Xue Yuanming
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Today is the valley rain. This is the last festival of spring, "Gu Yu" became the name of the festival there are many legends, one of which is related to the ancient Chinese character inventor Cangjie, some places still use Gu Yu as a festival to sacrifice Cangjie. It can be said that Gu Yu is the closest festival to calligraphy. Wang Xizhi's "Rain Fast Post" makes the turn flexible, the dot painting is indulgent, and the brush gesture is smooth; Su Shi's "Prayer rain post" uses a thick pen and a bold posture. In the painting, there are many depictions of agricultural civilization, Gu Yu is also a good time to taste tea, The Ming Dynasty Wen Zhengming created a lot of works related to tea, under the Indian knife, the works related to the Valley Rain Festival are also wonderful.
The Surging News Ancient Art series "Twenty-Four Solar Terms in Calligraphy and Painting" presents Gu Yu in the poetry, calligraphy and painting prints.
The so-called valley rain, that is, "rain born hundred valleys" also. The name "Valley Rain" is beautiful. In fact, each of the twenty-four solar terms is beautiful and has its own charm. "Gu Yu" became a festival name, and there are many legends. One of them is related to Cangjie, which must be mentioned. After all, Chinese characters are related to calligraphy. According to the "HuainanZi" record, Cangjie's creation of characters is an earth-shattering event. In late spring and early summer, the Yellow Emperor issued an edict declaring the success of Cangjie's character creation and calling on the people of the world to study it together. Cangjie was famous for his meritorious writing, shining through the ages, and Ze was moved by the Future Generations, and also touched the Heavenly Emperor. At that time, the world was suffering from famine, so he ordered the Heavenly Soldier Heavenly General to open the granary of the Heavenly Palace and rain a rain of millet, so that all the people of the world were rescued. For this reason, later generations named this day Gu Yu, which became one of the twenty-four solar terms. Some places in the country still use Guyu as a festival to sacrifice Cangjie. It seems that among the twenty-four solar terms, Gu Yu is born to be the closest to calligraphy.
"Valley Rain" is written as "Yu Yu". Because the Chinese characters are simplified and merged into one, retrospectively, the surnames "valley" and "valley" both use "valley", and the "valley" and "榖" as grain are definitely not simply simplified and simplified relationships. The Chinese characters are broad and profound, which makes people feel a sense of awe at all times. "Valley" is the lifeblood of peasants, and in China, where "the people take food as the sky", it goes without saying. "Rain" is not only a natural phenomenon, but also an important image of literature and art. The rain has stimulated the valley to be born, and it has also made literati, scholars and others have more understanding and experience of spring.
Eastern Jin Dynasty Wang Xizhi's "Rain Fast Post"
Eastern Jin Dynasty Wang Xizhi's "Post after the Rain"
Eastern Jin Dynasty Wang Xizhi's "Foot Family Post"
Wang Xi's codex is an unshakable classic. "Rain Fast Post" has a saying: "A province yesterday, do not know, the rain is fast." Can you? Wanshi turned worse, moxibustion is not effective? A "fast" word that points out the mood. This zha makes the rotation flexible, the dot painting is indulgent, and the gestures are smooth and relaxed. The continuous flying of Wang Xi's stroke is mostly reflected in a word, and finally appears radiant, rather than a simple glyph of the genus, that is, Tang Taizong said that "if the shape is broken and connected". The "Post after the Rain" records: "After the rain today, I have not achieved fruit, and if I want to □ I can speak, I can definitely ask questions and always think that I am a lesson." The specifics discussed are not available. Observe the change of ink color of the post, which coincides with the beginning and end of the pen, the ups and downs, and the rapid twists and turns, without traces of imitation, and infers that it should be an ancient Linben, written in the Northern Song Dynasty to the Southern Song Dynasty before Shaoxing. "Foot Family Post" Yun: "The Foot Family knows that there is no way to take over, for the rain, it is no longer restored, and the brothers ask, and the disease is deeply protected." "The three codexes all talk about rain, one is different, and the faces are different, which shows the exquisite brushwork of Xizhi.
Northern Song Dynasty Su Shi "Prayer for rain" (partial)
Su Shi's "Prayer for Rain" wrote: "In October of the sixth year of Yuan You, Yingzhou was in a long drought, and there was a Zhang Longgong shrine on the Ying, which was extremely spiritual, and it was fasting to send men and state professor Chen Lu to pray. Looking back at Su Shi's life, he was either degraded or on the way to being degraded, but what he cared about most was the local people's livelihood and the harvest of the year. "Prayer for rain" is thick with pen, unrestrained and vivid posture, the size of the glyph is informal, and the momentum is like a rainbow.
Compared with the literati of the three generations of the Jin, Tang, and Song dynasties, the Jin people paid attention to demeanor, did not eat fireworks in the world, wore a crown and belt, and served five stones; the literati of the Song Dynasty had the feeling of helping the world, as Su Shi was worried about, that is, the people of the world; the literati of the Tang Dynasty were most unique, but they were literati who were not like the literati, that is, taking the scribes as an example, most of them were high-ranking officials and senior officials, such as Chu Suiliang, Xue Ji, Li Yong, and Yan Zhenqing, and their life and death were closely related to politics.
