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Divine | I smile to the sky: Xu Wei cursive "The Whole Volume of Self-Written Poems"
Xu Wei's cursive book "The Complete Volume of Self-Written Poems".
Xu Wei (1521 -1593), of Han ethnicity, was a native of Shanyin, Shaoxing Province (present-day Shaoxing, Zhejiang). The first character wenqing, later changed to the word Wenchang, the number of Qingteng Old Man, Qingteng Daoist, Tianchi Sheng, Tianchi Shanren, Tianchi Yuyin, Jin lei, Jinhuishanren, Shanyin Buyi, Baijishanren, Goose-nosed Shannon, Tian Danshui, Tian Shuiyue, Shuitian Yue. In the middle of the Ming Dynasty, he was a writer, calligrapher, painter, opera composer, and military man. In his later years, he was poor and sick, and his collection of thousands of books was sold out, and he called himself a "southern and northern tuner", and died in the twenty-first year of the Wanli Calendar (1593) at the age of seventy-three.
Xu Wei is versatile and unique in poetry, drama, calligraphy and painting, and is called "the three talents of the Ming Dynasty" together with Xie Jin and Yang Shen. He is the founder of China's "Splash Ink Freehand Painting School" and the originator of the "Qingteng School".
Xu Wei painting, absorbing the essence of the predecessors and reborn, does not seek to be like a god, landscapes, figures, flowers and birds, bamboo and stone all-encompassing work, with flowers as the most outstanding, created a generation of painting style, on the later generations of painting circles such as bada shanren, Shi Tao, Yangzhou Eight Monsters, Wu Changshuo, Qi Baishi, etc.; shu shancao, poetry and other bodies, known as "the bright generation of talent"; can play the piano, proficient in musical rhythm; love opera, the author of "Southern Word Narrative" is China's first theoretical monograph on southern opera. Miscellaneous dramas "Four Voices ape", "Song Dai Xiao" and anthologies have been passed down.
Xu Wei's calligraphy broke the loneliness of the Ming Dynasty's calligraphy world dominated by the "Tai Ge style", opened and led the "Shangshi" calligraphy style of the late Ming Dynasty, and led the Ming Dynasty calligraphy to a new peak.
Tao Wangling believes that his calligraphy is "called Qijie, which is said to be a person with a bright eye". He is the best at imposing wild grass, with a bad pen, he is extremely confident in his calligraphy, thinking that "calligraphy is the first, poetry is second, literature is third, and painting is fourth".
His calligraphy proceeded from the rebellion of the "Wumen Shu School" to advocate Tang Law, and then drew on the positive factors of the Northern Song Dynasty Su Shi, Huang Tingjian, and Mi Fu in pursuing artistic personalization. Xu Wei's works such as "Nine Volumes of Sending Yun Yuezi", "Six Poems for Yangnan", "Nine Poems of Li Bai Sushi", "Spring Garden Twilight Rain Poetry Axis" and other works such as Huang Tingjian's calligraphy and brushwork abound.
Xu Wei said in the "Facsimile Of the Book Jiziwei Collection of The Lanting Pavilion": "Non-special characters, there are things in the world, where the imitation is directly sent to the ear, the baht and the comparison, the inch is closed, is it true that I am the face?" There are many people who copy "Lan Ting", but those who always show their pen intentions are called masters. Although you cannot necessarily know who he is, he will be able to see his own penmanship, and he will be a master. Youmeng is like Sun Shu'ao, is it not similar to his bearded torso? It is also just a matter of taking its own intentions. ”
Xu Wei's xingshu used "his own intentions" to achieve a change in traditional brushwork, but the biggest change was the cursive writing of the middle hall with high heads and large axes. Dong Qichang destroyed the ink method, and Xu Wei destroyed the penmanship. Xu Wei realized the transformation of brushwork in the creation of his works in the transformation of calligraphy from the study room of the volume Hanzha to the display of aesthetics in the hall. "Substitute System Wing Sword Cursive Scroll" and "Generation Response System Wing Ink Cursive Scroll" are his representative works. Xu Wei's method of pointillist expression, which borrows from painting, is a creative "destruction" of the Jin and Tang dynasty brushwork.
Xu Wei's splashed ink freehand paintings of flowers and birds are unique and self-contained.
Xu Wei's paintings of flowers and birds are both unique and not limited, bold and creative. Its freehand paintings, whether it is flowers or flowers and birds, are all waved at once, everything is between the similar and the unlikely, for the four flowers and trees under the pen, the painter uses a variety of brush and ink forms such as hooks, dots, splashes, and wrinkles, and portrays the grace of peony, the beauty of Ziwei, the Xiao Shu of bamboo, the arrogance of frost chrysanthemums, and the clean charm of han plums, respectively, stretching nine feet and five feet of sycamores and plantains, straight out of the painting, without seeing the beginning and end, and the dense grapes, the vines like a dragon constitute a huge tension. The aura and extravagance that permeate the picture are unprecedented.
