Yang Ningshi has always been regarded as an important figure in the history of calligraphy in the Tang Dynasty and the Song Dynasty.
Huang Tingjian has a poem praising: "The people of the world have learned the Lan Pavilion noodles, and want to change the bones without Jindan." Who knows Luoyang Yang Fengzi, the next pen will go to the Wusi column. ”
His calligraphy was greatly influenced by Wang Xizhi, Ouyang Qing, Yan Zhenqing, Huai Su and others, and his representative works include "Leek Flower Thesis", "Lu Hong Caotang Ten Zhi Tu Bao", "Immortal Living Law" and so on.
These three posts have different styles, or the two kings of the wind god, or the delu gong god essence, or have the nostalgia of the madness, forming their own changeable style, free lyrical spirit.
"Lu Hong Caotang Ten Zhi Tu Bao", a book, a passage inscribed by Yang Ningshi for Tang paintings, uses pen and knot body to resemble Yan Zhenqing's "Contending for Seat Posts" and "Sacrifice Nephew Manuscript", thick and dignified. The whole pen is deep and concise, broad and measured, fast and steady, painful and vivid, and completed in one go. Its knots are also strange, large or small, sparse or dense, light and heavy, wide and narrow, jagged, arbitrary, and ever-changing.
The unique and abrupt style of "Lu Hong Caotang Ten Zhi Tu Bao" is far less elegant and timeless than the previous sages, and is not close to the peace and openness of Tang Xian.
Its use of pen square circles is equally important, with ink dry and moist connection; the knot is suddenly large and small, suddenly right and suddenly; cloth white seems to be careless but sees the power, if it is intentionally arranged but it is natural, it can be described as ingenious and fascinating.
Su Shi said: "Since the Yan Liu clan, the penmanship has declined, and the late Tang Dynasty has been lost, the characters have withered, and the literary style has been swept away." Du Yang Gong condensed style, handwriting Xiongjie, there are two kings, Yan, Liu Yuxu. ”
Mi Yuanzhang said: "The calligraphy and paintings of the late Tang Dynasty were very humble. However, Yang Jingdu's letter of conduct and Yan Lu's Gongbi Di Yan leaked consent. ”
Qing Liu Xizai's "Book Outline" Yun: "The Jingdu scribe frame is out of yan, and it is not shirtless and does not walk, so it becomes a family of its own."
<h1 class="pgc-h-arrow-right" data-track="26" > Yang Ning's "Lu Hong Caotang Ten Zhi Tu Bao"</h1>
<h1 class="pgc-h-arrow-right" data-track="27" > write and parse</h1>
Yang Ningshi (837-954, 957), also spelled Jingdu, Washibai, Xiwei, Guanxi Laonong, Hongnong, etc., was a native of Huayin, Huazhou (present-day Huayin, Shaanxi). Emperor Zhaozong of Tang served as a secretary Lang. After the death of Tang, he successively served as a member of the Ceremonial Department of Later Liang, Later Tang, Later Jin, Later Han, and Later Friday Dynasty, including Wailang, Zuo Shu, Shaofu, Shaobao, and Taibao. Because he served as a princely young master in the Later Han Dynasty, he was known as "Yang Shaoshi". Because of his "fanaticism" to avoid disasters, the world also calls him "Yang Fengzi" and "Yang Crazy".
"Crazy" its people
The era of Yang Ning's life was in the late Tang Dynasty to the fifth generation, with a lot of dry work, exhausted penmanship, withered characters, and swept away by Sven. "Du Yang Gongning's handwriting is majestic, with the 'Two Kings', Yan, and Liu, which can really be described as a masterpiece of books, not by the times." Therefore, Yang Ningshi is also considered to be an important figure in the history of calligraphy since the Tang Dynasty and the Song Dynasty.