Yuan Cheng's Song Louxuan's "Silkworm Weaving Diagram and Lower Silkworm"
The literati of the Yuan Dynasty lacked the simplicity and dustiness of the Jin and Song dynasties. From another angle, it is more "grounded". Yuan Cheng's "Silkworm Weaving Map" by Song Louxuan has a strong smell of fireworks. This figure depicts the entire production process of silkworm weaving and weaving in Jiangsu and Zhejiang from "waxing moon bath silkworms" to "getting off the machine and entering the box". The volume is composed of twenty-four scenes, magnificent, a total of seventy-four people, Weng Mi long and young, all dressed in Song costumes, the characters look vivid and lively, mulberry trees, household mu, several mats, silkworm tools, weaving utensils, etc., rich in photorealism. The seal book on the right side is selected, with annotations attached, which obviously has the meaning of "popular science". "The valley rains for a few days, and the warm wind on the mountain is high. The silkworm first broke the shell, and the falling paper was finer than the hair. Rousang plucks the wings of the cicada, and the knife is tolerated. The thatched paper window is bright, and I don't feel the eyesight. The writings of the book read: "The weather in Wu is getting warmer, and the paper is getting higher and higher." The shell breaks into an ant-shaped, green and fine like hairs. Gently scraping off the paper, the goose feathers wielded like knives. Female companions are not in contact, and silkworm women are carried. "The scene of sericulture is vividly described.
Yuan Gao Kegong's "Spring Mountain Sunny Rain Map"
The continuum of Chinese painting and calligraphy has always had many veins, sometimes developing independently of each other, and sometimes intersecting. In the Yuan Dynasty, Gao Kegong's "Spring Mountain Sunny Rain Map" belongs to the literati painting a vein, depicting the scene after the spring mountain rain. In the upper left corner of this picture there is Li Yan's inscription: "Yan Jing Shi Yu, who once painted this painting for Yu, was composed of a poem cloud: 'Spring Mountain is half sunny and rainy, and the color is at the bottom of the clouds.'" The Buddha's bun wants to fight for the right, and the politicians and princes freshen up diligently. 'Great Virtue Hashi Hai Xia April'. From this, it is estimated that Gao Kegong was fifty-two years old. The composition of this painting is more typical of the Northern Song Dynasty two-stage style, the upper part is the main mountain, the mountain stone is connected to the veins, the layers are clear, the main and secondary are orderly, the light and dark sides of the mountain stone, the flat and steep, the multi-wrinkle and blank space are properly handled, the body is beautiful, the upper and middle parts are a wide cloud water, the lower slope stone forest is a close-up view, clean and refreshing, the tree branches and leaves are stretched, the layout of the whole picture is dense and appropriate, the foreground is prosperous, the rear scene is concise, and the spatial level is clear. The slope surface is covered with hemp, and the mountain shape is basically dotted with long horizontal dots. The distant mountains are layered with mountains and dense trees, which are composed of horizontal moss, dense but not chaotic, and orderly.
Qing Shitao"Smoke Tree Rising Village Map"
The same is the painting rain, Shi Tao's "Smoke Tree Rising Village Map" is very different. The key lies in the difference in philosophy. Shi Tao's exposition and understanding of splashed ink landscape painting is very extensive, the weather between heaven and earth, the brightness and darkness, the high and low, and the distance, are all in it, and the phrase "not similar to the similar" is not "concrete", nor "abstract", but "imagery", which makes people reverie. This work is written: "There is no wave on the song river, and three geese fly in the clouds." The guest situation is difficult to think about the old, how to smoke trees rise in the village. Shi Tao's painting technique is changeable, the so-called "dangerous to the boundless, with the sky can not exhaust the painting of cloud doors." Its splashed ink landscape method is a new technique after Wang Wei's "ink rendering", which has a far-reaching impact on future generations, whether it is a small piece or a giant axis, a wide pen or a thin pen, most of which are Ji You's works of writing scenes, which is very different from the "Four Kings Wu Yun" school of the painting world at that time. Looking for the roots, Rain's personal experience is closely related. If the calligrapher grows up in the deep palace and does not eat human fireworks, calligraphy and painting must be more rules than nature. Shi Tao was originally an emperor, and although he was a side branch, he also enjoyed honor. When he fell from heaven to mortal dust and tasted the heartache of the world, the style of calligraphy and painting changed dramatically, and the style was different from the painter who had always enjoyed a rich life, and it was also different from the calligrapher who had lived at the bottom of society for a long time. Calligraphers and painters need life experience. The more complicated the taste of life, the more calligraphy and painting works will make people turn thousands of times. The reason why contemporary calligraphers and painters are empty in their pens is the rare perception of the vicissitudes of the world. Boredom, only as a writer painter ear.
