The Shanghai Library holds a small portrait of Mr. Zhao Shu
Zhang Zhenyi
The third uncle of Eastern Europe
Jiang Xiang, Ding Wenwei, and Zhao Zhiqian, all three of whom were known as Jiangsu and Zhejiang with Jinshi calligraphy and painting, gathered in Wenzhou, sang poetry and literature, had close exchanges, and were called brothers, sometimes called "the three uncles of Eastern Europe", which was passed down as a good story.
In February of the eleventh year of Xianfeng, Zhao Zhiqian and Jiang Xiang met in Wenzhou. The two met day and night, became friends of Mo Rebellion, "discussed up and down", and Jian Za returned to each other, so he wrote "Zhang An Miscellaneous Theory". Zhao Zhiqian painted two works related to seafood in Ruian: "Different Fish Map" and "European and Chinese Property Map Volume", one for Chen Baoshan and one for Jiang Xiang, which shows the suffering between them. Jiang Xiang wrote an inscription for the "Different Fish Diagram" in it.
Zhao Zhiqian's "Different Fish Diagram"
"Different Fish Diagram" Jiang Xiang inscription
The main content of the first correspondence to Jiang Xiang was that Zhao Zhiqian asked Jiang Xiang to write a couplet about Yandang Mountain, and the letter contained the sentence "Not vain to Eastern Europe", which was written when Zhao Ke lived in Wenzhou. The third passage of this book also mentions that "today has been moved to renfeng stack", which coincides. In fact, Zhao Zhiqian's arrival time was on September 25. The fourth correspondence of this book mentions that "when the painting is completed, it is Jin County", indicating that at the time of writing, it was in Ryan.
To the Jiang Xiang Codex, Shanghai Library Collection
To the Jiang Xiang Codex, Shanghai Library Collection
To the Jiang Xiang Codex, Shanghai Library Collection
According to Zhao Zhiqian's poem "Uncle Lan Belongs to the Title of Dabishan Pavilion Picture Poem to Guangzhi": "See Uncle Lan this year, Haoxing will not decrease before." Seven or eight years before and after, the juvenile finally hung... I have not yet looked forward to it in August, and the book under the lamp is here, but it is only its meaning, not enough to say poetry. "The Ding family has a Big Bishan Pavilion, and Zhao Zhiqian, Li Ciming, Ren Xiong and other celebrities often communicate with them. Ding went to Wenzhou to study before Zhao, and as soon as Zhao arrived, he borrowed money from Ding to bail out. In the midst of the turmoil, the two old friends gathered at the guest of the East China Sea to discuss calligraphy and painting texts together, and once made "ink on the three living stones", and their similar interests can be imagined.
The fifth son of Miaomen
According to Hu Pei's "Hubu Langzhong Hu Junxun Fu Incident" written to Hu Shu: "Pei Shi and Junke Miao Wu Liegong, six or seven years before and after, together with the same door Yao Zhou Jun Shuang Geng, Hui Ji Zhao Jun Shu Shu Shu, Liyang Wang Jun Xi Yuan, Miao Jun Zhi Ting, Zhi Xun Kun Ji, with the moral and moral of the article, several jun are lost in talent, but all ya love jun, every archaeology is set to the present, search for qi to choose victory, non-jun is not happy. It can be seen that Wang Jinyu, Hu Shu, and Hu Pei were all "comrades-in-arms" of Zhao Zhiqian's youth, who followed Miao Zi together and studied literature and martial arts, which can be called "the five sons of Miao Men".
Wang Jinyu was the youngest of the "five sons" and admired Zhao Zhiqian very much. The relationship between the two should be between teachers and friends, so Zhao Zhiqian called Wang Jinyu "old brother" in his letter. During the period of the Shogunate, he followed Zhao Zhiqian to learn to write and rule the Shuowen.
There is a cliff stone inscription in Longtanjian, Lianyungang, which reads" "On May 8, the sixth year of Xianfeng (1856), Lu Shichao of Changzhou, Zhao Zhiqian of Huiji, and Jinyu the King of Liyang visited it", which is also a supplement to the two people's travels.
