To separate the yan characters is my "fabrication", and there has never been such an example of calligraphy. I want to explain the reason why I don't open the Yan character as a door, and I must first explain the status of Yan Zi in the field of calligraphy:
Yan Zhenqing's characters, some say that he is from the "Gao Zhi Epitaph", some say that he is from the "Taigong Wangbiao", some say that he is from the "Crane Ming", and some say that he is from the "Ode to the Pavilion"... These comments have their own meanings. In fact, he learned everything, and his majestic and profound spirit was all derived from the Han Stele, and the method of using the pen was to include Zhong Xuan in the lishu, in other words, to use the method of lishu to write the real book. He is the master of both the Thesis and epigraphy;there is no stark difference between the thesis and the epigraphy; that is, the name of the northern faction of the southern school, I have to say in general terms, who can distinguish it clearly (Ruan Yuan's argument, Kang Youwei has refuted it)? As far as the original meaning of the inscription is concerned, then the "Family Temple Stele", "Magu Xiantan Record", and so on are stele, "General Pei", "Contending for the Seat" and so on are posts; as far as people say, he is from Shaanxi and should be the Northern Sect (Ruan Yuan is attached to the Northern Sect with Zhenqing); as far as the font is concerned, his character is close to "Fistula Ming", which should be the Southern Sect. The theology of epigraphy listed in the three or four chapters of this chapter is also narrow, so the few who write yan characters feel that there is no category, so they have to open another door.
The people who write faces have never been extinct. In the song and yuan dynasties, there was no need to study epigraphy, and to write large characters, it was necessary to use yan fa. At that time, there was not a single scholar who did not turn out of the yan character. Su Shi and Huang Tingjian, each one, are all famous artists (Huang's pen, pure Yan Fa, Su is thanks to the "Oriental Painting Praise"), and the person under him? In these three hundred years, there are also several well-written characters, which are described later:
Liu Yong
He was recognized by later generations as a thesisian, and his big characters were better than small characters, as I said before. His big characters learned Yan Zhenqing and wrote very well. What a strict body the Yan character was, out of his hand, but it had become a face of gentle channeling. His structure is also very flattering, and there is another kind of interest, unlike the uniformity and tedium of small print. Later generations of liu zi learned only his plump pen and generous attitude, and did not notice the structural intricacies and the beauty of shifting, so there was no aftertaste.
The method of writing large characters and writing small characters is different, and the clump of words is used for large characters, and it may as well be used for small characters, and it is bad. Liu Yong's big characters, only rely on him to move, will be staggered, small characters do not have this thing, so it is inferior. People are worried that big characters are not easy to write, Xiao He inscription, or even Qin Si for three days, it is difficult to know. However, in these three hundred years, there is still a Chen Hongshou, who writes very well in big characters and ordinary in small characters. There are not many such examples.
Qian Feng
Qian Feng (錢沣), also spelled Dong Zhu (字東注), was a native of Kunming, Yunnan, and a deputy envoy of the Department of Communications and Political Affairs.
He wrote the most compelling Yan characters, and there were many faces of Yan Bei, and what he wrote most like was "Cannabis Girl" and "Yuan Ci Shan". Although his writings are not very similar to the forms of "Scrambling for Seats" and "Sacrifice nephew manuscripts", they are also very good, with bones, unlike the fleshy flesh of Liu Yong and Weng Tonggong.
He also had one more thing better than other people's homes: ordinary people who learned Yan characters only knew about gathering, did not know dispersion, only knew what was contained, did not know Tuo, but he could scatter and expand. Liu Xizai has a wonderful saying about cursive writing--there is a passage in the "Outline of Art" that says:
Ancient cursive, with few blanks and far away. There are many blank spaces and mysterious, and the popular book is the opposite.
I thought that using this sentence to evaluate the face word was no more appropriate. The Glyph of Yan is very wide and contoured, and there are only many "blanks", but its "god" is naturally very "dense", which is also the meaning of "secret meaning" said in Yan Zhenqing's "Twelve Meanings of Penmanship", and Qian Feng is the most able to understand this "mysterious purpose".
