Introduction to the Five Dynasties of Yang Ning's Style Book "Leek Flower Thesis": Qianlong Emperor Xingshu Title "Yang Shaoshi Leek Flower Thesis Miracle"
"Leek Flower Post" Click on the picture to buy
Huang Tingjian of the Song Dynasty was familiar with Yang Ning's praise. But his advice, or exhortation, was heard by few.
Today, in the history of calligraphy, it can be confirmed that the Song people are not keen on calligraphy, or in their cognition, italics are more of a practical carrier, and these functions can be handed over to engraving and printing. Therefore, Su, Huang, Mi, and Cai's calligraphy are scarce, and even if there are xingkai with the rhythm of the book, it can be inferred that they observe other books from the perspective of the book, and the "Song people still mean" can be seen here. Another point that needs to be paid attention to is that the tables and chairs of the Song Dynasty have been very popular and stereotyped, and there is no longer a "constraint". We stubbornly adhere to the existing learning methods and concepts, run wild in the inertial thinking, do not dare to give up, so we can only sigh at the exquisite brushwork of Yang Madman, and finally get nothing.
"Madness", "madness" and "epilepsy" are non-universal characteristics of human society. In the history of Chinese calligraphy, Zhang Xu, Huai Su, Mi Fu, Xu Wei, Bada, etc. all had the performance of "madness", "madness" and "epilepsy", and the causes of this behavior had a great correlation with the social and cultural background at that time.
Yang Ningshi, a five-generation calligrapher known as a "madman", was unanimously respected and respected by the four families of the Song Dynasty. In terms of the face of calligraphy, he is a devout successor, a pioneer of acquisition, and an inspiration for future generations of calligraphers to "want to change bones". This article analyzes his experience and works to deeply understand the relationship between his works and people.
"The common book only knows the lan pavilion face, and wants to change the bones without jindan." Who knows Luoyang Yang Fengzi, the next pen will go to the Wusi Column" ("Valley Collection", vol. 28). As one of the representative figures of the Shangyi calligraphy style of the Song Dynasty, Huang Tingjian's poem gave Yang Ningshi a high praise, pointed out the universal limitations of the aesthetic cognition of the calligraphers at that time, and introduced a successful case to future generations of calligraphers.
First, the origin of "madness"
Yang Ningshi (873-954) character Jingdu, trumpet white, present-day Shaanxi people. During the Liang, Tang, Jin, Han, and Friday dynasties, the official to the crown prince Taibao, known as "Yang Shaoshi". Yang Ning's style of writing was initially influenced by Ouyang Qing, Yan Zhenqing, Huai Su, Liu Gongquan, etc., and later traced back to the father and son of Wang Xizhi and Wang Xianzhi of Wei and Jin, and obtained its essence, not sticking to the appearance of similarity, but having a refined and changeable style.
Yang Ning style like
Yang Ningshi was born at the end of the Tang Dynasty peasant revolt, eunuch coups, warlord melee, and division of the masses. In 904, Zhu Wen sent people to kill Tang Zhaozong in Luoyang, and the following year he killed Emperor Zhaozong's son Wang Yu and nine other kings. Later, the yellow robe was added to the throne, and the national name was Liang. China entered the division and scuffle of the Five Dynasties and Ten Kingdoms. In order to maintain the new regime, the imperial court sent secret agents to monitor and eliminate more than 30 people, including Pei Shu, an old minister who was attached to the old dynasty, and Du Lonely. In order to save their lives, the princes and ministers handed over the official seals of the old dynasty to show their submission. Yang Shi (Yang Ningshi's father), who had been emperor of Tang Zhaoxuan, also wanted to hand over the seal of Xiang xiang with the crowd for peace.
"Since the time of changing surnames in ancient times, there will be righteous ministers who are loyal to this dynasty, so the thieves will be afraid." After the death of Tang, his prime ministers were all treacherous and profit-seeking, traitors and thieves only to overthrow the clan society, and the people who stood in the court were all villains, so they did not think it was impossible to be sealed with people, and persuaded them to enter the court of thieves without being ashamed. However, Yang Ningshi had a word and his father was horrified..." ("The Confirmation of the Famous Sages of All Dynasties", vol. 94) The history records that Yang Shi was "spiritually enlightened, rich in literary algae, and greatly promoted by the times."
