Every year is clear, and now it is clear again.
Remembering the ancestors and pursuing the distant future cautiously is not only a kind of spiritual sustenance, but also a traditional ritual. In ancient calligraphy and painting, the epitaph witnesses the world of the deceased, and the codex covers the world of the living, the former has the famous "Zhang Jiuling Epitaph", "Wang Zhizhuo's Epitaph", etc., the latter has Wang Xizhi's "Funeral Disorder Post", "First Tomb Post", Yan Zhenqing's "Sacrifice Manuscript" and so on. Speaking of painting, in addition to zhang Zeduan's "Qingming River Map" in the Song Dynasty, there are also many famous works, while Wu Changshuo mourns Yuan Peizhang's wife has a "bright moon predecessor" seal, which is old and affectionate, which makes people sigh.
The Surging News Ancient Art series "Twenty-Four Solar Terms in Calligraphy and Painting" presents the Qingming in the poetry, calligraphy and painting.
Although Qingming is one of the twenty-four solar terms, its influence is very different. Most of the traditional Chinese festivals are of a sacrificial nature. The ancestors and the predecessors are separated from each other, and the thick and faint feelings of longing will rise from time to time. The world values filial piety, because man cannot forget his roots. Remembering the ancestors and pursuing the distant future cautiously is not only a kind of spiritual sustenance, but also a traditional ritual.
Shang Sacrifice Tu Zhu Niu Bone Inscribed Oracle Bone
Sacrifice is a ritual performed by people to worship ancestors, gods and other objects of worship, and has been a custom in the folk for thousands of years. The sacrifices of the Shang and Zhou dynasties, painted with zhu niu bones, bear witness to the long history of this custom. This oracle bone has a total of more than 160 words, the strokes are thin and hard, the glyphs are strict at the end, the size is staggered, each in its own state, rich in variations. There are four positive contents: the first record of the Shang King Wu Ding Bin sacrificing Zhongding; the second record of the fall of the zi □ during the hunt; the third record of the death of the zi □; and the fourth is that zi yin uses the Qiang people to hold a suitable sacrifice. This moment is well preserved and of great value to the study of the social history and astronomical meteorology of the Shang Dynasty. The strokes are thin and stiff, the size of the characters is staggered, each in its own state, and the work is stable and strict, which is a representative work in the oracle bone calligraphy.
"Mourning" is the most important theme of Qingming.
Western Jin Dynasty Pan Yue's "Mourning death" two songs
Pan Yue of the Western Jin Dynasty has two poems, "Mourning the Dead Wife", which reads: "Winter and spring are thankful, and cold and summer are suddenly easy." The son returns to the poor spring, and the heavy soil is forever separated. Who's private? What good is drowning? He was in a command of his orders and returned to his heart to oppose the initial service. Looking at Lu Lu and thinking about his people, he entered the room and thought about what he had experienced. There is no image on the screen, and there are traces of Han Mo. The gist is, "Time passes, winter goes to spring, you go to biluohuangquan, and the layers of soil isolate us forever." "The handwriting is quaint and elegant, and it is very rare to write a scripture. Speaking of Pan Yue, many people may not be familiar with this name, but when it comes to "Pan An" - basically familiar, "Mao Ruo Pan An" is talking about him, the famous "beautiful man", historical records record "Yue Mei Ziyi, when she goes out when she is young, often returns with a full car for women".
Eastern Jin Dynasty Wang Xizhi's "First Tomb Thesis"
The Western Jin Dynasty maintained a brief period of unification. In the Eastern Jin Dynasty, the southern part of the Anjiang River confronted the "Five Hu and Sixteen Kingdoms" in the north, and there were frequent wars. "Book Saint" Wang Xizhi's "Funeral Post" impressive sentence: "The extreme of mourning, first the tomb and then away from the poison, chasing after the cool, the trumpet is destroyed, the pain runs through the heart and liver, and the pain is helpless!" When Wang Xizhi learned that the tombs of his ancestors had been destroyed one after another, he could not go to the renovation and felt sad in vain. Wang Xizhi also had an engraved copy of the "First Tomb Post" that was passed down: "The tomb of the old Jingxian was destroyed, and the number of mourning was mourned, and if the five internals were cut, what should the pain be? "The Jin people's codex, often three words and two words, the aftertaste is timeless. Because the paper was precious, the ancients did not lay it out and went straight to the theme. At that time, it was just the most common note, but now it seems that it is a classic that needs to be looked up to.
