"True Mountain" is Fu Shan's self-title after the Qing soldiers entered the customs, reflecting his anti-Qing and restoration of the Ming Dynasty, and also reflecting his artistic proposition of marking the truth. "Difficult old age" is the inscription of Fu Shan's "Difficult Old Spring" at the JinCi Hall in Taiyuan, Shanxi, which also means that Fu Shan's calligraphy and painting art integrates the source of traditional Chinese culture, adhering to the orthodoxy of theology, pioneering the atmosphere of stele learning, and forming a magnificent and magnificent artistic style. These calligraphy, paintings, and documents of Fu Shanliu and the world all run through his thoughts, backbone, and unique artistic spirit, and you can still feel his artistic propositions and declarations of human nature that are anti-slave, advocate truthfulness, advocate individual independence, and teach nature. The artistic spirit and creative practice he advocated still exude vitality to this day, which has more realistic guiding significance for the development and prosperity of current art.
Qing Fu Shan Linwang Xizhi's "Zhu Congti" Collection of shanxi museum
Many people are deeply impressed by the superb medical and martial arts master Fu Qing in Liang Yusheng's martial arts novel "Born Under the Seven Swords", who is both literate and martial, famous and famous, and is a sect of anti-Qing and restoration. Fu Shan, that is, Fu Qing lord, is indeed a legendary figure in the late Ming and early Qing dynasties, in addition to being proficient in medical techniques and martial arts, he has learned everything about the subset of history, and he is also an outstanding calligrapher, painter and thinker, an encyclopedic figure.
One
In the middle of the 17th century, China entered a war and chaotic change that lasted for nearly half a century, and the Ming Dynasty was in decline due to internal and external troubles, wind and rain, and it was already declining day by day; mourning was everywhere, the people were not happy, and all parties exposed their righteousness. When the Qing army entered the customs and the country was destroyed and the family was destroyed, the literati and doctor class had a completely different performance. One is to martyr the country with one's body, generous and righteous, such as Ni Yuanlu, Zodiac Zhou, etc.; the other is to surrender to the new dynasty and continue to serve as officials, such as Wang Duo, Qian Qianyi, etc., that is, the so-called "second ministers". Another category is to endure humiliation and bear heavy burdens, preferring to die unyieldingly, such as Fu Shan, Chen Hongshou, etc., although they survived, but adopted an attitude of non-cooperation with the Qing Dynasty and participated in various resistance movements that "opposed the Qing Dynasty and restored the Ming Dynasty" and participated in various resistance movements.
Qing Fu Shan Du Fu's "Chixiao Xing" collection of the Shanxi Museum
The turmoil in the political system often promotes the vitality of thought, and in the field of literature and art, a huge wave of advocating the style of "Gao Gu Qiyi" represented by the Ming dynasty scholars and scholars has also emerged, and a large number of maverick and high-standard calligraphers and painters have also emerged, such as Ren, Fu Shan, Chen Laolian, Zha Shibiao, Fang Yizhi, Guizhuang, Hongren, Gong Xian, Yun Xiang, Mei Qing, Jia Yan, Bada, Shi Tao, etc. The style of calligraphy and painting is cold and dusty, and the style of calligraphy and painting is cold and dusty, and the style of calligraphy and painting is high and far away, and it is later known as the "Legacy Painting School". Fu Shan is one of the representative figures.
