Huang Tingjian, a Poet, Calligrapher, and Lyricist of the Northern Song Dynasty, was collectively known as the Song Sijia together with Su Shi, Mi Fu, and Cai Xiang.
The Song Dynasty had a very special place in the history of cursive writing—and what is even more peculiar is that this status was almost caused by the strength of one person—he was Huang Tingjian.
Huang Tingjian (1045-1105)
Cursive writing developed into the Tang Dynasty, wild grass matured, and in the flow to obtain rich changes in brushwork, rhythm, line, and structure, became the immutable rule of cursive. Huang Tingjian was a man of great admiration for the Tang Dynasty's wild grass, and he had a mind-to-heart theory of Zhang Xu and Huai Su, saying that "he had to hide the truth (Huai Su) narrated himself in Shi YangXiu's house, and after a few days of contemplation, he suddenly felt that he was super different." With his insight and talent, he did not understand the essence of Tang cursive writing, but his cursive writing changed the old Tang method, slowed down, slightly frustrated, and in many places gave up the continuity of lines and focused on the manipulation of space, resulting in a style that was very different from that of the Tang people, "the method of cursive writing, and now it has changed again" (Jiang Kui). Of course, the unrestrained momentum in his cursive writing and lines cannot be compared with the Tang people, but the temperament and richness of the changes expressed by the spatial structure are not allowed to be compared with the Tang people.
This is Huang Tingjian. This style is related to his writing. In the Song Dynasty, calligraphy became the basis of all calligraphy techniques. This is not a big problem for the practice of writing, but it is incompatible with the requirements of cursive writing, so calligraphers can usually only choose between cursive and cursive: those who are fine cursive are less literate, and those who are famous for their cursive are more ignorant of cursive law. This trend continues to this day. Of course, there are a few people who can go beyond the usual track, such as Wang Duo, Fu Shan, etc., but their cursive and xingshu are basically divided into families, and sometimes they are like the works of different authors. Huang Tingjian abandoned the unrestrained rhythm of cursive writing, and at the same time added long paintings that stretched out in all directions (in general, cursive tried to avoid long paintings in other directions except vertical long paintings, because they destroyed the continuity of the work), all of which were unified with the strokes of other lines of writing.
In order to form an open structure, some of Huang Tingjian's strokes expanded outward as much as possible, which caused some difficulties in brushwork. Predecessors pursue the change of strokes, mainly relying on the richness of the internal movement of the line, its brushwork to make the turn dominant, such as Wang Xizhi's writing and cursive; when the scale of the stroke increases and straightens, it is no longer possible to use the method of turning - once in a painting to make the turn useless, many times to make the turn can not be operated, so only the method of adding twists and turns in the march is adopted, although there is some loss in fluency, but it adds complexity and the feeling of old age. This is the origin of "shibuki". This type of brushstroke is also the key to his cursive writing, such as "Taibai Recalls Old Travel Poems". Short paintings naturally do not need to add twists and turns, which can also form a rhythmic contrast. In general, Huang Tingjian's writing speed is much slower than that of the Tang Dynasty. If Tang Chinese cursive is compared to Shaolin Fist, then Huang Tingjian is Bagua and Luohan All the Way – and different from Tai Chi.
Huang Tingjian's one-word connection is quite distinctive. Adjacent words are often interspersed with each other, and the protrusions of one word are often embedded in the recesses of another word, although there are traces of manipulation, but they can always form a special visual effect; between the two words, the endpoints that are tightly connected when writing are separated by various close structures, space becomes the dominant factor in the composition of the work, and time retreats to the second place - Tang Dynasty Wild Grass is a completely different feeling.
"Zhaowei Zhan Yan" commented on his poetic creation: "The wonders of the valley, starting without a reason, receiving no reason, a large pen like rafters, a twist like a dragon and a tiger, sweeping away everything, and mentioning the essence alone." Everywhere it is undertaken, it is not connected to each other, and it is unusual to think about it. On the issue of "undertaking", Huang Tingjian's calligraphy is the same as poetry.
The slowdown in overall speed also helps to reinforce the impression of intentionally arranging spaces. The author seems to be thinking about the treatment of space while writing, and when the thinking is mature, he makes a few quick movements, and then slowly moves forward in meditation, such as "Du Fu Sends Helan Hao Poems".
There is an imperceptible broadness in Huang Tingjian's cursive writing. He often compresses one part of the word structure to make other spaces appear particularly open, and at the same time causes frequent changes in the dense rhythm. This is another feature that distinguishes him from the Tang Dynasty.
Few later generations directly studied his cursive writing, but some of the compositions in his works were profoundly influential. After him, the mixture of cursive and calligraphy became a common phenomenon. The straight dot paintings in the cursive writings of Zhu Yunming and others (not seen in Tang cursive) and the interspersing of adjacent characters can be seen in Huang Tingjian's influence, and some special conjugation methods in Wang Duo's cursive are closely related to Huang Tingjian's works.