During the Southern and Northern Dynasties, Buddhism rose and statues became a trend, witnessing the integration of Buddhism and Chinese culture. On the one hand, Buddhism and Confucianism are mixed and merged to form "Confucianism", and on the other hand, they intersect with Lao Zhuang Thought to form "Buddha's Tao", and there is a process of mutual integration and enlightenment, which has played an important role in the history of thought and culture. From the perspective of form, the stone carvings of the Northern Dynasty are directly carved into the cliffs and stone walls of the cliffs, the inscriptions of the inscriptions are said to be tombstones, the inscriptions of the carved stones are called the stele, and the inscriptions with inscriptions on the statues are called statues. Cliffs, epitaphs, and stele did not exist only during the Northern Wei Dynasty, but the number and achievements of statues at the time of the Northern Wei Dynasty were at the peak. The statue contains two elements: one is calligraphy, the artistic charm of the text; the other is the content of the vow, the direct spiritual sustenance of the individual.
Northern Wei "Wei Lingzang Statue"
"Wei Lingzang Statue" is a masterpiece in the Dragon Gate Statue. The left side of the forehead is titled "Xue Fashao" and the right is "Wei Lingzang". This statue mostly uses other characters, and the calligraphy style is similar to the "Yang Big Eye Statue" in the same cave, so it is suspected that it came from the hand of the same person. At this moment, it is a typical representative of the square pen lufeng, and the most obvious use of the pen is wonderful. The beginning of the pen will be exposed to the outside of the painting, some of the angles are like knives, and some of the thin edges are introduced, which is interesting. The strokes are heavy or light, the heavy ones are spears and cross-cutting, such as the tiger running and the dragon groaning, the light ones are like the wind blowing on the face, and the dragonflies are a little water, all of which can go with the flow.
Northern Wei Dynasty Statue of Han Xianzu
"Han Xianzu Statue" glyph dot painting is sharp and exposed, steep and natural, and the style is childish and naïve. The Buddha statue is surrounded by words, and the whole statue is quite exquisite. In 534, Northern Wei split into Eastern Wei and Western Wei. The division of the country will inevitably lead to oscillations and changes in all aspects of social life. However, from then on, the statue could not see sloppiness and chaos, and there was a peaceful and peaceful atmosphere. This should be thanks to the appeasement of religion.
Northern Qi 《捴智静作 Statue》
The Statue of Zhi Jing was erected in the eighth year of Northern Qi Tianbao (557). With the pen to see the square, flexible and changeable, the strokes are vigorous and jumpy, and the posture of moving is extremely free, and zhu wen is carved for the rare Yang.
Both China and the West have the custom of epitaphs. However Chinese it is more important to see, and there is a saying of "covering the coffin". Everyone will face the final determination of the destination of a lifetime, and the process and value of life will be published on the stone carvings. The "epitaph" became a fixed style, which should have begun in the Southern Dynasty, and was given a meaning of life and even a philosophical meaning. If the epitaph and the codex are compared, the epitaph witnesses the world of the deceased, no matter how prestigious and prominent he was before his death, he will eventually return to dust; the codex covers the world of the living, the world's human feelings, booing and asking for warmth, all in the words and lines. The difference is that the Codex has continued into modern times, and each different dynasty has had an innumerable collection of masterpieces. The peak of epitaph calligraphy was in the Wei and Jin dynasties. The number of epitaphs in the Tang Dynasty is the largest in the past, there are currently more than 10,000 pieces, and although the achievements of calligraphy are not as good as those of Wei and Jin, they witness another side of the "Shangfa" era. It is worth mentioning that even if the Wei and Jin tombstones are even yuan royal epitaphs, the authors are mostly anonymous, and in the Tang Dynasty, there are many celebrity epitaphs and epitaphs written by celebrities, which are worth reading.
Tang "Zhang Jiuling's Epitaph"
The famous sentence of the great poet Zhang Jiuling is "Confidant in the sea, if the end of the world is nearby." "The Epitaph of Zhang Jiuling was excavated in Shaoguan, Guangdong in July 1960. The strokes are thick and plump, especially the corners, which are very close to the Chu Suiliang Calligraphy, but the gestures are relatively mixed, revealing the meaning of the scripture body, the size of the glyphs is informal, the cursive meaning of the travel is obvious, the elegance is rich, there is no trace of the knife, and there is a soft atmosphere, which is a rare calligraphy masterpiece.
Tang 《Wang Zhizhuo Epitaph》
Wang Zhizhuo is a model of less than many, only six poems are found in the Quan Tang Poems, each capital is a popular population, the most representative sentence is: "Want to be poor, go to a higher level." "The Epitaph of Wang Zhizhuo was written by Jin Neng, and the name of the person who did not have a book was signed. It was excavated in 1930 in Luoyang, Henan. With a strong pen, fluent in dot painting, relaxed and bright, the knot body is loose and handsome, and the whole spirit is full of energy, similar to yu Shinan's "Confucius Temple Tang Monument" weather.
Tang Yuanshu wrote "Duan's Epitaph"
The DuanShi Epitaph was written by the great poet Yuan Shu (元稹) in the fourth year of Tang Yuanhe (809) as the mother of his wife Wei Cong, who was then the overseer of the imperial history. With the pen is sharp, not to keep the usual, the size of the knot body is ups and downs, the change jumps, the natural sparseness, because of the change of the pen and the formation of a strong sense of dynamic, you can see the different sides of Tang Kai, non-Ou Yan Liu can cover.