There are three phenology of the valley rain festival: one is the first to be born in Pingping; the second is to whisk its feathers, and the song dove is a cuckoo; and the third is to descend to the mulberry, the Daisheng bird is commonly known as the chicken crown bird, and the chicken crown bird can be seen on the mulberry tree. In the "Explanation of the Seventy-two Waiting For the Moon Order", it is said: "In the middle of March, since the rain, the earth has pulsated, and now it is raining in the valley and the water... Gaigu sows seeds at this time, from bottom to top also", which mainly means "the valley is born of rain", "the rain of sowing the valley is also". Gu Yu has three major symbols: one is the "Valley Rain Bird", the cuckoo begins to sing; the second is the "Valley Rain Flower", the peony blossoms begin to bloom; the third is the "Valley Rain Tea", the new tea picked between the Qingming And Gu Rain, called "Valley Rain Tea", is the best product of the year.
Qing Hualun "Spring Valley Rhododendron Diagram"
Hua Lun is first of all a professional painter, with a deliberately truth-seeking creative attitude and strict and solid basic skills in painting, which constitutes the "qualitative" elements in Hua Lun's painting character. At the same time, Hua was also influenced by the personality spirit of many literati painters at that time and inspired by creative ideas, and literati feelings became the elements of "literature". Hua Yan not only became another master of flower and bird painting after Yun Nantian, but also a giant of flower and bird painting throughout the late Qing Dynasty. "Spring Valley Rhododendron Diagram" is self-titled "Spring Valley Bird Side Wind Gradually Soft, Rhododendron Flowers On the Rain First Dry" model, thin and hard and flowing. Hua Lun not only used his superb technique of responding to the pictogram to accurately shape the image of the bird with the head of the willow flower, but then vividly expressed the mood of singing and singing with each other through the open beak of the bird and the eyes of the eyes, and the cry was cheerful, as if ringing in the ears. This bird feather is a fine line comb, in a uniform and flat outline, showing the characteristics of smooth and moist, just show the weather characteristics of "rain and dry". This kind of meticulous observation and subtle expression related to the rain and snow is undoubtedly unattainable by the literati painters of the same time.
Qingyu Province's "Valley Rain And Waiting for Peony" book
Yu Province and Zhuang Yougong cooperated in the album "Gu Yu Yi Hou Peony" and is one of the twenty-four flower trade winds painted by Feng Xun. The peony is as realistic as a photo, obviously a Western painting method, between the brush and the freehand. The left is Zhuang Yougong's book of Qianlong's "Imperial Peony Flower Poems": "The state is shi xiang quality, and it is the king of the flowers." If the opening period is too late, I am afraid that I will do everything in my makeup. "Zhuang Yougong's poems are exquisite with pen to crisp, and the ink is also very exquisite, dry and wet, rich and light, do their best, the knot is light and free, the true qi is overflowing, the style is frank and relaxed, and the elegance is peaceful.
Qing Zhang Ruoyi 《墨妙珠林(卯)Gu Yu》
Zhang Ruoyi's "Ink Miao ZhuLin" is completely in a small freehand style, with delicate and delicate brushwork and softness, and the long-range and close-up scenes are almost indistinguishable. The style is very small, there is no professional calligrapher's casualness, and it is completely a court painting rule. The inscription on the left is: "Ping Shi Sheng, "Poetry Sparse Guangjiao": Ping Jin floating on the water, the big one is called 'Ping', the small one is called 'Li', and the season spring is born." Ming dove whisks its feathers, Zheng Kangcheng note: Ming dove flies and the wings hit each other, and the farmer is anxious. Dai Sheng descended to Sang, Zheng Kangcheng note: Dai Sheng weaves the bird, is the time constant in the sang, the one who descends, if the time comes from heaven, the weight is also. Zhang Ruoyi was known for his family studies, his grandfather was Zhang Ying, a scholar of the Kangxi Wenhuadian University, and his father was Zhang Tingyu, the elder of the Three Dynasties. He was enshrined in the inner court with calligraphy and paintings, but unfortunately died at the age of 34.
Qing Dong Xuan "Twenty-four Flowers Trade Winds Chart" a Hou Peony
Qing Dong Xuan "Twenty-four Flowers Trade Wind Chart" Erhou Di Li
Qing Dong Xuan "Twenty-four Flowers Trade Wind Chart" Three Marquis Neem Flowers
Although Dong Yu and Zhang Ruoxia were both court painters, the peony technique was obviously different, more sweet and slightly freehand. The upper right corner of the peony is inscribed: "Pin Zun Wei Zi Ya Yao Huang, Gu Yu Qi Qi Qi Dian Zhongfang." Sizhao Yutang spring rich, a single crown of hundred flowers king. The second waiting tea, the technique of handling the same is different, highlighting the posture of the leaf, the upper right corner of the note: "The group of fangs is full of three springs, and the more famous flowers follow in the footsteps." The red calyx is fragrant and green, and the wind and rain wake up the letter fresh. "Three neem flowers, there is a signature on the lower left, and the upper right corner is inscribed: "Purple silk halo powder embellished with English and complex, late guests are happy twenty-four times." Drums and Yang and Shi Pin Hui, Batch Map Province Years zhi Gong Cun. From the "Ding Di Li Chun Imperial Inscription", it can be seen that it is from the Hand of the Jiaqing Emperor. The ancients summed up the twenty-four flower trade winds, the time began from the end of the small cold to the valley rain, each festival corresponds to three weather, each weather corresponds to a flower letter, eight festivals and twenty-four kinds of flower letters, that is, a reincarnation of the flowering period. Dong Yu's "Twenty-Four Flowers Trade Wind Diagram" uses fine brushstrokes and elegant colors to vividly express the three weathers of the valley rain festival. Dong Yu was the eldest son of Dong Bangda of the Ministry of Works, and his father was known as "Big and Small Dong", and was admitted to the South Study during the Qianlong period, and Jiaqing was first awarded the Title of a Scholar of Dongge University.