The Shanghai Library contains a volume of Hu Shu's book "Explanation of Characters", which is a carving of Wang Jinyu. In addition, He Yi's "Five Hundred and Forty Parts of The Interpretation of Characters in Shuowen", according to the Song carved Da Xu Ben, was written and engraved, the title page was inscribed by Zhao Zhiqian, and then there was Wang Jinyu Baowen, indicating that they all liked to carve books and cooperated with each other. Zhao Zhiqian's engraving of the "Looking Up at the Thousand Seven Hundred and Twenty-Nine Crane Zhai Series" mentions in the preface: "When he was in Xinwei, The Duke of Liyang Wang Zhan had already made up for the official Shangyu, sent a book to apply for a contract, and begged for hundreds of gold for the engraving fee, and the Duke of Zhao granted me..." Wang Jinyu's engraving book was mainly based on the "Shuowen", which also supported the basis for his early years to follow Zhao Zhiqianzhi's "Shuowen". The letters in this book mention the "Auxiliary Character Discernment" and the "Bi Jiushui Collection", both of which are works of textual exegesis, that is, the book of inquiry and learning.
To Wang Jinyu Codex (Famous Thorn) Shanghai Library Collection
To Wang Jinyu Codex, Shanghai Library Collection
In the same year as Zhao Zhiqian, Hu Shu also learned from Miao Zi and befriended Yang Dan, Dai Wang, and others. In the Xianfeng Decade (1860), Hu Shu fled to Shaoxing with his family and lived next to Zhao Zhiqian, and the two "chaotically rejoiced, reunited from the tribulation." Living in my room, talking and laughing. The houses are closer together, and the wine and food are called to each other. "Zhao traveled north from Wenzhou, where he met Hu Shu, Shen Shuyong, and Wei Xi in Beijing. Both of them will fail in the test, pity each other for the same disease, and pity each other.
To the Hu Shu Codex, Shanghai Library Collection
Zhao Zhiqian's relationship with the Jixi Jinzi Hu family was very close, and he wrote for Hu Yunlin in the "Continuation of the History of Sinologists in the National Dynasty": Zhiqian and Pei were both under the door of the former master Liyang Miaojun, and asked his ancestors to know about it. Shi Fangchi said zen, it is good to talk about the void. Self-knowledge and cultivation, to listen to the introduction, to peek at the pipe hole, to enlighten this day.
In the summer of the fourth year of Tongzhi (1865), Zhao Zhiqian, out of dissatisfaction with the literary circles at that time that "the tan of life prevailed, and the streets were full of saints", prepared to write the "Continuation of the Sinology Teacher" in order to turn the tide of the tide. In the process of writing, I received a lot of help from Hu Shi, asked for questions and studies, and asked for the behavior and writings of Hu scholars. In addition to the close relationship between the two, the Anhui Jixi School, especially the Hu family, has a simple learning style, inherits the tradition of Sinology, and is also in line with Zhao Zhiqian's interests. Therefore, there are more than ten people in the Hu family in the "Continuation", which is the first largest sect.
In this book, the five-way book to Hu Peizhi has a large time span, from about the eleventh year of Tongzhi (1872) to the seventh year of Guangxu (1881), these correspondences or family affairs, or on engraving books, or asking about scholarship, all talk, especially the third letter is the most, which proves that the two people are brothers and sisters.
To Hu Pei's Codex (Shangque) Collection of Shanghai Library
To Hu Pei's Codex (Lower Que) Collection of Shanghai Library
To Hu Pei's Codex, Shanghai Library Collection
Shen Yinmo inscription
To Hu Pei's Codex, Shanghai Library Collection
Seek the same qi and meet each other with humility
Zhao Zhiqian was not only an outstanding calligrapher and painter and seal engraver with all-round cultivation and pioneering merits, but also a scholar who devoted his life to writing, and had achievements in classics, history, lexicography, and epigraphy. According to the "Fujun Xingluo", "The Continuation of the Records of the Sinologists of the State Dynasty" was not completed, and its authors, the "Records of the Six Dynasties", a volume, and a volume of "Sorrowful Lay Shisheng" are the self-determined basis of the Fujun. One volume of "Sorrowful Jushi Wencun" and one volume of "Four Books of Literature", compiled by Bu Xiao Shou Tong. The four volumes of the "Records of the Visit to Huanyu", first engraved in the Beijing Division, were first engraved in the Capital Division, and the collection was not prepared to be abandoned. The school engravings have the Xinhua Zou Hanxun's "Testament of the Qiqi Zhai" such as the dry scroll, the Deqing DaiShiwang "Who Lintang Collection" such as the dry scroll, the "Looking Up at the Thousand Seven Hundred and Twenty-Nine Crane Zhai Series" such as the dry scroll, the inner "Yonglu Idle Question", "The Beginning and End of the Entry into the City in England Guangdong", and the "Zhang Zhonglie Gong Annals". And "Jiangxi Tongzhi", "Ordinary Cases", "Election Table", "Economic Politics", "Past Events" two outlines, all out of the hands of the government. Since yu wrote, or was burned by soldiers, or spread and relocated, the survivors of it stopped here, and could not reach one-tenth of the scholarly texts of the government.