In the history of cursive writing, Huang Tingjian marked the beginning of an era. A long time. His influence is hard to describe because he was a starter, a brilliant original. He does not favor future generations with his superficial appearance, but from the depths of his influence on the principles of people's composition. However, it was he who cut off people's true understanding of the Tang People's Wild Grass with his figure.
Perhaps, this will continue until one can soberly see the meaning and limitations of his. We can deeply understand the above text from the following three works of Huang Tingjian.
1. Huang Tingjian's book "Title Su Shi Han Food Thesis"
Huang Tingjian's "Title Su Shi Cold Food Thepical", Line Book, Where 9 Lines, 59 Characters. The book was written between July and September of the third year of the Yuan Fu (1100). It was once collected by Zhang Hao, Zhang Jinjienu, Xiang Yuanbian, Han Shineng, An Qi and others, and then flowed into Japan and was transferred to the National Palace Museum in Taipei.
Huang Tingjian's "Title Su Shi Cold Food Thesis" is a book on paper
34.3×64cm Collection of the National Palace Museum, Taipei
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【Explanation】:
Dongpo's poem is like Li Taibai, and I am afraid that Taibai is not everywhere. This book is also the penmanship of Yan Lugong, Yang Shaoshi, and Li Xitai, trying to restore Dongpo to it, but it may not be so. It is the day of the east slope or see this book, should laugh at me in the absence of Buddhas to be honored.
2. Huang Tingjian's "Li Bai Remembers the Old Tour. Sending The Commandery of the Yuan To Join the Army" cursive scroll
According to the Ming Dynasty calligrapher and painter Shen Zhou, this volume was written by Huang Tingjian during the Shaosheng period (1094-1098 AD), which is a masterpiece of cursive writing in his later years. At this time, Huang Tingjian's cursive art had reached the point of pure fire. The calligraphy of this poem is deeply inspired by Zhang Xu and Huaisu cursive, and has its own style. The pen is tight, thin and strong, the momentum is majestic, and the knot body is varied, which is the representative work of Huang Tingjian's cursive writing.
【Explanation】:
Visit the Immortal City, and return to the thirty-six curved waters. A stream first enters a thousand flowers, and a thousand ravines are exhausted. The silver saddle gold network to the flat land, Han Dong Taishou came to greet.
Ziyang Zhenren invited me to blow Yusheng. The upstairs of the restaurant is moving with music, and it is noisy like the sound of a bird and a phoenix. The sleeve long pipe urged to lift lightly, and Hanzhong Taishou drunkenly danced.
Holding a brocade robe over me, I slept drunk on his pillow. When the feast song blows over the nine clouds, the stars disperse from the rain and do not end in the direction, and fly away from the Chuguan mountains and rivers.
Yu also returned to the mountain to find his old nest, and Jun also returned home to cross the Wei Bridge. The Junjia Yanjun was brave and brave, and served as Yin and Zhou to curb Rong.
May phase call Ling Taixing, destroy the wheel is not the sheep intestine bitter. Traveled to Beijing for many years, feeling the king and noble righteousness light gold. The Qiong Cup Qi Food Qingyu case made me drunk and heartless.
From time to time, it is curved to the west of the city, and the Jinci Temple flows like jasper. The floating boat makes the water drumming, and the microwave dragon scales the sedge green. Xing lai passed by with prostitutes, and its yang flowers were like snow.
Red makeup should be drunk oblique sun, 100 feet of Clear Pond to write Cui'e. Cui'e Chan Juan Chu Yue Hui, beauty more singing dance Luo yi. The breeze blows the song into the air, and the song flies around the clouds.
At this time, it is difficult to meet again, and the journey to the west is due to the dedication of Yang Fu. The North Que Qingyun was unpredictable, and the Eastern Mountain White Head returned. The south of the Weiqiao Bridge met the Jun, and the north of the Weitai was isolated.
Ask Yu Don't hate how much you know, the falling flowers are in the spring and twilight. Neither can the heart be exhausted, nor can the emotion be exhausted. Hu'er Chang knelt down to recite this word, sending the king thousands of miles (ten thousand) to remember each other.
3. Huang Tingjian's "Book Du Fu Sends Helan Hua Poems"
The penmanship of the post is round and vigorous, and the gestures are continuous, like dragons and snakes flying, reaching the realm of forgetting the heart and the hand. The four characters of the tail "Send Helan Hua" are written in letters, and the correction is exquisite, which reflects the flying momentum of the former cursive poetry. Although it is only eight lines, it is Huang Tingjian's cursive masterpiece.
Book Du Fu sent Helan Hao poems
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