Modern Yangdu Valley Bird Garden Flower Couplet
Yang Du's phrase "the birds of the valley are terrified, and the flowers of the court are fragrant with the aroma of wine" skillfully combines folk customs with qinqi calligraphy and painting. This is the literati mentality. There is only a line between the elegant and the layman, on the one hand is the qinqi calligraphy and painting poetry hops, and on the other side is chai rice oil salt sauce vinegar tea. In fact, tea is between elegant customs, the difference is not the quality of tea, but the performance of drinking tea, elegant people brew a pot of tea, called "tea tasting", most of the laymen are only for thirst, called "cow drink". It's like eating ginseng fruit in the eight precepts of the pig, no matter how many you eat, you don't know what it really tastes like in the end.
Contemporary Tang Yun, "Cuckoo Ming when the valley rains"
Tang Yun is good at landscapes, fine flowers and birds, taking the Eight Greats of the Law, Dongxin, Silla and other families, boldly dropping ink, carefully tidying up, pen and ink can blend the thickness of the Northern Sect and the super ease of the Southern Sect in one furnace, beautiful and free, vivid and effective. "Cuckoo Ming when the valley rains" not only has the fresh and elegant side of traditional literati painters, but also has the natural, vivid and aesthetic side of realism.
Su Shi emphasized that "poetry and wine take advantage of the years". However, the experience of life is like boiling tea, which requires slow simmering, and as for tea tasting, it takes more time to taste the three ambiguities. As the saying goes, the big taste must be light. When the lead of life is washed away, the brilliance is extremely flat, which is definitely different from the simple, straightforward, and single. This point, Wen Zhengming's calligraphy and painting life is a kind of witness. Wen Shi had no meritorious name in his life, won his posthumous name with calligraphy and painting, his style was plain, he did not use exaggeration and deformation as a thing, he was humble and low-key, and like Tang Bohu, he was cynical and had a bumpy life. Tang Yin and Wen Zhengming were born in the same year, and as a result, Wen Zhengming lived for an extra 36 years. How much can be done in the last forty years?! Wen Zhengming wrote desperately like this, desperately painted, until death. When an individual's life has a sufficient length and continues to be enriched, it will become more and more thick.
Ming Wen Zheng Ming "Sencha" fan noodles
Wen Zhengming's "Sencha" poem fan noodles: "Tender soup is born from the eyes of the fish, and the new tea also boasts the flag." The valley rain is approaching the south of the river, and the small boat returns under the Huishan Spring. At the head of the mountain man's sarong hat, the Zen wind flowers flew around the sideburns. The drinker wakes up in the dust and sleeps to watch the spring sun go down. Wen Zhengming can be said to be the most tea-loving calligrapher and painter in history, who loves tea as fate, once said that "I do not drink alcohol in my life, but also get drunk", and said that "the dust in front of the door is three thousand, not next to the smoker tea bowl", some people have counted that there are one hundred and fifty poems in his poems that write about tea, and the number of paintings on the subject of tea is also very large.
Ming WenZhengming's "Gu Yu Pin Tea Map" collection of the National Palace Museum in Taipei
Wen Zhengming's "Gu Yu Pin Tea Map" inscription: "The depths of the Bishan Mountains are absolutely delicate, and the windows of the face xuan are open to the water." Gu Yu had a good tea at first, and the soup was boiling at the beginning of the boil. The text is signed separately: "Jiajing Xinjiao, Shanzhong Tea Fang Sheng, Lu Zifu visited, Sui JiQuan boiled and tasted, really a good story." This is a painting by Wen Zhengming as a gift to a friend and student, Lu Zifu, recording the scene of the two tasting tea in the tea house in the forest. In the picture, the two people sit opposite each other, tasting tea and talking, the grass hall environment is elegant, the small bridge flows, the pine is towering, the hall is open, and several beds are clear. The whole picture is quiet and elegant, showing the leisure and leisure of the literati and scholars.