Although there are only 5 letters in this book to Dai Wangshu, they are very important. There are 14 names mentioned in the letter that he entered into the "Transcription of the Succession of Sinologists", namely: Li Shanlan (Uncle Nong), Feng Dengfu (Liu Dong), Xu Yangyuan (Xintian), Yan Yuanzhao (Jiuneng), Yan Kejun (Tieqiao), Ding Jie (Shengqu), Shi Guoqi, Yang Fengbao, Zhang Jian (Qiushui), Zhang Xingjian (Qing yue), Ling Kun, Hu Shu, and Dai Wang, etc. In the process of compiling the "Continuation of the Sinology Teacher", Zhao Zhiqian frequently wrote letters with Dai Wang, or revised historical materials, or discussed scholarship, but unfortunately most of them were scattered. You can't get a full picture.
The text reveals that Zhao Zhiqian is both "anti-Fang, Yao" and anti-"theory"; he neither advocates the "life of the child", nor is he dissatisfied with the "examination evidence of wood carving clay sculpture", which can support the ideological context in the "On the Study of Congzha". In front of the "Who Lin Tang Testament Collection", there is an inscription in the LinShu that reads: "Uncle Zhao Shu is a collection of relics published by Zi Gao, plotting with the public, saying that those who are not in the same qi as Zi Gao should not be with each other", which shows that Zhao Zhiqian and Dai Wang are "seeking the same qi" and "embracing each other".
To the Dai Wang Codex, Shanghai Library Collection
When did Tang Renshou and Zhao Zhiqian meet? At present, there is no accurate information, but the six correspondence in the book were all written by Zhao Zhiqian in jiangxi' tongzhi bureau.
The first letter said: "At that time, Li Gong, the scholar, returned to the province after the examination, and he also had a poor reading of the scriptures and training papers, and he ran all day long. He also asked Li Wentian to write a preface for Dai Wang's posthumous work "Yan's Xueji", "It seems that he is unwilling to do it, and he asks for it as a brother, and the scholar must be inferior, but it is also rare, and there is no obstacle without making a preface." According to the contents of the letter, in the twelfth year of Tongzhi (1873), Li Wentian was still serving as a scholar in Jiangxi and had close contacts with Zhao Zhiqian.
To tang renshou codex, Shanghai library collection
The second letter states that "when the old man returned, the princes of the bookstore still had the right to sigh with him, and fang was the emperor of the side, and he hesitated with a weak heart", which refers to the fact that the "Twenty-Four Histories" originally published by the Jinling Bookstore and the Zhejiang Bookstore, suzhou bookstore, Hubei Bookstore, and Huainan Bookstore have not yet been completed, and the principal Zeng Guofan died of illness in the eleventh year of Tongzhi (1872), and Dai Wang died the following year, and the main school staff of the Jinling Bookstore either died or scattered, and "Jinling Literary Collection was exhausted".
To tang renshou codex, Shanghai library collection
The most discussed in Zhao's letter to Tang was to take care of the affairs after Dai Wang's death: First, to sort out the posthumous works, including the heavy book "Analects of the Analects" face leaves and eyes, asking Li Wentian to write a preface to the "Records of Yan's Studies", deleting the poems in the "Who Lintang Testament", etc., and preparing for engraving; second, dealing with Dai Wang's collection of books, and discussing Dai's relationship with Shi Shuhua, Tan Xian, and others during his lifetime.
From the above, it can be seen that the engraving of books is a matter of Zhao Zhiqian's mind, in his view, it is a major event related to the "two-thousand-year qi pulse", and despite economic constraints, he still did his best to carve all kinds of rare books, with the same purpose as his compilation of the "Continuation of the Sinology Teacher", trying to turn the tide and correct the trend of the times.