Tang Wei Yingwu Shu wife "Yuan Ping's Epitaph"
Another great poet, Wei Yingwu, once wrote and wrote an epitaph to his wife Yuan Ping, with a wide and loose glyph, dignified and elegant, with a variety of pen changes, soft and rigid, the style is straight and clear, and the thickness is elegant, allowing it to be called a clever hand. In the Tang Dynasty, there were many descendants of the Yuan clan of northern Wei, which is worth paying attention to, and Yan Zhenqing wrote the "Yuan Ci Mountain Stele".
Tang Yan Zhenqing's Manuscript of The Sacrifice of Uncles
Speaking of this, it is inevitable to think of Yan Zhenqing's famous "Sacrifice Nephew Manuscript", and another "Sacrifice Manuscript" is also worth reading. A month after writing the "Sacrifice Nephew Draft", Yan Zhenqing was demoted to Rao Prefecture, and when he was cleaning the grave for his uncle Yan Yuansun while passing through Luoyang, he wrote the "Sacrifice Manuscript", plus the "Battle for the Seat Post", collectively known as the "Three Drafts of Yan Shu", which is a representative work of Yan Zhenqing's cursive writing, which has influenced generations of calligraphers. Compared with the Sacrifice Manuscript, the Pen Technique and Style of the Sacrifice Manuscript are similar, and the frustration is slightly inferior. The biggest difference is the rule of law. After more than a month of calming, the grief of losing relatives has eased somewhat, the pace of writing is slower than that of the "Sacrifice nephew manuscript", the words and words are relatively independent, the relationship between the joint is relatively small, and the whole manuscript is implicit and stable.
Qing "Nalan Rongruo Epitaph" (partial)
The supremacy of Tang poetry is unquestionable, but each era has its own characteristics. I remember that Old Mr. Qi Gong said: "The poems before the Tang Dynasty grew out, the poems of the Tang people were shouted out, the poems of the Song people were thought out, and the poems after the Song Dynasty were imitated." "For example, the Song Dynasty had unique philosophical poems, the Yuan Dynasty emerged like Yuan Haowen and Sadula, and the representative poets of the Ming Dynasty were Gao Qi and Tang Bohu. The overall achievements of Qing poetry are comparable to those of Tang poetry. The most famous sentence of Naranjande, a generation of lyricists who have lived for thirty years, "If life is only like the first sight, what is the autumn wind and sorrow." "Although the epitaph calligraphy after the Tang Dynasty is not enough, don't forget that the epitaph also has historical value. The "Epitaph of Naran Sex De" was established in the twenty-fourth year of the Qing Kangxi Dynasty (1685) and was written by Xu Qian, a cabinet scholar, Chen Tingjing, and Gao Shiqi Shudan. It was excavated in 1972 in Shangzhuang Village, Haidian District, Beijing. Zhiwen is a calligraphy, greatly influenced by Su Shi's style of writing, naturally broad, not exciting, and there are many small actions at the beginning and end of the pen, showing the aesthetic mood.
In the hands of the Indians, there are many seals about the genre of mourning, such as Zhao Zhiqian, Huang Shiling, Wu Changshuo and Deng Erya.
Qing Zhao Zhi Qian carved I wanted not to be sad and sad
Qing Zhao Zhiqian carved the vicissitudes of the past
When Zhao Zhiqian completed the seal of "I want not to be sad and sad", he was already middle-aged. That year, his wife and daughter died within a month. Knowing this detail, you will understand that this little idle seal contains a strong and viscous despair that cannot be diluted. Zhao Zhiqian's calligraphy focused on Wei stele, dedicated to the integration of stele and post, and Kong Wu's powerful inscription became gentle and delicate under his pen, so it was criticized by Kang Youwei as a mesmerizing style. Speaking of essence, Zhao Zhiqian has his own aesthetic standards, and he wants to create something on the basis of his predecessors and distance himself from his contemporaries. After all, Zhao Zhiqian was the handwriting of everyone, and he pioneered the use of Wei inscriptions to carve the Yang section, and the side paragraph of the "Cangjing YangNian" side note: "On the tenth day of the first month of the third year of Tongzhi, the Buddhist disciple Zhao Zhiqian made a statue for his deceased wife Fan Jingyu and his deceased daughter Hui Hazel. May the suffering be removed and those who pass on to the Pure Land be reborn. At the same time, the Chinese painting was also moved to the side section of the seal, which was unique.
