, Huang Ji, etc., all of whom were deeply affected by him, and to this day, his artistic novelty is still ringing. Among them, Zheng Banqiao is one of the "Eight Monsters of Yangzhou" and is the master of the Yangzhou School of Painting. He used a very exaggerated Indian phrase— a lackey under Qingteng's door — to express his admiration for Xu Wei. Qi Baishi said:
Paintings of Qingteng, Xuezu (Zhu Yun), and Da Di Zi (Shi Tao) are painted vertically and horizontally, and Yu Xin is extremely impressed. Hate is not born for three hundred years, or grind ink and paper for the kings, the kings do not accept, yu outside the door, hungry and not go, but also happy. Yu wants to see the present, like the present, but I can't know.
and poem cloud:
Qingteng Snow is a distant mortal fetus, and the old man is talented in his old age. I want nine originally to be a lackey, and the three houses came under the wheel.
Xu Wei Bamboo Jutu Liaoning Provincial Museum
Zheng and Qi's admiration for Xu Wei's paintings can be described as five bodies thrown to the ground, and they cannot be repeated. However, his calligraphy is not so revered compared to painting.
As Ouyang Xiu's "Preface to Mei Shengyu (Yao Chen)'s Poetry Collection" says that "poetry is poor and then work", Xu Wei's life and artistic creation are exactly in line with this statement:
Yu Wenshi said that the poets are few and many are poor, and the husband is not bad! Most of the poets passed on by the Gestapo are from the words of the ancient poor. Those who have what they have but cannot be given to the world, how happy they are to put themselves outside the peaks of mountains and waters, and see the insects, fishes, grasses, trees, winds, clouds, birds, and beasts, often explore their strangeness; there is a depression of sorrow and anger, and they are happy to complain, and they are sighed by the widows of the Taoist courtiers, and the more difficult it is to write about human feelings, the poorer the cover, the more work it is. However, it is not poetic to be able to work for the poor, and the poor can work later.
Xu Wei Ink grape diagram
Xu Wei Donkey back chant poetry chart axis
At the time of his disappointment, hopeless career and post-prison collapse, it was also the peak stage of his creation. He paints landscapes, figures and is good at painting flowers. Xu Wei's paintings are typical of "Bamboo Stone Diagram", "Ink Grape Diagram", "Donkey Back Diagram", "Lotus Flower Diagram", "Crab Lotus Diagram" and so on. Its "pen and ink are dripping, worthy of a generation of masters, the ancestor of the Yangzhou School of painting.".
For painting theory, Xu Wei also has many wonderful theories, especially the "she-shape yue shadow" saying that it is worth paying attention to. Xu Wei wrote in the "Shuxia Gui Landscape" volume:
Guan Xia Gui's painting is clean and open, which makes people feel like a happy shadow. But at the two junctions, the ink and the scenery are not handed over, there will be losses, sorry! The cloud protects the dragon, the branch stock will be broken, and it is only a matter of care.
Although the shadow is virtual, it can convey the spirit and express the subtle and difficult to simulate truth in life.
Xu Wei Sixteen Flowers Aunt Picture Philadelphia Museum of Art
Here, Xu Wei put forward the idea of "giving up the shape of yue ying". In fact, the depth of "shedding the shape of the shadow" is "freehand". "Realistic" and "freehand" complement each other, just as "shape" and "joyful shadow". Zheng Banqiao commented on Xu Wei's painting of snow bamboo, saying:
Mr. Xu Wenchang paints snow bamboo, purely with thin pens, broken pens, dry pens, broken pens, and is by no means like bamboo; however, it is dyed with light ink, and on the leaves between the branches, there is no snow accumulation, and the whole of bamboo is hidden between the leaps. Nowadays, the thick branches and large leaves, there is no breaking point, and then rendered, then the snow and bamboo are not integrated, what is the painting method? This is also a little ingenuity, still unwilling to work hard, and hope that it is poor and small! Ask the reason, then know: My generation of freehand, the original is not bound to this. As everyone knows, I don't know how many things have been wrong with the word "freehand", I have deceived others to hide myself, and I have not sought progress anymore, and I am sitting on this disease. It must be able to write freehand after the extreme work, and it is not unworkable to be able to write freehand also.