Pan Zuyin, as a heavy minister of the late Qing Dynasty, his political achievements have never been humane, but the three generations of Zhong Ding, Qin Brick Hanwa, Wei jin stele, and Song Yuanzhuan version of his Three Generations of Tibet are called Jia Shilin, famous in ancient and modern times. Zhao Zhiqian, who attended the examination in Beijing around the third year of Tongzhi (1864), became acquainted with Pan Zuyin, and Pan admired Zhao Zhiqian's talent, and he said in his inscription to Zhao's "Poetry of sorrowful residents": "Reading for three days in a large collection, from the mouth to the heart, there is only admiration, and I feel that there has been no such hand in two hundred years", which is probably not a general social word. Almost all of the seals used by pan are from the Hands of the Zhao clan, and there are 12 squares before and after, all of which are related to the collection of books.
After Zhao Zhiqian went to Jiangxi to take up his post, he sealed the knife without engraving the seal for more than ten years, and made an exception for Pan Zuyin to carve the "ZhilanTang" Changfang Zhu Wenyin, which was also the last party seal in his life, which showed the extraordinary friendship and friendship between them. Pan Zuyin had generously donated money several times when Zhao Zhiqian was most difficult to fund Zhao's urgent needs.
In terms of engraving books, Zhao Zhiqian also often turned to Pan Zuyin for help, such as the fourth passage of the second volume in the "On the Study of Congzha": "Jin Chengzhai (Hu) testament and Gong Dingyi's "Great Oath and Answer" are all engraved, and Pan Shilang is asked to fund it." Zhao Zhiqian also did a lot of things for Pan Zuyin, and there is an extant volume of Zhao Zhiqian's "To Pan Zuyin Shuzha", which is basically related to the collection of rare books of calligraphy and painting.
Only one letter to Pan Zuyin is in this book, appended to the Zhang Zhongmu Codex (now in the Shanghai Library).
To pan zuyi codex collection of Shanghai Library
Zhao Zhiqian's Zhang Zhongmu Codex Is in the collection of the Shanghai Library
Xuan Kang, Xu Zeng, Tan Xian, etc., are all friends of Zhao Zhiqian, and their relationship is not as close as the above-mentioned families, but it is not a general friendship.
Letter to Bao Kang, Shanghai Library Collection
Letter to Xu Zengzha Collection of Shanghai Library
Letter to Tan Xianzha Shanghai Library Collection
Fate is too much to push oneself and others
Zhao Zhiqian has been running around all his life and has a distinct personality. Zhang Mingke's "HanSongge Talks about Art Trivia" recorded: "It is difficult for people to talk about uncles, but in fact, when they meet those who are in the name of reality, they are also humble and connected." Not only that, but he also took good care of his family, planning everything and taking care of it. These qualities can be verified by his letters to friends and colleagues and letters from his family.
The six links to Zongyuan Han Xinzha in this book are also almost all about the collection of ancient books and rare books of calligraphy and painting.
To Zongyuan Han Xinzha (Ming Thorn) Shanghai Library Collection
To Zongyuan HanXinzha Shanghai Library Collection
Among the letters to friends and colleagues, such as Ouyang Wenqing, Ni Daiming, Cai Yaoweng, Dezhai, ShuMu, Yilu, etc., as well as 9 anonymists (to be verified). In these letters, either the daily life, or the discussion of the official field, or the details or omissions, or the joy or anger, are reflected in the words.
Letter to Ouyang Wenqing, Shanghai Library Collection
Letter to Ni with Mingzha, Shanghai Library Collection
Letter to Cai Yaoweng, Shanghai Library Collection
Zhao Zhiqian is a rare all-around champion of the Qing dynasty who can achieve a high attainment in the four items of poetry, calligraphy and painting, but his fate is uncertain. He was 14 years old and his mother died; at 24, his father died. At the age of 34, his daughter and wife died one after another. At that time, it was the war in the Taiping Heavenly Kingdom, he was in Fujian, guanshan blocked, and only received bad news a month later. This is not the end, at the age of 55, the Continuation String Chen Clan went before him again, only 30 years old.
Zhao Zhiqian sent a letter to Shu Mu In the collection of the Shanghai Library
"Insiders are sick, afraid that the winter solstice is late and there is a risk of accidents"
The mourning is extreme, and the career is not smooth. Zhao Zhiqian's lifelong wish is to become an official, but since he won xiucai at the age of 20, WenQuxing has not looked at him squarely, until the age of 30 in the Enke Township examination, he was ready to go north to participate in the meeting to try his fists and feet, but because of the war, he planned to run aground. But he did not give up, spent money to donate an official, but the ceiling of his career was only a remote county-level cadre, and finally he died in office.
