Qu Dajun (1630-1696), originally known as Shao Long, also known as Shao Long, no. non-chi, character saoyu, also spelled Weng Shan, Meson, no. caipu, Han ethnicity, Guangdong Panyu people. A famous scholar and poet in the late Ming and early Qing dynasties, together with Chen Gongyin and Liang Peilan, was called "Lingnan Three Greats", and had the reputation of "Guangdong Xu Xiake". He carried out anti-Qing activities with Wei Geng and others. After avoiding disasters as a monk, he still changed his Confucian clothes in middle age. The poems have the legacy of Li Bai and Qu Yuan, and most of the works were destroyed in the Yongzheng and Qianlong dynasties, and later generations compiled "Weng Shan Shi Wai", "Weng Shan Wen Wai", "Weng Shan Yi Wai", "Guangdong New Language" and "Four Dynasties Chengren Record", collectively known as the "Five Books of Qu Tuo".
<h1 class="pgc-h-arrow-right" > Qu Dajun's "Purple Fragrance Slow"</h1>
Hate Sha Peng, prefer to follow people, and pity the fog willow is difficult to green. Ask Zheng Hong to go south, when will it be warm to return to the Dragon Garden. There is boundless smoke and snow, with fresh food for thousands of miles, sending the Great Wall. Xiang Andmen was less waiting, bai shou mu ren, on the sea, with Li Qing in his hand.
Autumn sound, Su Ding is still shocked. The moon is not clear. And mourning was everywhere, the clothes were intermittent, and the whole night was hurt. Cross the sheep children scramble, Gong can reach, white appleting. For as long as the sky was lined up, the wind flew away, the hair feathers drifted everywhere, and the book was not delivered.
Qing Qu Dajun's "Xingshu Poems" Dou Fang, collected by the He Chuangshi Foundation in Taipei
Because Qu Dajun's writings were repeatedly banned by the Qing authorities at that time, collecting his handwritings would inevitably lead to unexpected disasters. This makes Qu's handwriting very few, far fewer than those of Chen Gongyin and Liang Peilan at the same time, and even the engravings of Guangdong connoisseurs Wu Rongguang, Ye Menglong, Wu Yuanhui, Pan Shicheng, Ye Yingyang, Pan Zhengwei, Kong Guangtao and others are not selected (and the works of Chen and Liang are mostly described). The author's compilation of the "Guangdong Heirloom Handwritings" recorded 15 of his handwritings, mainly for the Guangdong Provincial Museum's cursive "Three Luofu Miscellaneous Songs", "Luofu Miscellaneous Songs", the Xingshu "Title Qiulin Solo Discretionary Map", the Guangzhou Art Museum's cursive "Writing Du Fu Eight Arrays of Diagrams", the Hong Kong Chinese University Cultural Relics Museum collection of the Xingshu "Shou zhou LiangGong Poem"; the other books "Autumn Cicada", "Gift zhang Zi's new marriage", "Brother Yu Mr. Chi Ting Gift", "SendIng Wang Shihuo Poems", "Seven Words Poems", "Five Words Law Poem", cursive "Duanzhou Daozhong". The calligraphy "Autumn Sunset on the Mountain" and so on belonged to collectors in Hong Kong, Taiwan and mainland China respectively.
Qing Qu Dajun, Cursive Poetry, 27.2cm×20cm
Qing Qu Dajun's "Cursive Writings", Shanghai Library Collection
Although Qu Dajun's handwriting was not treated fairly and circulated due to political persecution, this did not prevent him from becoming an accomplished master in the history of Lingnan calligraphy. He was good at cursive writing and also wrote good deeds. He once expounded his cursive origin and comments on the famous cursive masters of various dynasties in his seven-character poem "Cursive Song for Blue Gongyi", which provided extremely valuable information for studying the artistic characteristics of his handwriting and its calligraphy theory. In this poem, he points out that his cursive writing is still the "second king" (王羲之, 王献之) all the way, and further points out that his style is "spontaneous and super-broad, and the study of the essence is unknown", although it is a self-effacing word, but the artistic conception of his calligraphy can be seen.
Looking at Qu Dajun's handwriting, it can be seen that his book was chased by Wang Xizhi on the slope of SuDong in the Song Dynasty, especially good at using Jianhao, wrist flat pen, transported to the center, there is a unique qinggang atmosphere, not ordinary attainments can achieve. He calls himself "super-spontaneous", which is also a major feature of his calligraphy.
In the late Ming Dynasty, the Chinese book scene was filled with a romantic trend of beauty of ugliness and madness, and Qu Dajun's calligraphy was invisibly influenced by this trend of thought. The cursive "Writing Du Fu's Eight Arrays of Sentences" is a reflection of this aesthetic tendency. This book takes the momentum of the longitudinal pen, arbitrarily and freely, and obtains the gesture of the "two kings", and it is slightly reserved. Although the three songs of Luofu Miscellaneous Songs are in the grass, although they belong to the genus of sketches and have a weak momentum, they use the old way of the pen, the pen is exquisite and the ink is exquisite, and a kind of beauty and elegance and elegance jump on the paper.
Qu Dajun also had a lishu lineage. In the Seven Star Rock in present-day Zhaoqing, Guangdong, there is an inscription of Qu's Lishu "Little Thousand Feet of Mountain Shuang", which was written in the twenty-second year of the Kangxi Dynasty (1683). The book is born in the Han Stele, especially in the "Xia Cheng Stele", compared with the Chen Gong Yin LiShu, the Chen Shu dances round and flies, close to the eight-point book; the Qu Shu is dignified and thick, with many Han rhymes.
Qu Dajun's dozen or so calligraphies have provided us with a valuable blueprint for understanding his artistic style. The discussion of Qu Dajun's handwriting and its artistic characteristics will undoubtedly help to fully understand Qu Dajun as a poet, scholar, and relic. As early as the 1940s, Li Xianggen of Xiangshan, Guangdong Province, wrote a poem by Yong and Qu Dajun in "Lingnan Calligraphy", which can help us to understand Qu Dajun and his calligraphy art more deeply: "Lingnan alone doqishi, wanton Wang Yang Qu Waffle." The book is retro in the late Ming Dynasty, and Zhong Zhang Yulie enters the Qing entertainment. ”
Qu Dajun's calligraphy works