Ming Wenzheng Ming's "Ten Aria Diagram of Tea Sets" is partial
Wen Zhengming's "Ten Songs of Tea Sets" is titled above the five-word poem, which are tea dock, tea people, tea shoots, tea baskets, tea houses, tea stoves, tea roasting, tea ding, tea Urn, and boiled tea. After the paragraph: "Jiajing was thirteen years old in Jia Wu, three days before Gu Yu, Tianchi and Tiger Hill tea were the most prosperous, Yu Fang hugged the disease and rested in a room, and Fu Neng went to the same tasting meeting with the good deeds." Good friends read me, walk two or three kinds of benefits, but draw the spring to blow fire and cook, and take advantage of their leisure. Occasionally recalling Tang Xian's Pi Lu generation's 'Ten Songs of Tea Set', because of the pursuit of the second yan, did not dare to steal after the second sage, chatting to send a momentary interest. It is a small picture, so it is recorded on it. From the style, it can be seen that the work depicts that three days before the valley rain in 1534, Suzhou's Tianchi, Tiger Hill and other places were holding tea tasting grand meetings, Wen Zhengming could not participate due to illness, and friends sent several good teas, so the children drew springs, blew fires, boiled tea, poured themselves, drank themselves, and tasted the tea alone and enjoyed themselves.
Ming Tang Yin's "Man Xing Uniform"
Tang Yin's poem "Man Xing Yi Lu" has a desolate meaning, "The dragon head is alone in five thousand texts, and the rat trace is now sleeping half dust." "Dragon head" refers to the element and the first. Here is Tang Yin on time he once won the township test "Xie Yuan", and then could not enter the army because of the cheating case in the field. "Five thousand texts" is Lao Tzu's "Tao Te Ching", customarily has "five thousand words", this sentence exhausted Tang Bohu's helpless loneliness, full of bed rat prints, indicating that the situation is extremely desolate, and Huai Cai did not meet. The distressed situation and the feeling of loneliness and indignation are revealed between the lines, not the poetry of imagination. For a long time, the people have exaggerated Tang Yin's living conditions, thinking that they have enjoyed the blessings of the world. It seems that you are one of the four talents in Jiangnan, and the word "wind flow" is crowned, in fact, all the beauty of all this is in the imagination, mainly thanks to the shaping of novels and films and television. In fact, talents are not false, the wind is not necessarily, life is not ideal, and ten thousand years can even be said to be poor. But one thing is worth affirming, judging from Tang Bohu's calligraphy and paintings, the atmosphere is elegant and not stained with dust. This is undoubtedly the most valuable mental quality of the literati.
Qing Zheng Zhen 'Weeping Yang Jia Xi Road》 Five Laws Middle Hall
Zheng Mo is the "first person to be a member of the Qing Dynasty", and his style is still outdated even in the present. This poem is in line with the scenery of the rainy season in the valley: "Weeping Yang JiaXi Road, the sun is twilight." Drizzle dry and wet, idle swallow return. Cooking sunflower invites drunk shallow, plucking leeks metaphorically. What means peach blossom hair, spring breeze and then style. "Zheng Zhili studied the Shi Chen Stele and the Cao Quan Stele, especially the latter. The size of the glyphs is similar, the thickness, density but rich in variations, colorful and regular, not only maintaining the characteristics of the "Cao Quan Stele", but also has a flowing and strange novelty, the world calls it "Grass Li". In the standardized Han Li penmanship, the addition of a light and heavy pen rich in personality, or the use of dry pens, the knots are flexible, close to the Han people and full of ancient meaning, far-reaching influence.
Contemporary Pan Tianshou sent He Shu shizha
Pan Tianshou's poem "Even In the Shanghai-Hangzhou Car" can be seen in the Tang and Song Dynasties: "Although Wu Yue is close to each other, his heart is like flying." Cherry fat valley rain, willow fluff chaotic clothes. The grass is still green, and Wang Sun has not yet returned. The southern azure was gone, and the shadow of the cloud tree was faint. From this point of view, Pan Tianshou can be called the "four masterpieces of poetry, calligraphy and painting". Pan Tianshou cursive writing to seal the bone, go to the ecliptic circumference and self-out of the machine, this za with the grass method as a kai, more use of lifting, do not avoid the spikes falling paper, more than the fun of the odd.
On the day of the valley rain, there may not necessarily be rain. But in the minds of the literati, there is a different kind of rain. Under the Indian knife, it is even more exciting.
Qing Lin Gao carved Cuckoo cries crushed rain like smoke
Lin Gao carved "Cuckoo cries rain like smoke" The artistic conception is close to Ming Chen Zilong's "Dotted Lips , Spring Wind and Rain Have Feeling" sentence: "Where the cuckoo cries, tears sprinkle rouge rain." "This seal is an innovative work, absorbing the characteristics of the hanging needle seal and even the penmanship of the "Tianfa Divine Tablet". The glyphs are not adhered to each other, leaving more red, the chapter processing changes from the ancient seal, the right and middle columns are left red between the upper and lower columns, and there are three words on the far left, with the word "such as" to penetrate, so that the printing surface avoids fragmentation and looseness, do not see the interest.