Zhao Zhiqian sent a letter to his second brother in the collection of the Shanghai Library
The letter mentioned that day and night were plotting to raise funds and donate money to officials, and Pan Zuyin also sponsored a hundred gold
Therefore, the general impression of Zhao Zhiqian by everyone is a "bitter" word, and this impression is deeply rooted in the hearts of the people because of his most well-known seal engraving works. In early April of the first year of Tongzhi (1862), Zhao Zhiqian, who was struggling to guard Minzhong, received a family letter and learned that his wife and daughter had died one after another, and he was deeply saddened. On April 6 of that year, he carved the famous seal of "Sorrow" on that side, which read: "The family is broken and the people die, and the number is made for this Tongzhi Nongzhi on April 6th." "------------------------------------ From this day on, Zhao Zhiqian changed his name to "Sorrowful Cup" to commemorate his wife who was poor and humble and righteous, and to remember his own tragic life of repeated losses.
In October, he engraved the seal of "Thirty-four-year-old Family Broken And Died is the Sorrowful Temple",
I feel the sorrow and misery of losing my beloved wife.
"Thirty-four-year-old family broken people died is the number of sorrows"
Many articles believe that Zhao Zhiqian is bitter and depressed in life. But is that really the case? In the Zhao Zhiqian Letters collected in the Shanghai Library, we see a different Zhao Zhiqian. It was still the eleventh year of Xianfeng (1861), Zhao Zhiqian made a living alone in Wenzhou, leaving his wife in Shaoxing, when the Zhejiang military rebellion, his own life was very difficult, still wrote to comfort his friend Jiang Xiang, who had known him for a long time but was very speculative.
In the letter, Zhao advised Jiang to see everything openly, to be "liberated," and to "not be worried all the time."
Zhao Zhiqian sent a letter to Jiang Xiang to the Shanghai Library
"Please don't worry about it from now on"
He also talked about his situation: "Every time he encounters a situation that cannot be opened, he feels nostalgic for his first thoughts, and he is empty in the blink of an eye, because he is empty, so he is in danger of obstructing the present, and he sleeps soundly on his pillow, and there is no worry... I know that Uncle Han will definitely look at it, and Yifu will look up to the sky and smile. The words revealed the sincerity and wit, and it could be seen that Zhao Zhiqian was stirring up talent in the years of exile.
Zhao Zhiqian's letter to Jiang Xiangzha in the Shanghai Library
"Sleeping soundly on the pillow, no worries"
In another letter to his friend Ni Daiming, Zhao Zhiqian showed his humorous side.
Zhao Zhiqian sent a letter to Ni with mingzha in the Shanghai Library
"Please bodhisattva in the new spring, less than twice, and I am very sorry for mercy." - You're harder than a bodhisattva.
"The two sedans came to greet Uncle Ye, waiting here, I don't know if Ken Guang will descend?" ----------------------------------------------------------------------
It can be seen that although life is difficult, Zhao Zhiqian may be more optimistic than you think. As Romain Rolland said: "There is only one true heroism in the world, that is, to recognize the truth of life and still love it." Zhao Zhiqian was probably such a type of person. Although he was keen on eunuchs, he was not an official fan. On the contrary, during his time in Jiangxi, he was an able official, benevolent ruler, and quite moral.
Man and book in one
During the Southern Song Dynasty, yang xin and Wang monk Qian both summarized Zhong Xuan's calligraphy into three bodies: "The book of the first inscription stone, the most wonderful one; the second is the charter book, the secretary and the teaching of primary scholars; the third is the book of the fox, and the acquaintance is also." Wang Sangqian made a definition of the third body "Xingyi Shu", saying that "Xingshu is also", which seems to save posterity a lot of verbal disputes, in fact, the scope is still large, "Xingyi Shu" refers to the ruler of ancient people's exchanges, which is the meaning of Yang Xin's so-called "acquaintance". Since the Eastern Jin Dynasty, the books of rulers have often been "xingshu". The sheep king's joint description is the accurate definition of the "book of the walking fox".