Qing Huang Shiling carved to be a guest
Huang Shiling's "go to the guest" seal is a rare single knife, thin and powerful, and the ancient rhyme is seen in the elegance, "Gengzi Qingming went to the tomb and returned to the tomb, tired and sleepy." Suitable relatives string from the outer village, JianSuo played the knife, Gai wanted to watch the tomb play the knife also, and reluctantly did this to feed his desires. "Huang Shiling has been wandering all his life, and from time to time he will reveal endless nostalgia, and he will often see such prints.
Modern Wu Changshuo carved the predecessor of Mingyue
Wu Changshuo's "Bright Moon Predecessor" side section engraving: "Mrs. Yuan Peizhang showed a shape in her dream, and carved this as a statue view." "Wu Changshuo's pure small seal into the seal is not common, the characters are flowing and feminine, the use of the boundary grid has the role of icing on the cake, the text breaks through the inner column, not limited, and the artist is bold." The top paragraph is: "Heyou Chun Zhongke Wu, the old man has six in the sixty years." "People are old and affectionate, and seeing each other in dreams at this moment makes people sigh."
Modern Dunya Kerya mourns the death of Kerya
Deng Erya's engraving of "Erya's Mourning Works" side note: "Erya is a district of Chen Zhaoxiang, the deceased wife, and wishes to make the Buddha's kingdom born directly and bless the yuan." "Lord Deng Erya took Huang Shiling and was able to make new ideas, quaint and clear, and had everyone's demeanor.
Contemporary Xu Beihong for the "Portrait of Master Hongyi"
In the past, when photographic technology was not developed, Chinese mainly used portraits to commemorate the ancestors. Ancestral portraits are always referred to as "portraits". Xu Beihong's inscription for the "Portrait of Master Hongyi" shows respect between the lines: "In his early years, he knew Master Chen Jun, and he heard that Master Hongyi was a man, and his heart admired him." The reason why Gu I admire is that I am following the painting of the Book of The Book of Sorrows today", "Master Guangqia commemorated the birthday of Master Hongyi, and ordered it to be an elephant, and gladly obeyed the order, and I did my best to be blunt to the master." Unconsciously, with the only cause of answering the teacher, I am glad that I am ashamed of myself. "Xu Beihong's calligraphy has realized the integration of stele and post, which has both the bones and bones of the inscription, and the meaning of the stele, rigidity and softness. With the pen longitudinal and vigorous, the force penetrates the back of the paper, there is a thick texture, the glyph center of gravity is pressed down, and the dignified pen and ink increase the sense of clumsiness, especially the intentional force of the right side of the painting, which adds to the fun.
Northern Song Dynasty Zhang Zeduan", "Qingming River Map" (partial)
When it comes to painting during the Qingming Dynasty, it is necessary to mention that Zhang Zeduan's "Qingming Upper River Map" is a long volume, which uses a scattered perspective composition method to vividly record the urban appearance of Tokyo, the capital of the Northern Song Dynasty, and the living conditions of all social classes at that time, which is a true portrayal of the economic situation of the Northern Song Dynasty. In the five-meter-long scroll, a large number of various characters are painted, such as cattle, mules, donkeys and other livestock, cars, palanquins, large and small ships, houses, bridges, city towers, etc., which are unique in the history of Chinese and even world painting.
Ming Qiuying's "Map of the Upper River of the Qingming Dynasty" (partial)
Qiu Ying of the Ming Dynasty also painted the "Map of the Upper River of the Qingming Dynasty", and there are many versions in circulation. Qiu Ying's painting refers to Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty", which uses green and green color to depict the social life scenes of Suzhou in the Ming Dynasty, with more than 2,000 characters in the painting, with different looks and vividness. The whole picture is delicate and delicate with the pen, fine but not complicated, work but not board, bright colors, elegant and beautiful, beautiful but not charming, which is not only a masterpiece in the history of ancient Chinese painting, but also a powerful illustration for studying the social life and cultural history of the middle and late Ming Dynasty.
Five Generations of Huang Juyu", "Pear Blossom Spring Swallow Diagram"
During the Qingming Dynasty, although the flower letter is "one waiting for the tung flower, the second waiting for the wheat flower, and the third waiting for the willow flower", the plum plum peach apricot and other flowers continue to do things, and all kinds of spring flowers have bloomed one stubble after another. At this time, the most prosperous is the pear blossom. If you go to the pear orchard, it must be as white as snow. Although the first bloom of pear blossoms, judging from the twenty-four flower trade winds, is at the time of the spring equinox, the pear blossoms bloom around the time of the cold food Qingming, so the pear blossoms are also called "the flowers of cold food" and "the flowers of qingming". The pear blossoms are white and clear, just in response to the cultural connotations of cold food and Qingming, and can't help but think of Yan Shu's "Broken Array": "When the swallows come to the new society, the pear blossoms lag behind the Qingming." Three or four points of green moss on the pool, one or two sounds of yellow oriole at the bottom of the leaf, and the day is long and flying lightly. "When the willow branches are like smoke and the pond grass has not yet become infancy, a night of spring wind blows the pear blossoms to the full bloom, and the swallows murmur, as if narrating what they have seen and heard on the journey. . . At this time, I can't help but think of Huang Juyu's "Pear Blossom Spring Swallow Diagram", which can make people travel to more than a thousand years ago, up and down the great river, to appreciate the beautiful spring of Li Tang Zhao Song. "Pear Blossom Spring Swallow Diagram" is firm with a solid pen, calm color, skilled technique, and full of ancient meaning. The frame starts from the middle below, draws a pear blossom stretching to the middle of the left, and spreads the flowers and leaves in the lower left corner. From the middle of this branch, it grows again in the upper right corner, and the top is heavily clothed with flowers and leaves, so that it is vacated in the middle, even if the swallows fall on it. The whole picture composition is peculiar, concise but not simple, and it is a unique ingenuity. Under the pear blossom leaves on the left, the hidden "Ju Yu" two small letters with the meaning of calligraphy are ancient and simple, and they are also the regular grid of the painting academy.