Qing Zhou Fen carved smoke light rain at the beginning of the sun
Zhou Fen's engraving of "smoke light rain first sunny" comes from Yan Shu's "Appeal to Heartfelt Feelings", "rain" and "smoke" are often used together, and the seal strokes are thick and eye-catching, relatively thick and the sidebar is thin and residual, so it has a three-dimensional sense. Fine Zhu Wen carved out personality, which is not easy.
Contemporary Zheng Chang carved two sleeves of five lakes smoke and rain
Zheng Chang's engraving of "Two Sleeves of Five Lakes Smoke and Rain" is from Song Zhangji's "Remembrance of Luoyue QingpingLe". This seal is engraved in accordance with the law, and the printed text is arranged in two columns, and the glyphs are flattened. The most interesting thing is the adhesion of the glyphs, which is very interesting.
Qing Yang ru harmonious carved oblique light to relieve rain
Yang Ru harmoniously carved "oblique light light thin rain" out of Tang Cuishu's "Evening Sunshine Under the Mountain": "Oblique light light thin rain, autumn qi gives birth to white rainbows." The word "oblique" occupies the position of the two words, breaking through each other and becoming more compact. As a "Zhejiang school" Yu Xu, he does not deliberately use the knife to undulate, focusing on the pen and ink interest, so it is also valuable to become its own face.
Qing Ding Jing carved a lamp night rain hometown heart
Ding Jing carved "a lamp night rain hometown heart" from Song Wang Yuanliang's "Autumn Reward Wang Zhaoyi": "Wanye autumn wind lonely house dream, a lamp night rain hometown heart." "The inscription reveals a sense of desolation. As a figure in the "Eight Families" sect, the cutting knife was just established, had no habits, and was not bound to the law. The entry of the subordinate law into India laid the tone of this genre.
Qing Chen Yuanzuo carved the left figure and the right book four walls are not sheltered from wind and rain
Chen Yuanzuo carved "The left figure and the right book are four walls, Xiao Ran is not sheltered from wind and rain" can think of the middle sentence of Tao Yuanming's "Biography of Mr. Wuliu": "The ring blocks Xiao Ran, does not cover the wind and the sun; the short brown wears the knot; the flute is repeatedly empty; Yan Ruye." "Chen carved with Deng Fa, printed from the book, the shape is scattered, the sidebar treatment is particularly exquisite, it seems to be nothing, if it is broken, it is full of fun."
Qing Xu Rong carved ancient curtain dark rain moss thousand points
Xu Rong carved "the ancient curtain is dark, the rain moss is a thousand points" out of Zhou Bangyan's "Night Tour Palace": "The passengers go to the car dust." The ancient curtains are dark and the rain moss is a thousand points. "It can be compared with the Lin Gao seal, one is good at leaving red, and the other is good at leaving empty." Xu's engraving uses a large seal to achieve a strange effect, the sidebar of the printing surface is thick, but there are changes on all four sides, there are more blank spaces, the breath is ethereal, and the stout dots in the "ancient" character and the "dot" word echo diagonally, and at the same time play an echo with the sidebar.
Contemporary Zhao Heqin carvings Look closely at the ink rain dripping in the thousand rocks and empty green
Zhao Heqin carved "Look closely at the ink rain, in the thousand rocks and empty green" The number of words is more, and it is difficult to deal with. But it is difficult not to fall the master, the pen is in place, the words are in place, and the clever use of the parallel pen makes the red extremely wonderful. Compared with the second column of the word "dripping", the change treatment next to the three points of water can be seen to be careful.
Qing Zhao Zhichen carved Rose a study of rain poetry
Zhao Zhichen's engraving of "Rose One Study Rain Hypnosis Poem" comes from Zha Shenxing's "Gargo Lake Feeling Old and Xu Huaijiang": "Yang Liu Half Sail Spring Wine, Rose One Yan Rain Poetry." It is not known who will spend the flowers after that, but it is a pity that the sideburns have come back. This seal can be called a model of the "Zhejiang School", the knife is broken and neat, the sidebar is broken and varied, and the red dots left behind echo the red dots in the printed surface. The threads are undulating and changeable, and the vitality is lived out.
Qing Xu Sangeng carved Lianglou wind and rain sense Sven
Xu Sangeng carved "Good Building Wind and Rain Sense Swen" Tang Li Shangyin's "Du Sixun" sentence: "High-rise buildings feel wind and rain Swen, short wing difference pool is not as good as the group." "This seal sidebar is wider, leaving white space around, and the breath flows, which matches the ethereal characters of the seal, and there is a contrast. The seal method treatment is relatively peaceful, strange and not ostentatious, and it is fused with the subordinate law, and there is no adhesion between the glyphs, but it is grouped together, which can be described as dense and dense.
Qing Huang ShiLing carved Mountain rain is about to come and the wind is full of buildings
Huang Shiling carved "Mountain rain wants to come to the wind full of building" out of the evening Tang Xuhun "Xianyang City East Building" "Xiyun at the beginning of the sun sinking pavilion, mountain rain wants to come to the wind full of building." "This print has not seen the edges, and judging from the print style, it is an early work." The seal word circle is more interesting, "mountain" and "lou" characters intentionally operate a lot of red dots echo, "rain" and "full" is a layer of contrast echo, full but not rising, quite a lot of clumsy fun.
