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Oddities | Writing is close to kai: his penmanship is strange but traditional
Zhou Liang Gongxingcao", "Guan Bao Qing Teng Shan Ren Poetry Volume".
Zhou Lianggong (1612-1672), the character Yuanliang, also has Tao'an, Minzhai, Jiaozhai and other nicknames, Suitable Garden, Oak Garden and other nicknames, scholars call Mr. Oak Garden, Mr. Oak Xia, Henan Xiangfu people. Ming Chongzhen entered the priesthood for thirteen years, and he experienced the ups and downs of the eunuch sea in his life, went to prison twice, was impeached and died, and was later pardoned. He loved painting seal engraving, gong poetry, and was a writer, seal engraver and collector in the late Ming and early Qing dynasties.
Zhou Lianggong is good at calligraphy, and at the same time has a high ability to appreciate and evaluate, which can be seen from the comments in the "Lai Gutang Calligraphy and Painting Inscription" and the continuous inclusion of different art series collections.
Zhou Lianggong's achievements in calligraphy are also profound. The first volume of the "Compilation of The Book of the People of the State Dynasty" includes Zhou Lianggong, and the "Muye AnFa Secretary" says: Calligraphy is close to Han Wei He Caiyan, calligraphy is clumsy between the seals, and it is strange and gratifying.
In the early Qing Dynasty, the book world formed a situation in which the theology of theology was in decline and the study of steles flourished, and Zhou Lianggong was representative of it. Zhou Lianggong's book is thin and hard with a pen, and the knot body is not weighed in a uniform and neat manner, but also in a dull and simple posture, with a kind of quaint and strange interest. His masterpiece "Zhou Liang GongxingShu Seven Laws of Poetry Axis", a unique style, although it is close to kai for the book, the penmanship is strange, and the use of flanking is not like the usual brushwork can be formed. The size of the knot is on the side, and the intention is not decent, and the overall view is still without losing the traditional method, which is quite personal.
Zhou Lianggong's Lishu first learned Song Jue, and after more than 30 years of learning Han tablets, he traced the source of poverty and obtained the ancient meaning of the Han people. The change in the weight of the pen and the convergence and scattering of knots have broken the shackles of the Tang Dynasty Lishu's habit of using straight and old-fashioned pens and uniform knots on lishu since the Yuan and Ming dynasties.
Zhou Lianggong's letter of correspondence is not limited to this, he likes the study of Jinshi examination. All the steles of the Nine Classics, the Ancient Texts, the Tombs, and the Stone Drums are not to be taken and compared. He emphasized the "qi of the seal" in calligraphy, believing that "those who use the title of the book between the Han, Wei, Jin, and Tang dynasties first pass through the seal and then form the body of Chungu, so that the transformation is strong and profitable, and can be passed on to future generations.".
At that time, on this basis, he sought "Chungu" and "Jinli", which made his lishu have a special meaning and was more inclined to the Cheng Yi faction.
Zhou Lianggong's "Gift to Wei Weng" fan is a representative work of his book, the knots are all from the book, the dot painting is pressed short and sharp, and there is a "carved taste" of the seal side, which is written in an ancient and interesting way.
In the trend of Zhou Lianggong's Lishu Xingxing, the "breaking" of the traditional thesis by his style of writing can be regarded as an indiscriminate pursuit of the integration of "stele lines". This method of writing was more typical in the "Yangzhou Eight Monsters" period of the Kang and Qian dynasties, and developed into the atmosphere of "breaking the stele of the teacher". In the writing style of the late Ming and early Qing dynasties, there was the characteristic of using variant characters, and Zhou Lianggong also used the knot body of the seal book to make it interesting in the xingshu, and often used the variant characters to clip into the creation of the xingshu.
Zhou Lianggong's cursive works are less circulated, and are rare today, and most of the people he saw were xingcao, And Bao Shichen's "Yizhou Shuangyu Guo dynasty calligraphy" divided the works of famous calligraphers into shen, miao, neng, yi, jia, etc. In the "national dynasty books", he listed his cursive calligraphy with 23 people such as Wang Duo, Wang Shu, Liu Yong, and Weng Fanggang as "no one under the can be pinned", characterized by "chasing the poor source, thinking and making it to the end". It can be seen that its cursive writing still has an influence in the late Qing Dynasty.
Zhou Lianggong's "Guanba Qingteng Shanren Poetry Volume" is super clear and appreciated
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