Yuan Qian selected parts of the "Pear Blossom Picture Scroll"
Yuan Qian selected the "Pear Blossom Picture Scroll" to fall
Before the "Yuan Sijia", Qian Xuan was already on a par with Gao Kegong and Zhao Mengfu, and his reputation was extremely high. Although Qian Xuan and Zhao Mengfu are fellow townspeople, the path they chose is different - the only one who chooses "inspirational shame to be a golden slave, the old painter's head is white", refuses to leave the Yuan Dynasty, and is willing to "no matter what the Six Dynasties are doing, one bottle and open to the drawing". "Pear Blossom Diagram" is a representative work of Qian's selected folded branches and flowers, pear blossom branches and leaves and flower buds, depicting vivid and natural, light and elegant, and paying attention to line expression in penmanship, regardless of the outline of the flowers and leaves, or the veins of the leaves are expressive. After the painting, there is a poem written by the author: "The lonely column is dry with tears, and the washing makeup is still with the old style." Closed door night rain sky sad, not like when Jin Bo wants to darken. "The handwriting is scattered and casual, and it has no intention of being jia naijia."
Qing Su Liupeng 《Lanting YaJitu》
Qingming is generally on the fourth or fifth day of April in the Gregorian calendar, and has just entered the third month of the lunar calendar. The third day of March is the Shangwei Festival. Speaking of this, it is necessary to think of Wang Xizhi's "Lanting Yaji" and the famous work "Orchid Pavilion Preface" that has been passed down through the ages. The "Lanting YaJitu" painted by Qing Su Liupeng reproduces this scene. From the perspective of painting creation, the content of the "Lanting Yaji" has long been fixed, such as propositional composition, but it has been tried and tested, showing the admiration for the "book saint", and for the charm of the literati Yaji, more will focus on "Ya" rather than "Set". The composition of the whole work is rigorous, the brushwork is meticulous, and the color is quaint. In the blending of mountains and forests, great attention is paid to the wonderful use of water, moisturizing and translucent, with the charm of typical Jiangnan landscape beauty, bright and refreshing color, light place is not thin, thick place is not lagging. The first impression of the work is elegance and tranquility. Only to see the green trees in the mountains, the meandering water flowing, the gentle flow, slowly flowing down from the mountains and stones, the sound of the water, making the environment in the painting appear more silent and peaceful. The trees are delicately written, and the remains of Tang Yin and Qiu Ying are quite seen. Su Liupeng is especially known for his ability to draw character stories. Learning the painting methods of Wu Wei, Lan Ying, Shangguan Zhou, Huang Shen and others, there are two kinds of appearances, extensive and meticulous, all of which can be used freely. When talking about the "Lingnan School", many people have always had different opinions about who the "originator" is, and there is a theory that pushes the Ming Dynasty painter Lin Liang, and some say that he is living in the nest and living in Lian, and there is also one, that is, Su Liupeng, one of the "two Sus in the Lingnan painting world". Su Liupeng's "Lanting YaJitu" is completely an imaginary world. However, as long as there are people who have a special complex for calligraphy and painting, and people who have a certain good feeling for Wang Xizhi, the "sage of books", they all believe that they are a member of this world. Su Liupeng is a person with a heart, and the time of payment is "the beginning of the late spring of decay", which was in 1853, which was exactly fifteen hundred years away from Wang Xizhi's "Lanting Yaji", and his heart had thousands of knots.
Of course, Qingming is not only sad and nostalgic, mourning, but also has a warm side, there is a celebration of the festival itself, and the relationship between man and nature is sorted out again and again. Qingming is a spring festival. If you encounter a rare sunny day, you may wish to call friends, go out for a walk, go to the embrace of spring, feel the freshness and clarity of nature, and the mood will become relaxed and open-minded. Qingming is a festival of qingqing, "On the third day of March, the weather is new, and the people on the water's edge of Chang'an are beautiful. "The poem is full of romantic atmosphere, young men and women meet to play together, for swings, kite flying, polo, willow planting and other series of folk activities, you can try your hand.