Xu Wei's ink grapes, bunches of fruits hanging upside down branches, fresh and tender, vivid image, lush leaves with large pieces of ink dots, the style is sparse, do not seek shape, representing Xu Wei's style of large freehand flowers. The rich trajectory of movement and the ink rhyme of the brushstrokes of different shades, xu disease, size, dryness and wetness, and the degree of density are all without the improvisation and non-repetition of the vibrating pen disease book, showing the strongest abstract expressionism in Chinese painting, so that it contains a certain inner temperament spirit, which in turn makes the viewer feel like an immersive.
Xu Wei's pumpkin and chrysanthemum pictures are made in one go, driving ink like clouds, imposing, and at the same time properly controlling the pen and ink, light and heavy, thick, dense, dry and wet rich changes. The ink method is not only a random soaking ink halo, but also a well-controlled thickness. Although Xu Wei called himself "drama erasure", in his freehand writing, he vividly conveyed the different dispositions and rhymes of flowers and fruits.
Xu Wei's sycamore diagram only depicts a small part of it in the ink brushwork, but it is reminiscent of a tall and upright towering sycamore. As Weng Fanggang said: "Paper is only a foot and a hundred feet, why is this Qinglin Lu?" I am afraid that I will be angry and angry, and I will be booed by the wine song in the middle of the night."
Xu Wei integrated his calligraphy skills and brushwork into his paintings, as Zhang Dai said: "The paintings of Imami Qingteng (Xu Wei) are bizarre and detached, and they jump out of the posture in the vigor, which is absolutely the same as their calligraphy. In the past, it was called the poetry of Maharaja, and there were paintings in the poems. The painting of Maha, there is poetry in the painting; the book of the green vine, there are paintings in the book, the painting of the green vine, the painting of the painting, the painting has the book."
Xu Wei's "Ink Grape Map", the thickness of the ink shows the texture of the leaves, the font structure and line spacing of the inscription poems are irregular, like grape vines freely extending in the air, and the book and painting are integrated.
Xu Wei's ink bamboo, the branches are light and leafy, the pen is grassy, the bamboo branches are vigorous, the bamboo leaves are hanging down with affection, and the high cleanliness and refreshing atmosphere are not reduced. This is the brilliant portrayal of the painter's ability to be in the lower class, the talent is not met, the character is high, and the independent personality of the world is unparalleled.
Xu Wei's splashed ink peony is not limited to the rich and elegant characteristics and brilliant colors of the peony, but he often paints it in ink, intentionally changing its nature, the purpose of which is to give the peony a clean and elegant style and charm, the so-called "never the national color has no decoration, empty color rouge kitsch".
Yuan Hongdao said: Xu Wei's calligraphy, the penmanship is unrestrained like his poetry, and the posture in the vigor jumps out. Yu cannot write, and the fallacy is that the long book of Wen should be above Wang Yayi (Wang's favor) and Wen Zhengzhong (Wen Zhengming). Regardless of calligraphy, but on the book god: Sir, the scattered saints of the Eight Laws of Sincerity, the chivalrous guest of the word forest.
Ancient and modern literati, complaining and suffering, there is no mr. Ruo also. The rise of Mr. Poetry, sweeping away the habits of modern times, a hundred generations down, their own conclusions, Hu Wei is not encountered?
Wen Chang's eyes are empty for eternity, and he is independent for a while. At that time, the so-called high-ranking officials and nobles, the rioters and inkers, the chief of the literature were all slaves, and they were ashamed not to have intercourse, so their names did not come from Yue. Woe to you!
Mei Guozhen said: Wen Chang's illness is strange to The text, the people are strange to the time, the poetry is strange to the word, the word is strange to the painting, nothing is not strange, and the Si is not strange.
Zha Jizuo said: Wei Looks Xiuwei, the sound is as loud as a crane, often roaring in the middle of the night, and the cranes respond to it.
Mizuta Tsuneyoshi's so-called ghost talent also. Do not aspire to the time, seek death in everything, think that the creation has no place to live, but the death is born. Wei painting is vivid, and the book is also out, not full of barren grains. The poem is self-contained, and it is not pleasing to pick up the seven sons.
Huang Zongxi's "Qingteng Song" Yun: Do you know that the article has a price, and it is not as true or false as a hundred years. The light of the night is half terrifying, that is, the middle of the lang is willing to fall?
Zheng Banqiao was very obedient to Xu Wei, and once carved a seal, calling himself a "lackey under the Qingteng Gate".
Qi Baishi said: The paintings of Qingteng (Xu Wei), Xuege (Bada Shanren), and DaDizi (Shi Tao) can be painted horizontally and vertically, and Yu Xin is extremely convinced, hating the three hundred years before he was born, and grinding ink and paper for the kings. The kings do not accept, the rest is outside the door, hungry and do not go, and soon accidents.
Shi Tao said: Qingteng pen ink is a treasure in the world, and there has been no such way for decades.
Wu Changshuo said: Qingteng paintings are sacred, and calligraphy is more than Lu Gong.
Huang Binhong said: Shaoxing Xu Qingteng, with the pen of jian, with the ink of the best, for three hundred years, no one can catch up with him.
Xu Wei is a complete genius!
Xu Wei's cursive book "The Complete Volume of Self-Written Poems" is super clear and appreciated
Calligraphy Discover the beauty of the heart
Thinking of thousands of years, seeing through thousands of miles, the heart travels to ten thousand miles, and the eight poles are exquisite