Qing Zhao Yi carved middle-aged listening to the rain
Reading Zhao Yi's engraving of "Listening to the Rain in Middle Age", there is a sense of vicissitudes on the printing surface, and I only feel that sorrow comes from the heart, and I can't help but think of Jiang Jie's "Yu Meiren Listening to the Rain": "The teenager listens to the rain song upstairs, and the red candle is dim. In the prime of life, listening to the rain in the passenger boat, the river is wide and the clouds are low, and the broken geese are called the west wind. And now listening to the rain monks, the sideburns have been stars also. Sorrow and joy are always merciless, before one term, dripping until dawn", writing the autumn of life vividly. When youth has passed, looking back at the dappled traces of time, seeing that each mark records the process of life from wonderful to plain, there are all kinds of emotions in my heart. When people reach middle age, everything is rested, the former innocence and childishness have become distant dreams, and the pride and dreams of the past have slowly faded...
Although on the surface there is a huge difference between peasants and literati, if viewed from a particular point of view, there are similarities. Don't say, people are eating grains and grains, and the calligraphers and indians make a living from the art of maneuvres, the most important thing is that the calligraphers and indians must also be the same as the peasants, one is industrious, the other is diligent, all year round, they all look forward to a "good harvest"! It's just that the "harvest" of the calligrapher's printing people is mainly presented in the form of works - the works are the last word!
In modern times, Wu Changshuo carved that things were not forced by each other, and it rained in Jiayin Valley
In modern times, Wu Changshuo carved Sui'an, Peng Wu Gu Rain
In modern times, Wu Changshuo Huang Ya da gu gathered, and he has not yet rained in the valley
Wu Changshuo has works in almost every festival, which shows his degree of diligence and is not called a day of idleness. Calligraphy is a slow life, just as Wu Changshuo's printed text records that "everything can not be forced by each other", everything is still leisurely. Of course, the premise is that the body must be good. Ancient and rare works, full of true power, strange in peace, all for the stone drum penmanship. Side note "Pluck the sub-sentence of Wang Yuanchuan Yong Shan Shui, carved for a pavilion brother." Later, he added "Du Shaoling mistakenly became Wang Yuanchuan". The sidebar of the "Sui'an" is handled very wonderfully, leaving only the bottom edge, and the other three sides are ethereal if there is none. The handwriting on the side is old and spicy: "Lao Miao is the master system of Sui'an", when he was 75 years old. It can be seen from the seal book "Huang Ya Shoots the Tiger Out of the Middle, and the Big Gu Holds the Fish Shuo Shuo and Is Fresh" that Wu Changshuo has been intoxicated with the "Stone Drum Text" for decades and has been unswerving. He used cursive writing to integrate the seals, and the indulgent, wanton and extremely powerful "Stone Drum Text" written in a straight and tidy manner, which strengthened the writing and linear expressiveness of the seal book, and injected modern consciousness into the ancient method of the great seal, and finally formed the unique tone of Wu's pen: xiongjun cheerful, simple and thick, ancient and hairy, thick and full of aura, and finally gave people an artistic feeling of grandeur and overwhelming seas.
Modern Tong Da Nian carved Da Nian Kang Ji, Ying Chen Gu Yu
The calligraphers and Indians should learn to be like Tong Danian, enjoy themselves, bless themselves, and the Indian text is more seen "so-and-so is harmless", and Tong Danian once carved a party "Da Nian Kangji", and the side note: "Take the law and Jin brick text to the general effect", deep in essence. The word "Big Year" itself is a major festival, which is easy to remember. Just like his print style, simple and natural, slightly honest, but it is a hundred times better than the current fancy and pretentious posture. As a professional Indian, it is not easy to make a living, and after a full stomach, there is still a dream of personality. This is the true disposition of a bookish printer. Selling words and engravings, hanging on the mouth all day, money money, may not be a good thing.
Qing Jiang Ren Ten Wei Five Colors Book Union, Heyu Gu Yu
Jiang Ren's "Ten Dragon Bamboo is higher than the tree, the five-colored God Zhi Xiu Knot Fist", taking Fa Yan and Dong, has similarities with Wang Wenzhi's calligraphy, except that Wang is more skilled, the regularity of the brushwork is more, and the book of Jiang Ren is more interesting. This joint payment was signed "己酉", when he was 45 years old, which was in his prime.