Zhong Xuan's "three-body" later became the "standard" of successive generations of calligraphers, and all first-class calligraphers can all three bodies, and Zhao Zhiqian is no exception. The inscriptions written in the "Pan Cemetery Chronicle" belong to the "Book of Inscription Stones"; the manuscripts written in the "Records of the Six Dynasties" and the "Supplementary Huanyu Visiting Tablets" belong to the "Charter Book"; and the rulers sorted out this time mostly belong to the "Book of Xingyi". The characteristics between the three bodies of the Zhao clan are still relatively obvious, the "Book of Inscribed Stones" is dignified and serious, and the atmosphere of the temple; the "Book of Regulations" is neat and orderly, and the "Book of Practice" is written with sincerity, out of accident. Of course, Zhao Zhiqian also has a large number of handwritings that cannot be simply classified as the "three-body", but the internal aesthetic trajectory is still clear and recognizable, and everything is not separated from this sect. Therefore, in addition to the documentary value, the batch of rulers treasured by the Shanghai Library also has a very important research value in the art of calligraphy.
Zhao Zhiqian's calligraphy was very popular in the late Qing Dynasty and the Republic of China, especially in the case of He Jing Tsuen-lu, Nishikawa Ning, Aoyama Sugi Yu, Kobayashi Doulu, and now active in the Japanese book world, such as Arai Mitsukaze, Tsukimoto Shumura, Takagi Seido, etc., and almost all of the calligraphy and seal engraving circles in the Kanto region of Japan are influenced by Zhao Ziqian. Nishikawa Ning, one of Japan's greatest calligraphers of the 20th century, once planned to engrave the "Dog of the Zhao Family" for himself, which shows how much he likes Zhao Zhiqian. This is inseparable from the support of Ding Ren, one of the "Four Gentlemen" of the Xiling Printing Society. In the decade from 1917 to 1927, he edited and published ten episodes of "Sorrowful Leftover Ink" together with Wu Yin, which played a decisive role in promoting the social popularity of Zhao Zhiqian's works. It is said that when this book came out, Luoyang paper was expensive for a while. With it, Zhao Zhiqian "composed a book and a judgment, a piece of paper with only words, and everyone is as precious as an arch." It is worth mentioning that Ding was the grandson of Wei Xizeng, and Wei Xizeng was one of the few close friends of Zhao Zhiqian during his lifetime.
Zhao Zhiqian's calligraphic style underwent several changes in his lifetime. Due to the influence of the customs of the times, his early calligraphy has a very heavy taste of Yan characters, and even he Shaoji's shadow can be seen. For example, the letter to Jiang Xiang is the embodiment of the style of writing in this period.
Zhao Zhiqian's letter to Jiang Xiangzha in the Shanghai Library
In the first year of Tongzhi (1862), Zhao Zhiqian became acquainted with Shen Shuyong, Wen Yuanchang, Liu Xihai, Liu Quanfu, Wang Yirong and a number of new friends in the field of golden stone scholars in Beijing, plus old friends Hu Shu and Wei Xizeng, and exchanged gold stones day and night with them, and through countless rubbings through the ages, he began to compile the two books "Records of the Six Dynasties" and "Supplementing the Monuments of Huanyu". In the process, Zhao Zhiqian's writing style gradually shifted from Yanshu to Beibei. Especially after the fourth year of Tongzhi (1865), Zhao Zhiqian's writing style changed greatly. Use the "curling edge" to start the pen, pay attention to the embellishment at the turn, wave by wave, explain very deliberately, and the glyph is long, and the body posture is not taken off the Deng stone. This style of writing remained until the tenth year of Tongzhi (1871) until he went to Jiangxi.
Zhao Zhiqian to Zongyuan Hanzha Shanghai Library Collection
Zhao Zhiqian's Zhang Zhongmu Codex Is in the collection of the Shanghai Library
When Zhao Zhiqian took office in Jiangxi, it was already his old age. During this period, his calligraphy became more somber, carefree, and forgetful. His book style changed from slender and slender in the Tongzhi years to flat and wide, especially his ruler, full of paper mottled, no longer paying attention to dot painting as in the past.
The Zhao Zhiqian Codex in the Shanghai Library truly records the before and after transformation of Zhao Zhiqian's calligraphy style.
Zhao Zhiqian to the Codex of Dezhai Collection of the Shanghai Library
In the batch of letters hidden in the above picture, there are more unknown details of Zhao Zhiqian's life.