In 907, Zhu Wen abolished Emperor Wu and established himself as Liang Dynasty, and ordered the chancellor Yang Shi to lead hundreds of officials to sacrifice the imperial jade seal. Yang Ningshi once dissuaded his father: "The adult is the prime minister, and the country cannot be said to be blameless, but he also holds the seal of the Son of Heaven to pay others and protect his wealth, just like the clouds after a thousand years?" The act of persuading his father made Yang Shi frightened and confused, afraid that if this word was heard, he would be cut off by the door. After all, life is at stake, the old dynasty has no power to return, or because of the fear of the dialogue between father and son for the servants to spread, since then Yang Ningshi sacrificed a crazy look.
There are two kinds of comments on this for future generations, one is that his act of persuading his father shows his high style and good manners of "one subject and two masters", especially in the Song people's home and country worries when they look back on the five generations, and the plot of the scholars who pinned their infinite hopes on them, which can be highly recognized by Yang Ningshi, Huang Tingjian Zengyun: "Lu Gongshu, today's people are more respectful with customs, and the young master is good and the belly is not also good. ("Valley Collection" vol. 28) It can be seen that Su and Huang Li recommended Yang Ningshi as the unique inheritance of the five generations, which people did not fully understand at the time, on the one hand, it also confirmed the unique aesthetic taste and artistic outlook of Su and Huang.
Another way of believing that the exhortation was that the father did not use the society and others, but he himself became a high-ranking official of the Liang, Tang, Jin, Han, and Friday dynasties, from the ceremonial member Wailang, the left servant, to the crown prince Taibao and finally grew old, and the shi dynasty did not fall, but he was a person with no integrity.
The two diametrically opposed evaluations of the descendants indirectly confirm the contradictions inherent in Yang Ning's style. With a sense of justice, but unable to get rid of his situation, he avoids adopting the attitude of "The Net of the World, the Age of The Good Swimr", and uses "madness" to cover up the bitterness of his spirit. The dual personality is bridged in reality, and it is like walking on thin ice in the imperial court, and it is extremely detached in writing. Cai Qi of the Song Dynasty said: "Yang Ning's style of Tang, Jin, and Han, who fell into disrepair and did not examine himself, called himself Yang Fengzi, and finally be able to complete himself with wisdom." And this madness proves that it defuses potential political dangers.
Second, the inscription wall book me
Yang Ning's "madness" is more embodied in escaping from reality and writing with books.
Whenever I go out to the temple, I ask for flowers and birds, and when I am in high spirits, I write cursive writing on the wall, sprinkle it for a moment, and the wall is full of smoke. "Ji Ji looked at it, as if he were mad, and led the pen to swing, and chanted and wrote, and the pen met with the gods, and the wall of the book was exhausted. Fang, slightly tired, tourists see it, all sigh" ("Luoyang Jinsheng Old Anecdotes"). A gust of wind swept away the clouds, and the spirit of the wall was brilliant, jumping on it. This "performance" method made the title of "Yang Fengzi" spread farther and farther, and the walls of the Luoyang Temple were inscribed on it.
The Song Dynasty scholar Li Jianzhong once wrote a poem praising the clouds: "The dead cedar is poured and the juniper frost is old, and the pine smoke musk coal is rainy and cold." I was also born with a bookish habit, and I read it once I entered the temple. "Describe the intuitive feelings of Yang's handwriting." Huang Tingjian went to Luoyang to look at the inkblots between the walls of the monastery, commenting on the clouds: "Yang Shaoshi's book, no word is not made into a subtle, when and Wu Sheng (Wu Daozi) painting as the second best in Luozhong. Youyun: "Since the Jin Dynasty, it is rare to get rid of the wind and dust." Like the two kings, only Yan Lugong and Yang Shaoshi were like Great Linger. Lu Gongshu is now a man who respects many people with customs, and the young master shukou praises goodness and belly is not also. If you want to know the Yang's book deeply, you should be like the Jiufang Gao Soma, and leave it with Xuan Huang Mu Mu. This evaluation confirms that Huang Tingjian's pursuit of moving away from the "Eight Laws" form and turning to imagery in his middle age was greatly inspired by Yang Ningshi.