Xu Wei Bamboo branch daffodil diagram Jilin Provincial Museum
In the traditional Chinese aesthetic view, "meaning" is a rather abstract concept, which always gives people a vague and blinding feeling, unspeakable and difficult to figure out. If we must make a far-fetched understanding, then we can explore it from many levels such as "consciousness", "consciousness", "consciousness", "imagery", "artistic conception", etc., but this kind of thinking is often contrary to "ancient meaning". Because the emergence of "intention", as well as the background of metaphysics and Zen, it seems that it must be fully understood by "enlightenment" or "divine congregation". Therefore, Xu Wei's view of "Sheshi Yueying" is not only in line with his talented calligraphy creativity, but also in line with the unique aesthetic psychology and artistic conception of the late Ming Dynasty and even the entire Chinese cultural traditional system. There is no deep foundation of traditional techniques and new artistic creativity, but as Zheng Banqiao said, "deceiving others and concealing themselves" is no different from extravagant talk or nonsense. Mr. Itabashi's words still have reference significance for today's artistic creation.
Xu Wei Crab fish diagram
If "form" is compared to "work" and "shadow" is compared to "intention", then "it must be able to write freehand after extreme work", which is a plain explanation of "giving up shape and pleasant shadow", and it is also a reminder for us to experience this point of view. "Not teaching the work office is a real work" can show the kung fu of art. This realm can also be seen in Xu Wei's painting theory:
Strange peaks, big water suspensions, strange stones and pines, ghostly people and feathers, the bottom is dripping with ink, the smoke is full of paper, as vast as lawless, dense as no earth. Hundreds of clusters of beautiful calyxes, a dry branch, ink is rainy, colorful is dewy, flying and perching, moving and static, pleasant and emotional, work and escape, Si is a wonderful product.
Shen Zhengjun's paintings are more freehand, and the grassy ones are doubly good, so the scrolls are one of them. However, with the young guest Wu Zhong, seeing his behavior Yuanming playing ruan against the guest, the two of them can be two feet tall, several ancient wood in the clouds, their height is doubled, and they are finely depicted and beautiful, and they are absolutely like Zhao Wenmin. Than also see Gu Su eight scenery roll, exquisite into the slightest, and people squint small stop a bean. But this is the reason why this grass is good. Otherwise, is it reasonable to tend to be good and not good to go?
Xu Wei Ink Peony Ink on paper 124.8cmx31.8cm
Collection of the National Palace in Taipei
The rational spirit embodied in Xu Wei's painting remarks strengthens the artistic depth of artistic creation. Because of this, he better understands the personality and future of art, and can lead the trend and turmoil of the times.
Xu Wei Peony ink bamboo
Some of Xu Wei's inscriptions and poems also have theories of "shape" and "shadow" from time to time. For example, "All things are expensive to take pictures, and it is more appropriate to write bamboo"; "The mountain people write bamboo slightly similar, only taking the bottom of the leaf Xiao Xiaoyi." For example, if you look at the bushes in the shadows, you must clearly become a word"; "It seems that the moon will pay a thousand shadows, because the wind wants to move a window mark." His inscription poems are indifferent, natural, and selfless, which is also the realm embodied in his artistic creation. For example, he painted grapes, grapes are not round, the branches and leaves are not neat, the color is not fresh, although the surface looks less shaped, but it is natural and god-like. Another example is the painting of peony, he is unusually used to show the richness of flowers and flowers, national color and heavenly fragrance, and only with the bland and free ink blending technique to paint it, exaggerating smoke clouds, and pursuing ink effects. Extraordinary, unexpected. He titled himself this painting cloud:
Peonies are rich and noble flowers, and the main glory is dazzling, so in the past, most people were known for their hooking and dyeing. Although there is business, it is not the true face of this flower. Gai Yu Ben People, Sex and Plum Bamboo Yi, to glory and richness like wind and cattle, Fu similar also.