Qing Leng Mei "Swing"
Reading Leng Ming's "Swinging Swing" painting, you can immediately think of the scene in the "Dream of the Red Chamber" Grand View Garden, completely in a state of pure play, the tone is very exquisite, highlighting the characters, although it is impossible to see the face, but from the point of view of clothing and action, it is extremely expressive and extremely happy. The color of the clothes pays attention to contrast, the light blue clothes echo symmetrically, and the upper railing on the left side is dyed red, which is particularly conspicuous, forming a unique meaning of court painting. The characters painted are beautiful and elegant, the pen and ink are clean, the colors are beautiful, and their painting methods are also written with work, and the brushwork is fine and vivid. Leng Ming ranked among the top ten painters of the Qing Palace, Shi Chengjiao Bingzhen, absorbed some Western painting methods, earlier than Lang Shining, such as the perspective of sketching, distance, chiaroscuro, contrast and other painting methods, with freehand in the brush, the classic Li Yanya, quite a teacher, and can be integrated, forming a unique artistic style.
Qing Chen Mei Painting Liang Shizheng Title "Moon Man QingYou Map" Book of February "Yang Liu DangQian"
The album of "Moon Man QingYou" depicts the deep palace life of the court concubines for twelve months a year, including: "Cold Night Plum Exploration" in the first month, "Yang Liu Dangqian" in February,......, through this vivid picture to reflect the close relationship between court life and folk life. The painter Chen Ming, mainly takes the ming Dynasty Tang Yin and Qiu Ying's female paintings as the aesthetic standard, pursues the beautiful and flowing feelings, and depicts the concubines as slender, light and "weak in the wind" with fine and smooth lines and bright and vivid colors. Each opening is equipped with a Qing Dynasty Liang Shizheng's Xingkai inscription poem. This page has the title: "The east wind is blowing in February, and the elevated swing has many red sleeves." The five-colored clothes shine brightly, and the colorful clouds reflect each other in the air. The green poplar and red apricots are beautiful in spring, and it is only when the flowers are in the direction of the continent. Idle body lightly stepped on the air dance, the sky wind blowing Pei Qiong's voice. This album was painted in the third year of Qianlong (1738) and was officially named after the Emperor of the Deep Hongli Dynasty. Poetry, calligraphy and painting are extremely matched, forming a perfect and harmonious whole.
Just as pear blossoms and swings have become some kind of cultural symbols of Qingming, Du Mu's "Qingming" poem can undoubtedly be regarded as an "endorsement" work. Calligraphers of all generations have not let a day go idle, or inscriptions, or poetry, or linchi, or creation, and fine works are frequently produced.
Song He Zhizhong,芾米芾,多景楼诗, 壬午清明清
"Multi-scene Lou Poem" is a model of old rice characters. As soon as it came out, there were countless admirers. Contemporaries were praised and admired, and Su Shi was called a confidant: "The wind is lined with horses, calm and happy." Song He Zhizhong wrote in the inscription: "Yesterday, when I saw Xiangyang Mi Yuanzhang's inscription "Many Scenery Lou Poems" on the Yuandu Seat, I did not rely on his Hanmo alone, but especially obeyed the work of creating words, which was really eye-catching." In addition to praising the rice characters, the rice poems are also vigorously promoted. The handwriting obviously has the intention of imitation, especially the hook treatment, but for the skimming brush, less mention and fine-tuning, so it becomes a habit. This point, the rice learner must not fail to notice, it can be seen that "rice" is not delicious. The first person to "rice noodles" was not Wu Ju of the Southern Song Dynasty.
Yuan "Water Village Map" Luo Zhiren inscription poem, C Noon Qingming
Yuan Luo Zhiren Bing Wu Qingming inscription "Water Village Map": "Long love Qin Lang wonderful words, desolate and cold secretly combined with the poetry of The River." At the slanting sun ten thousand point jackdaws, the flowing water isolated village is another strange. "Xiao Kai saw the charm of the Jin and Tang Dynasties, obviously similar to Ni Yunlin, with iron paintings and silver hooks, and the brushwork was longitudinal. Skimming paintings are generally longer, and some words will still create momentum by extending the strokes of the lower left or right without vertical strokes, creating a visual effect of dense contrast.