Qing Fu Shan Du Fu's "Mancheng Two Songs" No. 2 Collection of the Shanxi Museum
Fu Shan (1607-1684), a native of Yangqu County, Taiyuan, Shanxi, was originally named Dingchen and later renamed Shan. The characters Qingzhu, Qing lord, Ren Zhong, also spelled Qiao Shan, don't sign it, also known as Shi Daoren, Shi Lu, after entering the Qing Dynasty, ordained as a Taoist, the number of Zhu Yi Daoren, the name of Zhenshan, Danya Weng, Song Qiao, Qiao Huang old man and so on. Fu Shan was a famous thinker, calligrapher, poet, and physician in the late Ming and early Qing dynasties, who was a scholar of the Scriptures, dabbled in the Three Religions, surveyed the classics, grote gold stones, poems and poems, dyed Han calligraphy and painting, practiced medicine with hanging pots, and was outstanding in martial arts, and his writings were very rich, and his writings were also ambitious and lofty. His scholarship can be described as outstanding achievements, Ru Gu Han is now, a generation of masters who are respected by the people of the time, lin, and a peak of academic circles in the late Ming and early Qing dynasties. Mr. Liang Qichao of the Republic of China listed Fu Shan, along with Gu Yanwu, Huang Zongxi, Wang Fuzhi, Li Yong and Yan Yuan, as the "Six Masters of the Early Qing Dynasty" in the field of learning and thought. Fu Shan wrote a wealth of works in his lifetime, including "Collection of Frost Red Niches", "Rhymes of the Two Han Dynasties", "Commentaries on the Scriptures", "Annotations on the Buddhist Scriptures of Baiquan Thesis", "Annotations on the History of Zhu", etc., which were collected and compiled by later generations into the "Fushan Quanshu" and "Fushan Quanshu Supplement".
Qing Fushan's "Reading the History of the Southern Song Dynasty" is collected by the Shanxi Museum
Fu Shan's experience is very representative among the relict literati, through his poetry and painting, you can see an era of change and earth collapse, and also witness the turning and transformation of the history of Chinese painting and calligraphy in the 17th century. On The 19th day of the 35th leap month of the Ming Dynasty, on August 11, 1607, Fu Shan was born in a traditional family of scholars, Fu Clan since the early Ming Dynasty official eunuchs, quite prominent, with poetry and etiquette, can be described as a continuous book, especially Fu Shan's grandfather Fu Lin and father Fu Zhimo, Fu Linguan to Shandong Liaohai Bingbei Road, fond of Bangu "Book of Han", although Fu Zhimo was not born, but opened a library in his hometown to teach apprentices, they have a profound influence on Fu Shan's personality formation and calligraphy foundation, the influence is far-reaching. Quan Zuwang praised: "Mr. Family Learning, north of the Great River, can not spy on its vassals." ("The Story of Mr. Yangqu Fu"). In the middle age of Fu Shan, the Ming Dynasty was at the end of its rope, and in 1644, the Qing army entered the customs, and Fu Shan was 38 years old. In order to maintain his integrity, he entered the mountain as a Taoist monk, changed his name to Zhenshan, wore Zhu Yi, called himself Zhu Yi Daoist, Dan Ya Weng, etc., all of which contained the nostalgia for Zhu Ming and the deep pain of the destruction of the country and the death of the family. He also used the practice of medicine as a cover to travel around and carry out secret anti-Qing activities. In the sixth year of Shunzhi (1649), he participated in the anti-Qing struggle of the Fenzhou rebels. In the eleventh year of Shunzhi (1654), he conspired with Song Qian in Henan's plan to raise righteousness, but after failing to be arrested, he was rescued from prison. In the face of life under the rule of the Qing Dynasty, he once described it as "not born and immortal", And Fu Shan's poem "The Cliff of the East Sea Falls" says: "Close the window and go out of the sea and the clouds, and be wrapped in Qiu Hao." In the middle of the night, the tide came, and the state fell. Buddhas want blood, this Konda Yokojima. Not born and not dead, how to embrace. "Showed his resolute and tenacious fighting spirit against the Qing Dynasty." Fu Shan went on a hunger strike in prison for nine days, but when he came to show his resistance, he no longer wanted to die quickly. Later, although he was released under the rescue of his protégé, he "deeply hated himself and thought that it was better to die quickly than to heal" (Quan Zuwang's "Yangqu Fu's Strategy"), and even wrote a poem "Immortal" to show shame. In his later years, Fu Shan, who lived in seclusion in Taiyuan Tu kiln, refused the Kangxi Emperor's special erudite Hong Confucian examination for the elite of the Han nationality, insisted on resigning the title of "Cabinet Secretary" given by Kangxi, gao feng liangjie, Geng Geng was proud of the bones, the whole world was impressed, coupled with his great achievements in poetry, calligraphy and painting, was revered as a relic, Kui Chu, poets took Fu Shan as a powerful cultural symbol, and competed to see the true appearance of Mr. Fu and face the truth as a fortunate thing, so cultural celebrities from the north of Tiannanhai met with Fu Shan one after another, during which Gu Yanwu, Qu Dajun, and Yan Ermei were present , Yan Ruoxuan, Zhu Yizun, Li Yindu, Xie Bin, Dai Benxiao, Wu Wen... The Twin Pagodas Songzhuang and Chongshan Ancient Temple near Taiyuan have left the footprints of these masters and scholars visiting FuShan, making them the most splendid highlights in the cultural history of the Three Jins in the 17th century.