Obviously, it is because of the act of inscription writing that people understand that Yang Ning's "madness" is not a secular kind of person, and even have an artistic appreciation and understanding of this "madness". Han Yu's "Sending Gao Idle to the People's Preface": "In the past, Zhang Xu was good at cursive writing, and did not cure other skills. Joy, sorrow, pleasure, resentment, longing, drunkenness, boredom, unevenness, moving in the heart, will be sent in cursive writing. Looking at things, see mountains and rivers, cliffs and valleys, birds, animals, insects and fish, flowers and trees, sun and moon stars, wind and rain, water and fire, thunder and thunder, song and dance battles, changes in heaven and earth, gratifying and shocking, all in a book. Yang Ningshi is precisely in this kind of situation, such as infatuation, or awake or drunk, out of the shackles of the officialdom, to express the true self. Each of his works is a direct and heartfelt monologue, never repeated and beautiful, and is the supreme realm of undressing, forgetting both things and me, and meeting hands with each other.
Third, the layout in "madness"
Yang Ning's style of writing hovers between Erwang and Yan Zhenqing, whose works are few in existence, but each piece is intriguing. Its clear route of taking the law, combined with the different tones of Wang Xizhi's Qingrun Yali and Yan Lugong's happiness, is a special case in the history of Chinese calligraphy, which has inspired many famous scholars of calligraphy. Here is an analysis of several works of Yang Ning's style, in order to draw reference and inspiration from them.
▲ Luo Zhenyu collection
At present, there are three versions of the "Leek Flower Thesis": one is the Collection of the Qingnei Province, which is now preserved in the Wuxi Museum and was engraved into the "Three Xitang Fa Ti"; the second is the Pei Jingfu Ben, published in the "Ink Stain Dacheng of China", which is now stored in the Lanqianshan Museum in Taiwan; and the third is the Luo Zhenyu Ben, which is verified to be the authentic copy of Luo Zhenyu. Originally stored in the Qing Palace, it later flowed into the folk, and was purchased for Luo Zhenyu at the end of the Qing Dynasty, and now it has been collected in the "Hundred Lords and Lords of the Hidden Dynasties celebrity law book".
▲ Kiyonaifu Collection
Leek Flower Thesis Xingkai Book Hemp Ink on Paper 26cm×28cm
Interpretation: Daytime Sleep, Chu Xing, Hunger is Very Bad, Ku Meng Jian Han ObsceneLy Give Pan Pie When a Leaf Announces Autumn Is the Beginning of the Taste of Leek Flowers Help Its Fattening It Is True To Be Precious and Shy, After Filling the Abdomen Ming Muscle Zai Che Zhen Xiu Chen Xie Fu Wei Jian Zhi Zhi
"Leek Flower Thesis" is a codex written by Yang Ningshi when he got up at lunch break in early autumn and got a friend to give leek flowers to thank his friend for his delicious gift. Where 7 lines, 63 words. The whole passage reveals a relaxed state of life, and the leisurely state of mind is overflowing with words.
From this, it can be seen that Wang Xi's Lanting penmanship, such as "dang", "one", "zhi", "beginning", "Chen", "cha", and Zhiyong's "Thousand Character Text" such as "day", "hunger", "zheng", "Meng", "Jane", "pan", "autumn", "beginning", "beginning", "meaning", "Ming", "Zai", "cut", "Zhen", "Wei", etc. are also in tune, the brushwork originates from the trend of Lanting's internal twisting, with a steady pen, changing the Lanting Yituo Lufeng to cut into the front, moving the center of gravity, not moving, leaving white space between the words, empty and sparse.
▲ Comparison of "Orchid Pavilion Preface" (top) with "Leek Flower Post" (bottom).
▲ Zhiyong's "Thousand Character Text" (top) compared with "Leek Flower Post" (part 2).
However, words such as "ku", "pan", "taste", "repair", "jian" and so on, compared with Wang Xizhi's writings, strengthen the contrasting relationships of thickness, retraction, uniformity, and dryness, while the "real" and "Xie" knots are changeable and break the convention, refined and rich.