Ming Wang's pet "Miscellaneous Books" Qingming poem I
Ming Wang's pet "Miscellaneous Books" Qingming poem II
The Ming King's favorite "Miscellaneous Books", which has "Qingming poems": "The spring breeze of the Qingming Ye Temple is turbulent, and the flowers of the Qu River are full of smoke." Outside the Yan Yun Shuo Xueyin book, the Cantonese daughter Wu Er Ke bowed. Holding the sun for a long time to see the north pole of the sky, the lotus hoe xinbu is westward. The Five Tombs Heroes asked each other, and the long forest of abundant grass was only drunk and sleeping. "Wang Pet is one of the most talented calligraphers in the history of calligraphy. The works are particularly spirited, whether it is cursive writing or xiao kai, direct Wei Jin, quaint and simple, but it is a pity that the day is not a holiday. Learning from the second king and relying more on the cabinet, more wood carving, and thus unique. The pen is light until it is independent, and the occasional stroke is interesting, not deliberately individual but has its own personality. Properly integrated into the cursive writing of the chapter, you can see the quaint color.
Qing He Shaoji Lin", "Ceremonial Instrument Monument", Jia Zi Qingming
He Shaoji is a lingu person, involved in many bodies, and each kind of inscription is hundreds of passes, which shows that the energy is superior. Although this work pays attention to self-wandering, it does not take off the model and directly rhymes with Chinese rhymes. The work of the general approach requires more skill, which is equivalent to completely reproducing the creative process of the ancients. From the words of the paragraph, it can be seen that this work is already the forty-third time. When He Shaoji was 66 years old, he was at the peak of art, when "the spring rain was continuous, Dumen was more leisurely", from "Zhu LuXiang", it can be seen that during the period when he was an official in Nanjing, He Shao left many fine works based on this.
In modern times, Wu Changshuo is in the "Stone Drum Text", Jiayin Qingming
Wu Changshuo's second drum banner of "Stone Drum Text", the old spicy powder batch, is interesting and interesting, enough to be playful. With the pen without rigid rope ink, the glyph is square, and it is not completely in a longitudinal state, which shows that Wu Changshuo has been exploring and is in the process of constant adjustment and change. The most noteworthy thing is the word "rain window" in the paragraph, which is the finishing touch - it is another rain-drenched Qingming time, unable to travel, simply continue daily classes in the study, and do not quit the pool.
In modern times, Liang Qichao's "Zhang HeiNu", Peng Chen Qingming
Liang Qichao's experience is very unique, the first half of his life is engaged in the restoration and change of law, the second half of his life is dedicated to being a scholar, moving and thinking quietly, which can be called "every major event has a calm breath". The "Zhang Black Girl" does not deliberately simulate the stroke form of the knife carving and axe, and pays attention to the meaning of writing, but the charm is still there, with the lishu as the substrate, the glyph is flat, and it always does not take off the model. Moreover, Liang Qichao wrote the Wei Monument, which was more than enough and wantonly reduced, which was obviously the brand of Tang Kai, especially Ouyang Qian, who was meticulous and energetic.
In modern times, Zhang Boying's Selected Poems of Qixi, Yi Youqing
Zhang Boying's "Selected Poems of The Amaranth Stream" is completely self-indulgent. Abandoning officials and wandering, specializing in calligraphy and painting, brave and vigorous. Although Zhang Boying's Wei Monument seems to be regular in strokes, it has a strange atmosphere, and the paintings are exaggerated and indulgent, in order to take the momentum, so the glyphs are more flat and square. The most touching thing is the record of the paragraph: "Haiyue poetry, incense and light, irregular shape, like Tobu also learned its meaning." "Zhang Boying is a stele scholar, but he pays attention to Lao Mi and Dong Qichang, which shows that in his mind, there is no gap between the stele and the post, and the concept is harmonious, so the next stroke is a mistake.
Modern Wu Peifu Sea for clouds couplet, Xin You Qingming
Wu Peifu's book "The sea is the dragon world, the cloud is the hometown of the crane" couplet, with a pen thick, in one go, the law is strict and not stagnant, bold and dashing, majestic and powerful. The disadvantage is the lack of variation, the ink color and so on are slightly monotonous.
In modern times, Wang Fu'an excerpt from the "Wenxin Carved Dragon" is written in the book, Ethyl Unitary Qingming
Although Wang Fu'an is a professional calligrapher and painter, he is not left behind because of his talent. Wang's lily book was ridiculed by the displeased as a "shape-like operator", which is actually a mystery. Indeed, Wang Fu'an's penmanship does have super-stability, such as the "five" characters in the first and last lines, which are almost exactly the same, which is indeed a place of criticism. But it must be said that in this kind of brushwork with super stability, a certain kind of interest is formed, and the complex and simple glyphs limit the thickness of the strokes, and the combination of thickness and thinness seems to be unintentional, but it is just right. Every stroke and every word has a source, but it is impossible to see the specific stele and post, it becomes invisible, the key lies in the breath of quaint and clear, which is why Wang Fu'an can be smooth and not stagnant.