Qing Fushan "Qingyang An" Shanxi Museum Collection
Fu Shan read Confucian classics such as the subset of the history of the scriptures, and after becoming a monk, he was immersed in the Buddhist Taoist scriptures, and was quite influenced by Taoist thought, once saying: "The old man who learns from the old Zhuang also has a thin way of the facts of benevolence and righteousness in the world, that is, if he speaks strongly, he cannot work." The thinker and historian Hou Wailu commented in the "General History of Chinese Thought": Fu Shan alone boldly put forward the study of a hundred schools, expounded and annotated the "Six Classics" and the Zhuzi without any comprehension, and opened up the first path of modern sub-study research, which cannot but be said to be a different army in the Chinese intellectual circles in the 17th century. Compared with his contemporaries, Gu Yanwu, Huang Zongxi, and others, Fu Shan's thinking and vision were more extensive, advocating that there was no distinction between the classics and the sub, opposing the Confucian Taoist system, integrating the hundred schools of thought, scripture and science into the Interpretation Of Taoism, and was also proficient in phonology and epigraphy, and especially emphasizing the changing side of the classics, which opened up a more extensive path for the study of modern Sinology.
Two
Fu Shan's calligraphy was unique in the Ming and Qing dynasties, and he was proficient in all kinds of bodies, and "the grass seal was the best", which has always been regarded as a guideline for calligraphy researchers and enthusiasts. Huang Daozhou, a calligrapher of Fu Shan's contemporary, spoke highly of him: "After the Jin and Tang Dynasties, he first promoted Gong Tuo, second Li Fuchen, and second Wang Juesi." "Tong Yin On Painting" also praised it: "There is a huge thought in the chest, and a strange pleasure under the wrist." Yuki is immersed in the scrolls of the deep also. Fu Shan's dedication to the "Erwang" series of thesis calligraphy is quite profound, and there are still many pro-thesis works, showing Fu Shan's familiarity and preference for the "Erwang". In addition to copying the "Two Kings" Fa Ti, Fu Shan studied the seal from the philology stele Jie Jinshi, and once mentioned the importance of the seal in calligraphy: "I don't know where the seal has come from, but I talk about calligraphy, and I have studied calligraphy. "He often transported the meaning of the seal book to the various bodies, and opened up the wind of miscellaneous bodies. The small characters of the real book are in and out of the Chung Sui and the "Two Kings" doorway, and the big Kai Xi Shi Yan characters, the pen is clumsy, and the posture is wide. Fu Shan is especially famous for his cursive writing achievements, the gestures fly, swinging freely, like the old vines of the rock root, the circle is like a dragon, the majestic is relaxed, and it is full of a strong sense of rhythm and shock. In the era when the delicate calligraphy style occupied the mainstream, Fu Shan advocated "books like its people" and "people are strange characters ancient", advocated tracing the original source, directly catching up with the ancient style of the pre-Qin, Han, and Wei dynasties, exploring the origin and true beauty of Chinese calligraphy. In his later years, Fu Shan's style of writing relied on the "Two Kings" to be more vigorous, reconciling the "masculine beauty" of epigraphy and the softness of the theology, and skillfully reaching a ever-changing and endless realm, creating a generation of book styles, which is an important milestone and turning point in the book world. Fu Shan put forward the famous "Four Nings and Four Wus" calligraphy proposition, that is, "Ning Clumsy is not clever, Ning ugly is not charming, Ning fragmentation is not slippery, Ning straightforward rather than arranged", which epitomizes Fu Shan's natural aesthetic thoughts, but also the condensation of spiritual personality, and has a unique path and far-reaching influence on the road of exploration and research of Chinese calligraphy aesthetic theory.