▲ Yang Ningshi's "Leek Flower Thesis" model characters: 巧、 Plate, Taste, Repair, Jian
The characteristics are in the chapter, the word spacing is pulled open, the wrapping is complete, and the central axis line will be broken, and the gas machine will be calmly paced, which is refreshing and unfinished.
This unique loose chapter method breaks the traditional line consciousness of the close connection between words and characters, and opens the first line of rules. Dong Qichang's "Rongtai Collection" commented on the clouds: "Slightly linear, Xiao scattered and elegant, which is different from Yang Shaoshi's side of his book. Dong's Chapter Fa duo came out from here.
Practitioners should note that Yang Ningshi did not blindly copy the ancient sages when passing on classic works, but had a unique understanding of brushwork from a subjective aesthetic point of view. For example, in the face of the popular Lanting system, he did not directly take the Zhiyong method of Feng Chengsu's facsimile and the inheritance of the king's straight pen, but instead carried out a new transformation and combination of parts, changing the "verdant and xituo" into an independent wind bone of "literary courtesy".
▲ Lu Hong Caotang Ten Zhi Tu Bao Collection of the National Palace Museum in Taipei
Interpretation: Right view of the former Jin Liu secretary Zuo Lang Zhongjia old legend Lu Haoran YinJun Song Shan Shizhi. Lu Ben Minghong, Gao Shiye. Can eight points of the book, good at making landscapes and trees and stones. Hidden in the Song Mountains, Tang Kaiyuan was initially recruited as a counselor and was not subject. This painting can be cherished also. On July 18, before Ding Wei was old, the old and young passed on the question of Hongnongren.
The "Xuanhe Book Genealogy" said: "Condensed style good writing, especially work and grass, handwriting is uniquely strong, comparable to Yan Zhenqing's book, since he was a haojie in Hanmo at that time." ”
Lu Hong (also known as Hongyi) character Haoran, a haoran, birth and death date unknown, Tang Youzhou people, Xuanzong shi hermit. Proficient in calligraphy, good at landscapes, trees and stones, creating a clear spirit to attack people, and getting the fun of pingyuan. The "Ten Zhitu of Caotang" depicts his secluded life, the original work has long been lost, and it is now the copy of Li Gonglin's "Ten Zhitu of Caotang" of the Northern Song Dynasty.
Yang Ning style this trek, experts mostly identified as authentic. The style of the book inherits the qi pulse of Lu Gong, calm and open, and is retracted and placed.
The words are evenly open to each other, natural and vivid, such as "book", "transmission", "year" inside the blank space and the outer space of the word, the turn of the sharp edge slow, the composition is majestic, such as "Lu", "Kai", "Song" and so on.
▲ "Lu Hong Caotang Ten Zhi Tu Bao" fan characters: book, biography, years, Lu, Kai, Song, heavy, system, levy
Between the rows left and right position, the size of the invasion has a moment, longitudinal transparency, sparse horse, horizontal compact, dense but not windy. The longitudinal dispersion of single words occupies space, which is the usual technique of Yang Ning, such as the "heavy" word in the dispersion that is not too strong, and the cable-stayed, right-leaning, and left-leaning form an aftertaste of endless posture. Another example is the exaggeration of the word "system" to one to two, and the horizontal one such as the dispersion of "sign". There are also multi-word reductions that create a contrast in proportion.
The overall breath is slightly different from the "Sacrifice Nephew Draft", and there is no smearing, tightening the line spacing, weakening the relationship between the word groups entangled in the center, showing a calm and relaxed state, changing the face of Lu Gong's anger and anger and containing it as the Fengshen Gaogu. Such as: Yuan, Mountain, Kai, Age, Transmission, Yu, Ren, Shan, Fu.
▲ The Manuscript of the Sacrifice nephew (Part 1) is compared with the Ten ZhiTubao of Lu Hong Caotang
Su Shi commented: "Self-yan, willow, penmanship declined." Coupled with the chaos at the end of the Tang Dynasty, the characters withered, and the literary style was swept away. Du Yang Gongning style handwriting Xiongjie, there are two kings, Yan, Liu, this can really be described as the master of the book, not by the times. ”
▲ Xia Rete, Paper, 23.8cm×33cm
Interpretation: Condensed Qi: Summer hot body is good, long □ crisp honey water, that is, to cause the Dharma seat. If the □□□ milk offering, it seems that the crisp is not as good as also, (the lower number is damaged) the disease (the second line of damage).