The Shanghai Library holds Zhao Zhiqian's Codex
Zhao Zhiqian's three views are very correct, and the perennial life of upheaval and displacement makes him very sympathetic to the situation of the toiling masses. When he went from Poyang to serve his new post, the servant woman of the family "did not arrive with her luggage and her young son, and cried before she died", and was expelled by her stepson (Shou Tong) and hanged herself. This incident made Zhao Zhiqian furious, saying that he would bring his stepson to justice and then expel him from the house. Since Zhao Shouyu was inherited, "if zhao shou was born, he would be executed." In the letter, he bluntly said that "my brother did not deceive the poor in his life", which shows his character.
Zhao Zhiqian sent a letter to Ni with mingzha in the Shanghai Library
"Brother Ping ping life does not deceive the poor"
In official business, Zhao Zhiqian was even more fearless of the powerful, and when he was serving in Jiangxi, Guangchang Tongsheng repeatedly made trouble, and the instructor at the time, Xie Zengling, had a good relationship with the prefect Chen Tingxian and repeatedly shielded the troublemakers. But Zhao Zhiqian was not afraid, and in a letter to his colleagues, he said that he would severely punish this person and "eliminate violence for the country."
Zhao Zhiqian sent a letter to Dezhai in the Shanghai Library
"Fight violence for the country"
It is also because of this tough personality that he is out of place in the Jiangxi officialdom and has never been promoted.
Zhao Zhiqian's seal carving is the most praised by later generations. Deng Shiru's creative model of "printing from the book" has pioneering merits, but it is only that. The one who really understands and pushes it to the peak is Zhao Zhiqian, who has extensively absorbed the elements of ancient gold and stone cultural relics with the means of "seeking india outside india", opening up an unprecedented new realm. In modern times, masters such as Wu Changshuo and Qi Baishi have benefited greatly from other places.
However, he himself was very disdainful of the engraving, and there were not many works left. A considerable part of this few works is also made by colleagues and friends who are soft and hard with him. In this batch of letters in the Shanghai Library, we can glimpse one or two.
Zhao Zhiqian to Zongyuan Han Xinzha Shanghai Library Collection
"Seal carving for a long time"
Zong Yuanhan had asked Zhao Zhiqian for the seal several times, and Zhao had shirked it in the previous letter, and it was again "seal carving for a long time", and it was also a tool without carving stones.
Zhao Zhiqian to Zongyuan Han Xinzha Shanghai Library Collection
"There is no carved stone in the basket"
Later, it was probably difficult, and the fifth letter said that "the engraving was an exception" and agreed to engrave it for him within a year. This was written when he left Beijing again to plan to raise funds and donate money to officials around the eighth year of Tongzhi, when there were many things and there was no intention of engraving the seal, so it was said. It is also possible that after being discouraged, the meaning of "sealing the knife" had already emerged as early as the eighth year of Tongzhi (1869).
Zhao Zhiqian to Zongyuan Han Xinzha Shanghai Library Collection
"An exception"
Above, we have made a brief statement of Zhao Zhiqian's lifelong learning and the value of this book, and the encounters in his life have left us with too many memories and feelings!
If Zhao Zhiqian can be a good official, he should also be able to do a good job and be promoted in time. If Zhao Zhiqian was willing to paint, engrave, and sell words to make money, it would not be so difficult, but he inscribed himself in the "Seal of the Second Golden Butterfly Hall": "Now I have carved, written poetry, and studied literature all my life, so I live in the heavens, and my parents' intention to give birth to me is very contrary."
His life goal is to take the road, make meritorious deeds, repay the country, and show his parents, but his arrogant personality is difficult to develop, and he will eventually be trapped.
If Zhao Zhiqian's family was slightly more harmonious, he would not be like this. But his mother, father, daughter, and beloved wife all died early, and his successor died early. The elder brother is not good at managing production, the adopted son forces people to die, causing a big disaster, Zhao Zhiqian runs around, tired of coping, and is dragged down by family affairs all his life, and rarely has a time to breathe.
If Zhao Zhiqian gave up the collection of golden stone tablets and gave up the engraving of books, then he would also be quite generous, but he would rather cut down on clothes and food to line books, and the engraved books seem to have the nature of rescuing documents today.
The misfortune of Zhao Zhiqian's life can be described as the most! However, there is one less arrogant and lavish corrupt official in the world and a craftsman who sells calligraphy and paintings, but there is more of a unique style, a calligraphy and painting seal engraver who inherits the past and the future, one more scholar who has learned from ancient and modern times, and who has written and written, and one more haojie who is full of style and bones, filial piety and sorrow. From this point of view, how lucky Zhao Zhiqian is, and how lucky we are!
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