Qing Fu Shan Linwang Xizhi's "Fu Xiang Qing He Ti" Collection of Shanxi Museum
Fu Shan was not only a giant of calligraphy, but also a master of painting. In the early Qing Dynasty, there was a saying of "four monks together" on the painting altar, and the "four monks" referred to the four square painting monks of Wanjiang, Jiaquan, Bada, and Shitao, and "one" referred to Fu Shan, a Zhuyi Daoist. The Qing dynasty listed his paintings as yipin, and the Bantang Idle Brush once compared his paintings with the Bada Shanren, believing that they were higher than the general painter barrier. There are not many existing paintings in FuShan, all of which are mostly landscapes, flowers, birds, etc., belonging to the literati Yige class of style, or taking the courtyard body, or the Fayuan freehand, or the color is dense, or the drunken ink is dripping... The artistic conception of the work is ancient, vertical and horizontal, bold, dashing and bold. People praised him for "having a great breath in his chest and a strange pleasure under his wrist.". "Painting Records" commented: "Fu Qing mainly paints landscapes, there are not many rubbings, the hills and ravines are leike, the bones are victorious, and the ink bamboo is also angry." Fu Shan expressed his chest in the poem "Titled Self-Painted Old Cypress": "The old heart has no place to live, Dan Qing is reckless and depressed... Throwing a pen is empty, and the angry person is not visible. Laugh at the external objects of the body, and dispel the condemnation for a few days. "Fu Shan's paintings are all born and presented by his thoughts, mentality, learning and cultivation and perception, heroic and unrestrained, the appearance of the gods, the pen and ink are simple, the layout is strange, rough and wild, and the anger is overflowing with the essence, which has a profound influence on the painting style of the literati Ye Yi in later generations.
"Writing is the first to be a person, and the strange characters of people are from ancient times", this is a poem written by Fu Shan to his children and grandchildren, which epitomizes Fu Shan's core spirit and attitude towards calligraphy learning and creation. The so-called "writing before making people" is precisely the use of the moral essence of the Confucian tradition into the creative practice of art. Fu Shan's lifelong zhijie, a "strange" word, it is also this kind of gangjie, strange personality force, deeply touching people. And "odd" is more of a manifestation of individual wisdom and talent, of course, it is also based on the core of pure and knowledgeable in the heart, so as to achieve a solemn and elegant realm. Setting the record of truthfulness and opposing slavery can be described as the spiritual core of Fu Shan's lifelong thought, art, and governance, and it has extraordinary and great significance of the times. Fu Shan believes that only independent thinking, respect for individuality, and informality are the prerequisites for the development of ideas, art, and even all social development, and when this spirit is implemented in the creation of calligraphy, it is also manifested as the artistic spirit of advocating individuality and independent bones. Fu Shan once warned his children and grandchildren on the issue of calligraphy in the "Family Training": "Words are also related to personnel affairs, and political restoration is afraid that they will bring slavery and tacky." If there is no slave custom, it can be spoken of in the days of the discourse. Not just words. In addition to the treatise, the short sentence "not only words" at the end is really worth people playing with and thinking about. Fu Shan's poetry book is passed down from generation to generation, and Toshihiko is full of court. From Mr. Fu Shan down, Zi Fu Mei, nephew Fu Ren, sun Fu Liansu, all proficient in calligraphy, all adhering to and carrying forward Fu Shan's profound and profound artistic and cultural spirit.
Three
Return to Fu Shan's work and learn a little about the master's art world.
Fu Shan's "Fu Xiangqing Heti" by Linwang Xizhi and Wang Xizhi's "Fu Xiangqing Heti" are very different. Wang Xizhi's work is typical of small grass, and many words are not connected. In Fu Shan's writings, the space between words is compressed, and there are many haunting bands. In addition, Wang Xizhi's strokes and knots are rigorous, with amazing sophistication and elegance. In Fu Shan's linben, the gap between the words is narrower, and the strokes are continuous, making the work almost a typical "one-stroke book". The pen is wild, the brushwork is not restrained and free, and the knot is unexpected with the pen. The whole work is firm and murky, elegant and strange, pushing the continuous wild grass of the late Ming Dynasty to a peak.