"Xia Re Ti" is the largest single word in Yang's book, the rows and grass are mixed, the scattered fronts are broken, and the vigorous disk is turned back and has the potential to beat, and the central axis from the third row falls to the right. Rough head chaotic, there are typical cursive shapes, the proportion and variation of lines and cursive are less than the "Immortal Living Law", and the diagonal lines that are connected into groups are quite similar to Liu Gongquan's "Mengzhao Thesis", but the glyphs are scattered and open, quite a large grass situation, and if you look closely, it is still a line book, but the space blank changes more, and the author's exaggerated handling is fully reflected in the press and swing. Informal, self-reliant. In the swaying of the eight sides of this post, it increases the sense of space while fully using the sharp edge, showing a natural truth in the strange shape.
▲ The axis changes in "Summer Heat"
Qing Liu Xizai's "Book Outline" Yun: "The Jingdu book machine is out of yan, and it is not shirtless and does not walk, so it becomes a family of its own." "If it is in accord with the Pingyuan "Liu Zhong's Envoy"" (Xiang YuanBi Pai). All are in place.
▲ Immortal Living Law Cursive 27cm×21.2cm on paper
Explanation: The Immortal Living Law. Walk and sit in a reclining place, hands rubbing and belly. When the heart is fast, both hands and intestines are under the ground. Stand on your waist and rub your back against your kidneys. Only to feel tired, even if the family helps. The line is not boring, and the number of days and nights is endless. After years of accumulating achievements, he gradually entered the Immortal Road. Ganyou first year winter remnants of the twilight, Huayang Jiao Shangren respected the master, Yang Ningshi (next grass abduction)
"Immortal Living Law" is the work of Yang Ningshi when he was 76 years old, nearly half of it is cursive, and the rest are in the shape of crazy cursive handwriting, virtual and real, ups and downs, relaxed and self-assured, in one go, with ink thick and light, the knot side flying, the center of gravity swinging left and right. The whole passage is full of rhythm and smoothness.
In terms of style, it is quite similar to Lu Gong's "Sacrifice nephew manuscript", but the young master is flexible and changeable, highlighting more carelessness. Mi Fu once praised: "Horizontal rain and oblique wind, falling paper clouds and smoke, dripping and fast eyes." ”
▲ "Mo", "Jiao Shangren Respects the Master", "Winter Cruelty"
Try to see the "Mo" longitudinal writing, the single word is scattered into two or even three words of space, "Jiao Shangren Respects the Master", multiple words are entangled, the qi pulse is continuous, and the middle side of the pen is used interchangeably, the dot painting is frustrated, and the connection is measured.
Looking at the "Winter Residue" character group, because the closing pen of the rapid writing of "Winter" is directly connected to the 戋, the final gesture is settled on the left side, although it is unexpected, but it is also very interesting. Due to the large number of interventions of the stranded front, the line quality is rich and unusual.
▲ Comparison of Yang Ning's style with Huang Tingjian's "line" character
The two "lines" are one in line and one inverse, especially the second one is like a breeze on the occasion of galloping, which is the same as the line that appears in a large number of Huang Tingjian's cursive posts.
Through the analysis of the author's many years of creative experience, this work should be written in a hurry, and it is an instant record of the heart method transmitted by Huayang Jiao Shangren. According to relevant records, from the fifth generation onwards, the paper curtain has been written flat on the desktop, but the hanging writing method still exists. Yang Ningshi is not a person who is bound to etiquette, and there is a good wall before, so it is entirely possible to hold the paper in the hand shorthand health care recipe emergency, assuming that this recipe must be respectful and respectful, perhaps it should be like the leisure state of "Leek Flower Thesis". The paper is held in the hand, the writing is sketched, and the attached paper surface is not stable, so that there is a dotted and draw competition between words, the lines change greatly, and the central axis is constantly swinging. This kind of writing experience exists in a large number of Yang Ning-style works.
