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Divine | Inheriting the past: he was the teacher of the master of calligraphy and painting Wu Changshuo, and was called "Yang Li" for writing lishu in cursive methods.
Qing Dynasty Yang Da Li's book "Jiao's Yilin Axis", collected by the National Palace Museum in Taipei.
"Jiao's Yilin" was composed by Jiao Yanshou of the Western Han Dynasty, and the genre is about four words and one sentence, and the content explains the essence of Yixue.
This axis is based on excerpts from Han Li, which is suitable for its own use. The calligraphy style is derived from the ceremonial stele, but the use of pen presses and the wet change of ink, as well as the opening and stretching of the knot, can create a new state of mind, and the momentum is intimidating and unique.
Yang Da (1819-1896), courtesy name Shan, was a native of Gui'an (present-day Huzhou, Zhejiang). Xianfeng was raised for five years, and was the governor of Changzhou. Gong poetry, good calligraphy, eight points of the book can be described as a continuation of the past.
Yang Da Li Shu is called "Yang Li". "Yang Li" uses both square circles and squares, square pen edges, round pens are light and thin, horizontal strokes are thick, vertical strokes are thin, and the line pen is sharply lifted, leaving a thin and long scratch tail, and the square edges are drawn, with long feet. In the indulgent gesture of skimming, pinching, and horizontal strokes, the turn is hard, like a sharp sword folding, and the skimming is heavy.
Yang Da Nang is subordinate, and the long horizontal in his horizontal strokes, with a strong rhythm and vivid rhyme, his points are also very varied and not the same, and they are very harmonious with other strokes. In the pen, more use of the method of disease, astringency, vibration, pay attention to the pen movement straight, pick up, sudden setback of the subtle changes, the line contains ups and downs, full of solemnity and clumsiness.
The structure of "Yang Li" is tight and stretched, the glyph is flat and square, the frame is neat, dense and symmetrical, and its shape is wide and tight. The strokes are sparse, the arrangement is staggered, and the upper and lower echoes, and its structural shape not only emphasizes the style of the shape, but also strives for the enrichment of the connotation.
In his lifetime, Yang Da 's life " studied fine books, peeped at everything in the Han stele", wrote the stele with the brushwork of the post, and did not purely win with the masculinity of the Han stele. There is a tendency to turn rigidity into softness, softness to see rigidity, bending and flexibility, and not losing strength.
Yang Da Lishu is mainly committed to "Opening the Slope of praise", "Ode to the Stone Gate", "Ceremonial Instrument Stele", in terms of glyph structure, he reversed the habit of his predecessors to learn Han steles to take their square and strict habits, and tried to adopt the upper part of the tight and lower part of the glyph, especially the strokes such as skimming, pinching and long vertical, stretching left and right, waving and flying, and the grace and dignity of the Han stele formed a sharp and steep, lively and fluttering, and radiant image through rapid pen movement and skillful pressing action, so it was called the use of cursive writing.
Yang Da's writing style is thin and vigorous, and he is close to the middle, his pen is bright and cheerful, and he uses ink to seek more changes. It was often used to create light ink and su ink, which was rare among epigraphic calligraphers at that time. During the Xianfeng and Tongzhi periods, his letters were the most prominent and had a great influence.
Yang Da's writing style is distinct, and the dot paintings are calm. The posture is overwhelming, the glyph is either slender, or square, or tightly knotted, or discrete, varied and trying to avoid blandness, and its arrogance and uninhibited and handsome flying, together with the book.
Yang Da's works have been widely circulated, especially the style of Lishu has a great influence on the late Qing Dynasty book world, even as far as Japan.
Published by Yuyamakaku in Japan and edited by Kitagawa Hirobushi, the Qing Ren Shujia LiziHui is a huge work that brings together the inkblots of 220 famous calligraphers. Among them, 786 "Yang Li" characters are collected, which shows the weight of their weight.
The plaque inscribed "Qianyong Pavilion" by Yang Da is now hidden in the Qianyong Pavilion on Yuehe Street, Huzhou. The three words of "Qianying Pavilion" are vigorous and clumsy, stretching and relaxing. The short trek book reads: "The owner of the submerged garden has a body of Han Jin bricks, and has more than a thousand snares, which can be described as a hero." My hometown has not had this ancient interest since Mr. Chen Baozhi. To Tongcheng Wu Jinming Mansion is too much but not refined, not enough to do this. Xin has been meng, and Yongzhai Yang Dan revealed this salary. "The pen is thin and strong, very energetic. This is a masterpiece that he left in Huzhou to win with greatness.
"Qianyong Pavilion" is a building in the residence of the famous scholar Lu Xinyuan in the Qing Dynasty, named after the han and Jin dynasty bricks that contain nearly a thousand bricks. Yang Da Nang wrote a preface to Lu's "Continuation of the Bricks of the Qianyong Pavilion", pointing out its academic research value in history, calligraphy, and printing. He also discussed the Han and Jin Dynasty brick inscription calligraphy: "The dot painting is strange, and the partial increase and loss are enough to see the beginning of the seal division."
"Yi Lin Yu Four Screens" Guangxu Decade (1884) Yang Dan was 65 years old when he was composed. The charm of this work is similar to that of the "Ceremonial Instrument Stele", and it is very characteristic.
The book "Four Screens of Taimuro Ming" in Guangxu is the eighteenth year (1892), the knot body is rectangular, with a square pen and its own, with the garden as the mainstay, the spirit of the spirit to see the Japanese "Complete Collection of Calligraphy".
"Nanshan has a high ridge and a northern feather" five-word joint book in Japan's "Complete Collection of Calligraphy", Guangxu Twenty Years (1894) book, is the year and also wrote "Crazy Second Gong Ying Wei Wei Wei Wei The upper paragraph zhongya old sage nephew residence, the lower paragraph seventy-six yang dan. These two couplets have a simple and ancient atmosphere, and the pen is full of meaning.
"Shenghua Full of Ice and Snow Narration as Lingjiang Letter" Five Words Lianli Shu (Japan's "Ming and Qing Shudao Tushu"), this joint transport pen such as Qin Seal, its style is heroic and fresh, vertical and horizontal, not far from the ancient law and business, is an innovative and wonderful product.
"Shuishi Huachuan Poetry Axis" (Japan's "Ming and Qing Dynasty Calligraphy Diagram") is a book with vigorous strokes, a light breath, a rich and unworldly, and the whole passage is based on sentimentality, and the victory is won by arrogance.
There are also works such as "Four Screens of the Huashan Temple Stele in Linxi Prison" (shanghai museum collection), "Jie Linhan Heng Square Stele" (Japan's "Complete Collection of Calligraphy") and so on.
In addition to Yang Da's calligraphy, he also attacked ancient poetry and words, and wrote "Yongzhai Anthology" and "Chi Hongxuan Poetry Notes". His article "Preface to the Writings of the Anji Shi Clan" was included in the "Continuation of the Ancient Literature GuanZhi" compiled by Wuxing Wang Yiru, which was quite well recited.
It is reported that Wu Changshuo once met Yang Da with Yu Yu (Qu Yuan) in Gusu, and learned from him, and fell in love with both teachers and friends. It can be said that the same voice corresponds to the same voice and knows each other with one heart, which is rare in the history of art. Wu Changshuo once asked Yang Da to inscription the old collection of "Yi Instrument Model Recognition Book", and the two expressed their own opinions, which was quite interesting.
Qing Dynasty Yang Da Lishu "Jiao's Yilin Axis" super Qing appreciation
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