Qing Fu shan "Shou Wang XiYu Forty Rhymes and Twelve Screens"
(1-6) Collection of Shanxi Museum
The cursive script "Shouwang Xiyu Forty Rhymes" twelve screens were written by Fu Shan when he wished his friend Wang Xiyu the sixtieth birthday, and the inkblot Ayaben was two meters high and six meters wide, which was the pinnacle of Fu Shan's cursive writing. The work was once collected by Li Zongren, and later transferred to Zhou Enlai, and is now stored in the Shanxi Museum. The ink color of the whole text is as new as new, and the cursive writing is written in line, similar to Wang Juesi, far after Mi Xiangyang and Yan Lu Gongyi, and even participates in the seal method. There is a phrase in the text that reads," "Improvised manga, forty rhymes," which can be known to be Fu Shan's immediate work of rejuvenation, so it is still temperamental. Radiant and imposing, the pen gesture is like a dragon, lingering and cheerful. At the ups and downs, there is a state of surprise of the snake dancing snake, or spreading like a cicada wing, or soaring like a collapsing cloud; at the bundle, it is in a swirling tai chi trend, holding each other and blending together. The author is in the chanting, dyeing Han Cao Yao, meaning to Xinghui, a faction of fairy wind Dao bone.
Qing Fu shan "Shou Wang XiYu Forty Rhymes and Twelve Screens"
(7-12) Collection of Shanxi Museum
Fu Shan is too good at writing articles, he wrote in the paragraph that "the old arm hurts, burns for a long time", my arm hurts, even the Yantai is burned, and I have not written for a long time. "Happy friends have seen the children", the children of the old friends come, I still want to see. "Several high friendships are like clouds", he repeatedly told me, the friendship between his brothers, about his relationship with the Wang family brothers, so I "sighed incomprehensibly, so I did not feel that the hand of the withering was light", the hand did not hurt, and I wrote these twelve banners in one breath. The allusions in this are actually wang yongyu as "the elegance of the Dragon Gate Wenzi". Finally, I wrote this thing because I "followed and greeted the three greetings, which is enough for Xi Yu Zi Zhang's gimmick full of citations", which involves Fu Shan's old friend, his old friend's son, his old friend's friend Wang Yongyu and his brother Wang Xiyu, and I met so many people at once, although I have not written for a long time, but for you to make an exception, you say that your face is not big?
Cursive "Reading the Histories of the Song Nandu": "Reading the biographies of the histories after the Song Nandu, the so-called arrows are not fast, and the arrows are folded." Li Boji, how not like the southern people's intentions also! Ju Gong (bow) exhausted, only seen after The Marquis of Wu. mountain. Self-unitary cold day puppet book. "The book is 63 years old in Fu Shan, with a calm and flying pen, the pen is vigorous, the pen is retracted freely, the ups and downs are sudden, and the twists and turns are especially powerful. The calligraphy was unbridled, uninhibited, rhythmic and shocking, and Fu Shan's disappointment with the Southern Song Dynasty court's inability to forge ahead and his admiration for the jin lord Li Boji (Li Gang) could not help but jump on the paper. Perhaps, what is more pinned here is Fu Shan's deep disappointment and helplessness in the dead Ming.
According to the style of the book "Li Bai 'Qiu Deng Xuancheng Xie Yan North Building》", according to the style, this work was roughly created in the 1750s, the foundation is still Yan Zhenqing's book style, but there is a little deformation. After the 1770s, Fu Shan's characters became longer, and there were both Wang characters and rice characters in it, and they were also influenced by Wang Duo. As can be seen from the "orange", the writing is very thick, and at the same time there are many changes, and there are many interspersed. "Miscellaneous" is a feature of Fu Shan's calligraphy, and his works have various styles in the same period. Wang Duo is more than ten years older than Fu Shan, and it should be said that Wang Duo is more mature than Fu Shan in calligraphy techniques. Wang Duo has academics, but he is more literary and artistic, and the more people watch and write better. Fu Shan is a true temperament, doing whatever he wants, with a heart to the pen, a school of "innocence and madness".