Yi Bingshou
As mentioned earlier, Yi Bingshou wrote Li zi in Yan Zhenqing's kaifa, but at the same time, he also used the method of Li to write Yan Zi. Writing Yan characters in the way of Li is really the teacher of Yan, "this secret is waiting for me to send", he can be proud.
Writing is expensive in being able to change, and the magic of Wei Bei's body is completely fickle. Let's try to open any kind of Wei stele and compare the same words in it. Almost none of them have the same posture, and the Tang stele is not good (the previous version of the Tang stele, only the "Jing Shi Yu" has this problem, but it is also forgivable because of the excessive size of the characters). When it comes to calligraphy after the Tang Dynasty, only Yan Zhenqing has changed the most and is the most magical; only Yi Bingshou, who has always written Yan characters, understands this meaning the most. This sentence, I'm afraid it won't be too bold.
No matter which word he is in, he has the existence of "I", and in his "I", there is a bone qi of Yan everywhere, which can really be described as "specific and subtle". In addition to the components of Yan, the rest of the more accounts for it, or "Wei Bi Yuwen", probably the real book contains more ingredients of "Bi Bi Gan Wen".
Zhang Tingji
Zhang Tingji, Zi Shuwei, Jiaxing, Zhejiang, Xie Yuan.
Zhang Tingji's words, it seems that he can not say that he is Yan Zhenqing's concubine, he is a Jinshi family, he has seen and studied the inscriptions, of course, many, his works, are also a combination of various bodies, not a family, but his strength, only in Yan Zhenqing. But when we look at his real book, he is sparse in the outer secret, old and spicy, and at a glance, we know that he has studied "Many Pagodas" and "Oriental Painting Praise".
There is a characteristic of his line—a characteristic that is easy to see. In a line, the glyphs are suddenly large and small, the strokes are thick and thin, and the "ratio" of size and thickness is enough to have a quality of one to two or even one to three, which is a situation that other people do not have. Bao Shichen said:
Ancient theatrical fonts, the size is quite different, such as the old man with juvenile magazines, lines, the length is uneven, and the affection is sincere, pain is related. Wu Xing (Zhao Mengpin) books are like the city people entering the pass lane, the fish running through Xu Xing, and the color of competing first, everyone is seen in the face, and An can make the upper and lower left and right blank words? ("Answer to Xi Zai's Nine Questions")
Zhang Tingji also knew this meaning, so he took the Fa from the "Monument to General Pei" and "Cai Mingyuan Ti"—the most divine person of Zhenqing Xingcao—to form this face, and ordinary people did not have such strength.
He Shaoji
He is most famous for writing face characters, but he is too familiar with it, but it is hindered. This meaning, as I said before, and now I say that he has the strengths of the north and south tablets: he has studied all the northern and southern tablets, especially the kung fu of lishu, which is deeper than others, so his works contain a lot. His characters have a kind of dancing posture, which is somewhat different from the ordinary writing of Yan characters, and it is about the method of using Zhang Zhao and Liu Yong at the same time- especially the method of using Liu. He is very particular about writing, using the pen to hang the pen, and the pen has an empty and free look, which is the same as his characters.
Weng Tonggong
Weng Tonggong,Zi Shuping,Also Songchan,also known as 缾庐,Jiangsu Changshu Ren,官至協辦學士,Hubu Shangshu.jpg Yuwen Gong.
Weng Tonggong is a Xiangguo, and his characters also have a temple atmosphere. His sense of intent and smell are very similar to Liu Yong. Liu Yong, such as Qian Feng and He Shaoji, had their own experiences with Yanzi; he was born the latest, so he was able to absorb the strengths of the people - especially the method of using qianfeng more - and sometimes participated in the posture of some northern monuments, and opened up the Yan characters and the northern stele. This is the characteristic of Weng Tonggong. As for his small characters, Shen Yun is slightly similar to Su Shi, and although the pen is thicker, it is not tacky. Weng Xiangguo's ruler, elegant in writing, with the style of the Jin and Song dynasties, and added a fine calligraphy, so it is more valuable.