Cheng's gesture for "giving up the shape of yue ying" is also a unique expression of his artistic personality.
Xu Wei May Lotus Flower Ink on Paper 103cm×51cm
Collection of Shanghai Museum
The calligraphy and paintings are of the same origin, and Xu Wei also has incisive views on this. He said: "Cursive writing is prevalent, but there have always been freehand paintings. This not only implies the same origin of calligraphy and painting, the line depiction of the ancient world, but also alludes to the similarity of the two brushwork and the similarity of interest. There are similarities between the freehand painting style and the cursive line speed, strength and ink method, so Xu Wei's words are exactly the understanding he has obtained from his deep understanding of calligraphy and painting. The inspiration of calligraphy and painting is also presented in his artistic creations, such as "Donkey Back Diagram", almost all of which replace the freehand painting method with cursive writing, "the taste is innocent, the pen and ink are vivid and smooth, and it is called one of the best." And the donkey is not accurate, the view is vivid, the charm is natural, it is indeed a song that has never been sung for eternity." Just as he pursues the realm of "not seeking to be like survival rhyme", it is a wonderful commentary on the "joyful shadow of the shape". Zhang Dai wrote in the article "Painting of The Sketches of The Qingteng of Baoxu":
Tang Taizong said: "People say that Wei Zheng is stubborn, and he feels more feminine when he looks at it." "Stubborn and charming, the world is different, And Emperor Taizong has been suspicious for a long time. The paintings of the Green Vines in Imami are bizarre and detached, and they jump out of the air in a graceful posture, which is slightly the same as their calligraphy. Emperor Taizong's words are not vain. Therefore, in the past, people called the poetry of Maha, and there are paintings in the poems; the paintings of Maha, there are poems in the paintings. Yu is also known as the Book of Qingteng, which has paintings in the book; the paintings of Qingteng have books in the paintings.
Zhang Dai's above views are not only an incisive comment on Xu Wei's artistic achievements in calligraphy and painting, but also a profound understanding of the spiritual understanding between different art forms.
Xu Wei Lotus Mandarin Duck
"Whoever asks what the flowers and birds are, he is happy to be white-headed." Mo put Dan Qing and other idle, silent poetry recited Qianqiu. "Ming and Qing dynasty literati painting is an important stage in the history of Chinese painting, and Xu Wei is a model of exerting the freehand spirit of literati painting to the extreme. Xu Wei's freehand technique has also become a classic symbol in the spirit of Chinese art.
Xu Wei is undoubtedly the most original artist of the late Ming Dynasty. His calligraphy and painting art, with its fierce visual impact and maverick pure artistic expression, transforms the aesthetic form of the plane into a three-dimensional aesthetic feeling, contains humanistic ideals and is full of personality style. In his works, it is difficult to find a secular taste of the city, and there is rarely a conservative tendency of retro ideas. In fact, it was he who opened a new artistic wind of expressionism in the late Ming and early Qing dynasties.
One of xuwei flower figure albums ink on paper
Collection of the National Museum of China
Xu Wei commented on his art, and posterity disagreed with him, perhaps a small joke he intentionally or unintentionally. Looking at it today, although his calligraphy style has opened up a wind of arrogance and arrogance, it is not as good as painting in terms of its influence in art history. Even if people talk about Qingteng today, it is mostly because of his stick figure splashing ink freehand painting style, and less involving the sloppy style of writing, which is not because his calligraphy lacks activity, on the contrary, it is precisely because it is too emotional and too personal, so it is difficult for everyone to do it. Calligraphy is an art that pays attention to time, it should be done in one go, and the line should be through; painting is an art that pays attention to space, it must be confident and vivid. Intuitively speaking, calligraphy is the abstract line art of the subject, while painting is mostly a flat display of the existence of the object. It is difficult for those who study Xu Wei's books in ancient and modern times to get out of their right, and the reason is that as the Qing Dynasty scholar Chen Yixi said, "Transport the wrists of the present people, expand the minds of the times, and reach the status of the ancients." I have tasted learning but cannot reach it, so the learning of the talent of the green vine is the only one." The word "unique" is a wonderful commentary on Xu Wei's calligraphy. The Qing dynasty Dai Xiba Xu wei's "Miscellaneous Flowers" album also praised his ink freehand painting style: "The gestures are fluttering, but they are good at controlling; the ink is dripping, but it does not leak." To the magnificence of its talents, the change of artistic conception, and can be cast in one breath, and the cage of all things, its wrist has a creator, opens up its heart, and bulldozes Haojie, which can be Tian Shuiyue. "Xu Wei's informality, creating with intuition and inspiration, is probably the main reason why it is difficult for people to see the mystery and understand its purpose."