Qing Fushan's "Drawing a Duck in the Rain" collected by the Shanxi Museum
Fu Shan's paintings are rare, mostly flowers, bamboo stones, landscapes, etc., and "Drawing a Duck in the Rain" is a work of birds and animals that he painted by hand when he was more than ancient, which is particularly rare. It was once the collection of The Shanxi educator Chang Zanchun during the Republic of China period, and there are inscriptions by his brother Chang Xuchun and his friends Bao Zhenyong, Jia Jingde, Guo Xiangsheng, Zhang Xiaoqin and others on the axis, all of whom are shanxi celebrities. The picture is based on the water duck as the main body, in the countryside on a rainy day, a flower duck is staggering, walking on the bank of the stream that has become wet and muddy, leaning forward and leaning down, stretching its head and shrinking its neck, and opening its palms back and forth, looking timid and obscene, and being cute. The title of the painting is: "See the flowers and ducks in the rain, because of the pity of the residual ink, it is a grass sketch." Seventy Ong True Mountain. "From the style point of view, the Shifa Ming Dynasty Chen Baiyang small freehand painting method, transport points, no bones to outline, rub, ink color is clear, the pen tone is loose. The duck's expression is depicted so exquisitely by Fu Shan, which shows his subtlety and meticulousness in observing things, and the painter takes life as the model, closely follows the word "in the rain", takes its meaning, and then notes it in pen and ink, which is instantaneous, and it is extremely wonderful.
Fu Shan landscape posterity has less knowledge, from the "Outdoor Peak" view, the artistic conception is far-reaching, the pen is transcendent, and there is an ancient clumsy wind. Painted lofty mountains, ancient village temples, mountain streams and waterfalls flowing into streams. The high-distance method is composed, and the mountain stone adopts the technique of phi-ma, but the pen and ink are more concise. From the composition and use of the pen, we can see the influence of literati painting on Fu Shan. The painting is self-titled "Outdoor peak show, the front of the steps is deep." Matsuaki Old Man Mountain. "The font is longitudinal and strange, the words are not connected to the genus, the knot is between the two, the ancient humble Xiongjian." The finishing touches and the very distinctive book style add agility and fun to the picture. Qing Zhang Geng commented on Fu Shan's "good at painting landscapes, not much rubbing, hills and valleys, and winning with bones", this painting is quaint and elegant, and the inner grandeur and strength are overflowing in the picture, which is the fine work of Fu Shan.
Fu Shan's "Weeping Mi DaoRen Poems", this Mi Dao person is Fu Shan's only son Fu Mei, so this work is also called "Weeping Zi Poems". The love of father and son alone does not seem to be enough to describe the feelings of Fu Shan and Fu Mei. When Fu Shan was 27 years old, his wife died of illness, and Fu Mei was only 5 years old. Fu Shan vowed not to marry another wife and to live with his son. During the day, he and his son rode in the same car and went out to collect medicines and sell medicines. At night, the father and son sat around the lamp, and Fu Shan taught literature and medicine to his son. During Fu Shan's exiled and reclusive career, Fu Mei was always by his side, his father was a Zhuyi Daoist, and his son called himself a Mi Daoist. Moreover, deeply influenced by his father, Fu Mei did not go to the career like most of the scholars, and the father and son always maintained a maverick and uncooperative integrity. Fu Mei died in February 1684, the year Fu Shan was 78 years old and Fu Mei was only 57 years old. Fu Shan was heartbroken and wrote 16 "Crying Poems", followed by "Fu Mei's Small Biography", with deep despair and helplessness. In the poems, Fu Shan cries for loyalty, filial piety, weeping for talent, crying for zhi, crying economy, crying for courage, crying for strength, crying for literature, crying for gifts, crying poems, crying books, crying words, and crying paintings to remember and pay tribute to his son. It should also be noted that in 1683, the Qing government attacked Taiwan, and the last territory of the Ming Dynasty was also lost, and the Ming Dynasty completely perished. Three months after Fu Mei's death, Fu Shan also exhausted his strength and passed away unexpectedly, and when he was buried, he was still wearing a zhu robe.
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