Looking at Yang Ning's style of writing through chapters, calligraphy and brushwork, his emotional changes are fully revealed. Yang Ning's sensitivity reflects the magnitude of his emotional fluctuations. If we divide a few of its works among non-existent authors, we will not feel wrong in terms of style. Of course, the formation of any calligrapher's style is not a day's work, and the style of works presented by Yang Ningshi is diverse.
From this, we can think that the cleverness of the writers of the past generations is precisely based on technique, in the range of emotional calmness and enthusiasm, directly expressing their chests, frank and calm. Man is still that person, and the technique is still that technique, which, driven by sensibility, gives rise to a new face, expressing a sense of movement sufficient to reveal the rhythm of life of the author.
Is this "crazy" really "crazy"? It is precisely the artistic essence of calligraphy that should naturally be valued by contemporary calligraphy creation. There are not many surviving works of Yang Ning's calligraphy, and his exquisite ability to take the law is presented in each work, thus forming a unique multiple styles and facing each other. This is fundamentally different from the creative ideas of contemporary bookmakers who are deeply influenced by the exhibition hall effect.
Fourth, the revelation of "madness"
The wonderful and wonderful book wall works that Su Dongpo and Huang Gu saw in those years have long since disappeared. Yang Ning's official calendar has been five generations, and he enjoys a high life expectancy of 82 years, and is a long-lived man in the history of books.
He experienced and witnessed the rebellion of the Five Dynasties and had a deep understanding of social life. This is strikingly similar to the social state of the Wei and Jin dynasties, and in such a state of uneasy fear and self-preservation, he can only choose a way to escape, to be in the heart of the imperial court in the countryside, to return to a kind of dialogue between his own soul and heavenly beings, and the most direct way to echo this is to write.
The records of his life in the codex include crispy honey water sent to monks, leek flowers gifted by friends, and health tips for sitting up and lying down. Whether it is the literary reflections of the Pai Ji, or the feeling of telling the humor of life with friends, it is embodied in life, the image is outside the imagination, and finally the exquisite understanding of life and the sketch of the pen and ink heart. It all comes down to an aesthetic design concept that is pulling.
▲ Yang Ningshi's "New Step Virtual Words" engraved part
A vast history of calligraphy, almost all the good writers have left a unique aesthetic concept. It is related to the beauty of the Eight Laws, the beauty of flying white, and the beauty of space, each expressing their own opinions, harmony and difference. From the perspective of artistic laws, the rational method of technique comes from the extraction of stylized beauty in tradition, which can be called vertical communication, which is not rigid and selfless, but the speculative process of reaching "self" according to the experience of "original self".
In the history of Chinese calligraphy, since the "madness" and "epilepsy" of Zhang Xu and Huai Su, Yang Ningshi, Mi Fu, Yangzhou Eight Monsters, etc. have left excellent works with the specific feelings of "madness", "delusion" and "strangeness". It confirms the essence of emotion as a driver on the basis of vertical communication.
"Kung Fu is outside the poem", "Kung Fu is outside the word", "Joy and sorrow, a dwelling in the book", "the booker, the lyric", such as Zhuang Zhou Mengdi does not know the butterfly dream of me, or I dream of the butterfly, this state may be able to truly express the inner trance emotions, emotional "forget me" and "superego" and get free, in the moment of lifting the straight book, the thought is not bound by strict etiquette, not bound by rational rigid techniques. This freedom of shuttle avoidance makes it forget "me" thinking, forget that "I" am, and therefore have "I" born.
▲ Yang Ningshi's engraving of "Cloud Driving Moon Halo Post" (suspected fake)
Contemporary calligraphy circles are limited to form, pen, and chapters, and their feelings cannot be expressed, and they cannot make writing a natural pleasure. Yang Ning's behavior of going out of the outdoor book title is one-stop, it is different from writing in the bookstore, it can be repeatedly considered and modified many times, so this kind of inscription wall is a natural and novel calligraphy practice, when this calligraphy practice is watched by everyone, the aesthetic character and psychological expectations of the connoisseurs form a hidden participation in its creation, changing the way of calligraphy appreciation and the public's understanding of calligraphy.