Xu Wei Ink Grape Drawing Ink pen on paper 166.3cm×64.5cm
Collection of the Palace Museum
Du Fu's "Song of the Eight Immortals in Drinking" describes Zhang Xu as a grass: "Zhang Xu's three cups of grass are sacred, and before he takes off his hat and exposes the crown prince, he swings the paper like a cloud of smoke." Xu Wei once inscribed "The Rise of Smoke clouds", the words are steep and sloppy, spontaneous and free, as if he is a person, deeply interested in the smoke clouds of the ancients. Whether it is "smoke clouds" or "clouds of smoke", they can be like blinding breaths, imitating the vast trend. Wang Shishen, one of the "Eight Monsters of Yangzhou" in the Qing Dynasty, also had a poem that expressed the mentality of cursive creation: "Dizzy heart shakes the life of the foreigner, and the wild grass lives like a dragon." There was cloud smoke in the chest, and there were no eight magic workers. This is to describe Xu Wei's pen and ink, which is appropriate.
Xu Wei Xuezhu Figure Collection of the Palace Museum
At the end of the Qing Dynasty, Xie Kun, a native of Yangzhou, recorded an interesting story of Huang Shen in the "Collection of Spring Grass Halls": "When I first arrived in Yang County, I imitated Xiao Chen and Han Fan's generation of gongbi characters, and the calligraphy was so strong that the model mountain Fan Shui could not do it." So I closed the house for three years, changed it into a line, changed my work to write, and then there was a little bit of a supporter. For another three years, he changed the book into a big grass and changed the characters into a splash of ink and capital letters, so the Tao was great. Gai Yang is frivolous, likes the new and curious, and the doormakers are endless. Xie discussed the transformation of Huang Shen's artistic style from the perspective of social aesthetic atmosphere. What he calls "new" and "strange", that is, the artistic style has changed from calligraphy to calligraphy and brushwork and finally to the freehand style of wild grass and ink, wild and indulgent, what is exposed here is no longer an individual phenomenon, nor is it a problem of "vulgarity and frivolity", but has an extremely important relationship with the social trend formed by the large freehand technique in the middle and late Qing Dynasty. It is not difficult to see that the freehand technique has become imperative after the middle of the Qing Dynasty, and Xu Wei's influence is also increasing. As mentioned above, Zheng Banqiao once engraved a medallion of "Running Dogs Under the Qingteng Gate", covering his own picture, and saying: "Xu Wenchang and Gao Heyuan (Fenghan) did not paint orchid bamboo very well, and Xie Shishi learned from time to time, and Gai Shiqi did not intend to show signs." The writer is long, and the garden is talented and heroic, and Xie also has a stubborn and untamed temperament, so it coincides. ”
Xu Wei Lotus Flower Drawing Ink on Paper Collection of the National Palace Museum in Taipei
In modern times, when Wu Changshuo inscribed Xu Wei's calligraphy and painting album, he also said: "Qingteng paintings are sacred, and calligraphy is more than Lu Gong (Yan Zhenqing)." Qi Baishi admired Xu Wei even more, and was willing to "grind ink and paper for the kings." These calligraphers and painters have risen in the art world, inherited and further carried forward the tradition of Xu Wei, formed a huge art genre, and became a magnificent torrent, dominating the art world for hundreds of years. The rise, inheritance and further development of Xu Wei's tradition have formed a huge art genre and become a magnificent torrent that has dominated the art world for hundreds of years.
Editor-in-Charge/Xuan Xuan