Contemporary Hu Xiaoshi lin "Qin Quan", Jia Shu Qingming
Hu Xiaoshi's lifelong focus on writing monuments is the aftermath of Qing Dynasty epigraphy. The text of the "Qin Quan" is written: "Jia Shu blocked the rain on the day of the Qingming Dynasty, and was not allowed to travel, but only wrote books to dispel boredom." "Maybe because the rain is too heavy, the trip can't be done, so I left this work." The style is clumsy, it seems to be not similar, it means to keep the fun of the monument, see the Han Wei wind god, although the pen is not bent and angry, it is solemn and solemn, not angry and arrogant. In particular, the words just mentioned are seamless with the main text, and they are completed along the strokes, which can be seen that there is no barrier between the creations in everyone's pen.
Contemporary Shen YinmoShu Song Zhao Shu "Harmony and People Clear and Clear Feeling" fan surface
Shen Yinmo and Feng Zikai are professional calligraphers and painters of the "Hai School". Shen Yinmo's fan surface reads: "Outside the lake, the Qingming is in a complicated state, and the Xiaolin warbler tongue fights guanguan. The spring is endless, and the people's hearts are not idle. Full of flowers and bottles of wine, and to the east wind a break. "The line pen quickly rises and closes sharply, the dot painting is sharp, and the turning point is mostly formed with the lateral edge to form the inner circle and the outer square, the skimming is heavy, the structure is dense and natural, the vertical and horizontal leaning, and the staggering are staggered."
Contemporary Feng Zi Kai Shu Song Yanshu 'Broken Line, Spring Scenery' Words Gift Zhou Retreat Secret
Feng Zi Kai Xing Shu wrote in the book Song Yanshu's "Broken Line, Spring Scenery" Words: "The festival of Qingming Green City, the tree color is green, the grass is green." There are also green shades in the room, flower pots on the windows, and flower pots on the case. The sun is beautiful and the spring is blowing, providence is peaceful, and people are peaceful. Life is rare to have two clear lights, the seasons clear, and the politics clear. It was the ugly year again, and I couldn't help but think of Wang Xizhi's "Orchid Pavilion Preface" again. Feng Zikai's calligraphy is mostly written in the book with inscriptions, referring to zhangcao and "two kings", the flanking takes the dangerous situation, the knot is thin and steep, the sharp edge is sharp, the pen is strong, the handsome and free and humorous, witty and childish, diffusing a kind of human warmth. His calligraphic meaning is beyond the dot painting and glyphs, which is worth playing.
Hu Xiaoshi, Ma Yifu and Wang Li are all scholar characters.
Contemporary Ma Yifu rewards the immeasurable "Answer to the Emperor" poem, Gengzi Qingming
Contemporary Ma Yifu thanks the immeasurable poetry (self-left base), Gengzi Qingming
Ma Yifu has two codexes, one is "formal", using colored picture notes, adding to the artistic conception, and one is more elegant, saying that it is the original manuscript, and it has not been altered, either it is not the first draft, or it is confident. The friendship between Ma Yifu and Xie Wuliang, from which Erzha can be seen, the feeling of concern is overflowing with words; "The Swallow of Spring Twilight, the sickness of the Shi'an, the failure to travel together, the insulting poem farewell, the leaning rate and the rate of recourse", the bottom draft reads: "Gengzi Chun, Bo You Yantai, repeatedly passed the Head of the Shu'an Road, valued Xiaoji, did not get the same tour, Lao Huishi farewell, rate Erfenghe". The manuscript and the official draft were written on the same day, and on the same day, "I have not started out of my sect, and I am worried about all kinds of diseases." Forget the word to show the disease, there is no wind in the fixed book. The magic medicine should be removed, and the real tour may be the same. The return should be given a sentence, when the willow is beginning to melt. "The former sages communicate with each other, even if they are very familiar with each other, they do not waste pen and ink, and intentionally leave behind poetry and add a lot of interest." Gengzi" was in 1960, when Ma Yifu was 78 years old and was old. This poem uses a light pen, withered and natural, withering and natural, both the beauty of the two kings, the simplicity of the chapter grass, the friendship of "Ma Fu Xie Shen", jumping on the paper, short and long.
Contemporary Wang Li Shu Du Fu", "Spring Night Happy Rain", Jia Zi Qingming
Qingming is a rainy season, And Wang Li's Du Fu's "Spring Night Happy Rain" is the most appropriate, "Good rain knows the season, when spring is happening." As a great philologist, he is born with a sense of sensitivity and affinity for Chinese characters, and his fine brushstrokes are gentle and fluid, which coincides with poetry. Because of the relationship of age, there is no trace of anger, no excitement, and it can be called "silent".
The topic of clarity boils down to one sentence, that is, related to the living and the dead. The impermanence of life makes people have a sense of nothingness, but also has a sense of awe, cherishes life, understands the truth of living to death, and let go. The Analects of Xueer says: "Zeng Zi said: 'Cautiously pursue the far away, and the people's morality will return to the thick.'" ’”
(This article was originally titled "The Predecessor of the Bright Moon in the Heavy Land - Qingming Calligraphy and Painting Seals.") ）