Qing He Shaoji Yuxin "Mirror Endowment" four screens, Ding Jiao Gu Yu
He Shaoji excerpted the <镜赋>four screens of the yuxin seal book: "Mirror platform silver belt, ben out of the Wei Palace." Can cross the moon, cleverly hang back to the wind. Outside the dragon hanging box, the phoenix leans on the flowers. Ernai follows the heart, and it is difficult to be worth it. Five-colored clouds, thousands of years old characters. On the day of Gu Yu's rain, it happened to be raining, and his old man wrote down four screens, and the true qi was full of true qi, like copper pouring iron casting, which was exactly the ideal effect he expected. Writing must be done with all your heart, especially in large print. Dozens of words were written down, covered in sweat. The book was written in the year of Tongzhi Ding Di (1867), He Shaoji was nearly seventy years old, and his skills were pure. On the basis of absorbing the nourishment of the calligraphy of his predecessors, he organically kneaded the qi of the book and the potential of the book. On the pen path, square, round, thick and thin pens are integrated, and the unique seal book style presented by the pen is beyond the reach of everyone. In all his works that can reflect his style, calligraphy, cursive writing and calligraphy, there are seal meanings, and all kinds of calligraphy are presented with ancient and simple interest, which is the most characteristic part of He Shaoji's calligraphy, and its ability to integrate and penetrate is admirable.
Qing Zuo Xiao tong Bai Hui Wanfeng Seal Book Union, Gengshu Gu Yu
Zuo Xiaotong was the son of Zuo Zongtang Jizi, who was good at sealing and could pass on his father's law. "When Baihui was born, there was a lot of rain and dew, and there were smoke clouds on the high side of Wanfeng" the synonym is very imposing, both close-up and long-range, easy to come by, and the pen is not bothered. Calligraphy is about the individual mind. The pen is like a silkworm spitting silk, which is relaxed and smooth, with introverted implications, and the pen is practiced, such as cotton wrapped in iron. The knot pursues uniform white cloth, the posture is calm, and it appears stable and serene. The uniformity and dense contrast of the cloth and white can be taken into account, especially the parallel and symmetrical arrangement of the same direction strokes. Throughout the text, the unity of the opposites of sparseness and solidity, ethereal and rich.
In modern times, Xiao Retreats, such as shu should smell the couplet, and the penzi valley rains
Xiao Hui'an seal book "Like a Shuqing Bird, Should Smell the White Horse Sutra" with a round and flowing pen, old and sharp, but do not see the domineering and fiery, the pen is very consistent, get rid of the restraint, not flowing in the floating, square and harmonious, the sense of force is more intense, the stroke form is full and thick. The knot is compact, and the small seal pattern of the left and right symmetrical work is changed, and the intentional side adds interest. The glyphs are intended to seek square and flatten, which is the result of the pursuit of ancient meaning. The breath is simple and full of breath, dense and appropriate. The book style is jerky and old enough to be in harmony with the seal wind.
Qing Hu SiYi Collection of "Ceremonial Instrument Stele" Lian, Ding Ugly Valley Rain
Hu Siyi's collection of "Ceremonial Instrument Stele" is associated with "Qin Han Gao Wen Bei Hua Ao, Kong Yan Zhi Le in Anhe" Penmanship is unrestrained, integrated into the writing style, the knots are mostly square, dignified and elegant, but on the whole, there is less han li thick and simple, there is a fresh and fluent wind. Hu Siyi was hired by Feng Guozhang, the governor of jiangsu, as the secretary general of the Overseer's Office because of his literary name, and then accompanied Feng to the governor of Jiangsu, which was quite favored. Proficient in historiography, good at poetry and calligraphy.
The arrival of the valley rain heralds the arrival of a season of prosperity and prosperity. Valley rain connects spring and summer, and after the valley rain, summer will quietly arrive. In fact, Guyu is not only related to the countryside, farmers and agriculture. All the names of the solar terms are extremely beautiful, in large part because of the participation of the literati and the poetry. Gu Yu also exists in the pen of poets of past generations, depicting a picture of agricultural civilization. Read it from time to time and envy the ancients. The valley rain sows the valley, and the cuckoo must arrive, and you can feel the twilight spring season of the cuckoos chirping at night, the cherry ripening, and the tea leaves fluttering. Of course, there is not only the beauty of the imaginary mood, but also the beauty of reality. A night of wind and lotus, good rain with sleep. After waking up in the morning, looking around, new yellow shoots have emerged from the ground. The breeze blows, and the young buds sway with the wind. From breaking the soil and sprouting to jointing and growing tall to flowering and fruiting, that is the most beautiful image in life. One life, one autumn of grass and trees. The core of the classical environment adapted to calligraphy is agricultural civilization. In layman's terms, it is "slow life".
In modern society, everything shows acceleration changes. The inevitable contradiction between the "slow heat" of calligraphy and the utilitarianism of reality. All of this must be pondered deeply – is calligraphy no longer adapted to the present era? Or are we no longer used to calligraphy? Is calligraphy really in decline? No matter how the times develop, calligraphy always needs a time process, and it needs a calm mind. Just like today's rapid development of science and technology, but people are still inseparable from rice noodles, water and oil, and cannot get rid of life, old age, illness and death. Everything contains the unity of change and immutable.
(This article was originally titled "Cuckoo Yuming Ink Miaozhu Forest - Gu Yu Calligraphy and Painting Prints.") ）
Editor-in-Charge: Lu Linhan
Proofreader: Yan Zhang