Judging from the "Lu Hong Caotang Ten Zhi Tu Bao", this post uses a pen with a calm and loose, thick lines, and does not show gui angles, on the basis of Yan Zhenqing's book, he has added his unique views on the art of calligraphy, cleverly exaggerated the size, the relationship between the dense, the vertical and horizontal opening, the yi pen is sloppy, do not seek rectification, and the learning face is not completely Yan, forming its own unique style. As the Qing Dynasty Liu Xizai's "Book Outline" said: "The Jingdu book machine encloses the book out of yan, and does not wear clothes and shoes, so it becomes a family." ”
Yang Ningshi's contribution to the history of calligraphy is undoubtedly enormous. Judging from the artistic height of his works themselves and the inheritance and development of Jin and Tang scholars, especially Yan Zhenqing, his efforts have had a profound impact on future generations. His heirloom works are not carved, informal, and the Song people "why use their clumsiness" "Although my book is not very good, but it is self-innovative, do not practice the ancients, is a fast also" "The old man's book, this can not also ... Regardless of its clumsiness, the writing state of "no deliberate work is better" and the aesthetic interest are reflected.
If Yan Zhenqing is the forerunner of the "Shangyi" style of writing, then Yang Ningshi is the promoter of the "Shangyi" style of writing. We can say that Yang Ningshi is a strange flower cultivated by the ancient methods of the Jin and Tang Dynasties, he is the signpost of the Song Dynasty and later generations of calligraphers to trace and explore the calligraphy of the previous generation, and he is the hub of the transformation from the Tang of "Shangfa" to the Song of "Shangyi". For a calligrapher who is in a position of inheriting the past and enlightening the future in the history of calligraphy, we should pay attention not only to the artistic height reached by Yang Ning's handed down works, but also to his inheritance and inspiration for his predecessors.
Yang Ningshi "Lu Hong Caotang Ten Zhi Tu Bao"
Scholarly discussion
Yang Ningshi came from a family of official eunuchs, and his father Yang Shi was once the chancellor of the Tang Dynasty. In 907, Zhu Wen abolished Emperor Ai's independence and ordered the chancellor Yang Shi to lead hundreds of officials to sacrifice the Imperial Jade Seal. When Yang Ningshi heard this news, he advised his father: "The adult is the Tang Prime Minister, and the country is here, which cannot be said to be undocumented." Holding the Seal of the Son of Heaven and man, although he is rich and noble, he is a thousand years old! Excuse me! This is the "Father" incident, and the world praises his integrity.
However, Yang Ningshi, who "advised his father" in order to maintain orthodoxy, served successively in Later Liang, Later Tang, Later Jin, Later Han, and Later Friday Dynasty, from the rebbe wailang, zuo servant shooting to the crown prince Taibao and eventually old age. We cannot simply understand this as a mischievous act of apostasy. According to Tao Yue's "Supplement to the History of the Five Dynasties": "... Shi Taizu (Later Liang Zhuwen) was afraid that the Tang ministers would not be good for him, and often made people come to visit the group, and the gentry and the disasters were very bad. Combined with his "feigned" experience, perhaps we can think that Yang Ning's "defection" is just a helpless compromise that is powerless to get rid of the situation.
Yang Ningshi cherished the political ideal of safeguarding orthodoxy, but he "defected" into five dynasties, and could not get rid of the situation that could not be changed. Perhaps the simple and simple side of his surviving books is almost not like that of a family, which is the reflection of the contradictions of his life experience in the book.
It is precisely because of this that Yang Ning-style surviving Jianzha does not write serious and orthodox social life content like traditional calligraphers such as Yan Zhenqing, and his "Leek Flower Thesis", "Immortal Living Law", "Lu Hong Caotang Ten Zhi Tu bao", etc., more records of trivial life such as diet and living. This trivial life may be a haven in the whirlpool of the times that Yang Ningshi cannot escape. This haven is either hidden in a plate of leeks given by friends, or in a massage technique that has been passed down in ancient times, or in the paintings of former hermits.
When we were studying "Lu Hong Caotang Ten Zhi Tu Bao", we could not understand Yang Ningshi's helpless and contradictory state of mind in the face of the current situation, nor could we return to the situation in which he wrote this tu bao, but the chapters, knots, pens, and ink of the works all need us to observe and analyze in detail.
He Wei Wei Shi Lin Yang Ning style "Lu Hong Caotang Ten Zhi Tu Bao"
The work is exquisitely interpreted
In July of the twelfth year (947) of the Later Han Dynasty, Yang Ningshi admired the painting "Ten Zhi of Caotang (Ten Views of Song Mountain)" by the Tang Dynasty hermit Lu Hong when he was living in seclusion on Song Mountain, and inscribed it later. The work was later hidden in xiangzi jing's house. Later, Zhang Xiaosi acquired the Jin and Tang Dynasty law books and Song and Yuan famous paintings in Jiangnan, which were among them, and later resold Gao Shiqi, which is now stored in the National Palace Museum in Taipei.
Word size difference comparison
The pen used in this post is mainly centered, with both square circles and square circles, and the side of the knot is used at the same time, the size changes are staggered, the style is simple and dense, and it is deeply influenced by Yan Zhenqing's writings. At the time of making this figure, Yang Ningshi was seventy-four years old, which can be called the masterpiece of his later years.
Judging from the chapter method, compared with the sparseness of Yang Ning's other famous work "Leek Flower Thesis", the Lu Hong Caotang Ten Zhi Tu Bao is undoubtedly more dense. The author strives to compress the gaps between the lines, but uses the changes in the interline axis, the size of the words, the changes in the thickness of the strokes, etc., to try to leave blank spaces, so as not to make people feel dull in the denseness. For example, in the first column, its word axis does not change much, while the second column forms an angle with the first column through the offset of the axis of the word "Old Biography" and "Lu Hao", squeezing the space between rows in one place and leaving a blank space in another. This point requires special attention when studying.
Leave a blank space with changes in the interline axis
This kind of overall dense and sparse spatial processing, we can also find a similar treatment method in the structure of the single word. Such as "chuan", "remember", "can", "Song", "Lang", "Kai", "consultation", "Lu Haoranyin" and so on. The strokes at the tight junctions are almost overlapping, leaving a large blank space in the sparse places. This strong contrast gives people a unique aesthetic feeling. In terms of the size of the word, if Yang Ningshi deliberately reduced the five characters of the seventh column of "July 18th" out of the needs of the text format, then the difference in size between the words "Lan", "Book", "Home", "Lu", "Ran", "Hong", "System", "Song", "Kai", "Zheng", "Consultation" and other words and "Zhong", "Jun", "Mountain", "Big", "No", "Also", "Less" and other words is an improvisation made according to the number of strokes and volume of these words themselves, and the difference in size is several times or even more. The writing effect facilitates the natural situation. When studying, pay attention to the proportion of differences in size.
Handling of dense relationships
When writing, you should also pay attention to the dynamic trend of the word. If there are "old", "Lu", "nong" and "title" that slope to the upper left, there are also "Tang" and "left" that slope to the upper right, and even the various components in the single word have side changes, such as "Hong", "Zhen", "Chuan", "Zhi", etc., interspersed with relatively stable words such as "Yu", "Fu", "Zheng", "Receiving", "Viewing", etc. This kind of sideways change makes the whole work dignified in the dynamic, and it is not lost in the stability.
The side changes inside the word
The center of gravity is stable
Yang Ningshi's commonly used processing methods when dealing with some words especially need to be paid attention to, and the author calls it "the misalignment of the axis of the upper and lower components of the single word". That is, in a word, when there is a relationship between the upper and lower structure of its components, if the upper and lower parts are marked separately on the central axis, the axes of these components will usually produce misalignment phenomena, such as "Zhi", "Good", "Heavy", "Book", "Lu", "Farming", "Home" and so on. This kind of treatment does not only appear in the "Lu Hong Caotang Ten Zhi Tu Bao", such as the "stomach" part of the "real", "meng", "zhi" characters in the "Leek Flower Post", "stomach" and "jian" characters. There are not many Yang Ning-style works, well-known ones include "Leek Flower Thesis", "Xia Reti", "Immortal Living Law", etc., if you only observe it with intuitive feelings, it is difficult to find out what they have in common, which can be called a post, so some scholars cannot accept that these works are from one person's hand, and believe that there may be forgeries in them. This misplaced approach may prove to some extent that it was written by the same author.
Tilt top left versus top right
The axis of the upper and lower parts of the word in the "Leek Flower Post" is misaligned
Misalignment of the axis of the upper and lower parts of the word
In the use of the pen, the brush into the paper, volleying down, the sharp pen is very rare, the sharp edge is faint, the line is loose and calm, the cutting is simple, the round pen is mainly, the round is smooth and thick, the angle is not revealed, and the charm of Yan Lu Gongxing's book is deep.