Zhang Bi (张弼), also spelled Rubi (汝弼), was a native of Huating County, Songjiang Province. Officer to the head of the military department, promoted to foreign lang.
For the sake of official purity and integrity, he is not afraid of power, because of his irony of the times and nobility, he is hated by those in power and is expelled from Beijing.
He is famous for his wild grass, with his strange pen and rich variations. Often drunk books, dozens of papers in an instant, as fast as the wind and rain, like a dragon and snake. More like to be a big axis, strange and powerful, shocking a lifetime, known as "Zhang Xu resurrection".
<h1 class="pgc-h-arrow-right" data-track="6" > strange ups and downs</h1>
Zhang Bi was famous for his cursive writing, and the young man taught the "Three Song Dynasties", and in his prime, he turned to Zhang Xu and Huai Su. The style has become more prominent, and the works have become more bizarre and magnificent.
Zhang Bi's cursive writing was particularly high at that time, and its influence even exceeded that of Ershen, and the cursive method was not affected by the "Taige style" at that time, but advocated temperament and pursued the interest of nature.
His cursive writing, the beginner three Song Dynasties (Song Ke, Song Guang, Song Lian), with Song Ke's greatest shadow on him, can be seen from his "Su Yu Ren Bei Ye Shihan" and "Thousand Character Text".
"Friends Of The Night"
The chapter is very strong, the pen is opened, the momentum is flying, the Dao is simple and simple, and the intention is natural. At the same time, the characters are independent, but there is no sense of restraint and cramping, and the breath is smooth; the rules are exquisite and ingenious, the waves are flying, and the horizontal posture is more, which is very similar to Song Kezhangcao's works.
A Thousand Words
With the pen ups and downs, the gestures jumping, the knots are staggered, there are large and small, the lines are suddenly thin, the light and heavy, the changes are rich, and it is obvious that it integrates the chapter grass with the pen, which is very similar to the book style of Song Ke's perfect integration of the chapter grass and the modern grass wild grass.
Later, Zhang Bi felt that Song Ke's cursive writing was not wild enough, so he began to learn Song Guang.
Song Guang's cursive calligraphers Zhang Xu and Huai Su changed their bodies slightly, and their penmanship was smooth and smooth, and their posture was dancing. Zhang Bi copied Song Guang's cursive time ground and obtained the penmanship of Zhang Xu and Huai Su.
The upside-down and drunken cursive gestures are indulgent, the rings are blocked and jumped, tumbling and rushing, and the eyes are frightening; while the dot painting is strong, the movement of the pen edge is seen, and the rules and regulations are very strict. In terms of chapter structure, a stroke gallops, multiple words fly and connect, and the word position changes with the trend, forming an organic, vivid, diverse, and balanced aesthetic whole with multi-word combination, interline lead, Gu Pan, just let go, pitch, etc.
However, this is not a deliberate arrangement and a blunt patchwork, but is formed by adapting to nature in the book of Chi Hao. At this time, Zhang Bi found that the original wildness of drunkenness was really suitable for himself, not only to be able to express himself more fully, but also to release the passion in his heart.
After Zhang Bi took the method of Zhang Xu and Huai Su, he broke away from the influence of the Yuanren retroist style of writing, paid more attention to the expression of temperament, and also got rid of the restrictions of the court style on artistic creativity, fully expressed himself in the cursive writing process, and finally formed his own unique style, becoming a famous calligrapher at that time.
<h1 class="pgc-h-arrow-right" data-track="59" > cursive living alone, like a snake and a snake</h1>
Cursive characters are amorphous, when looking up and down, left and right, change according to the situation, just like the summer clouds change due to the wind, the so-called "collapse clouds and sunsets, change at will and stand empty".
Writing cursive is expensive in change, seeking harmony from the jaggedness and unity from the contrast, but all changes must follow the laws of nature.
Although Zhang Bi's cursive knot body was not as strong as the side of Wang Duo's cursive knot body, it was quite rare in the era when the "Tai Ge style" book style was influential at that time. In the process of writing cursive quickly, he encountered the same glyphs that could naturally change according to the situation, never the same, and he was a master. as:
"Title Water Moon Xuan"
The different treatments of the word "person" are either skimmed and put, or skimmed, or separated, or connected, and there are many variations.
The treatment of the word "medium" is either calm or ethereal, and it is obviously deliberately arranged.
The treatment of the word "fly", the angle of inclination of each word "fly" is different, also increases the richness of the work.
"Song of Tiyun Lou"
The different ways of writing the word "shang" are either thick or flowing; the way the word "nine" is written varies according to the surrounding glyphs, depending on the situation. The word "lou", varying in size, varies.
Zhang Bi's cursive knot body can not be affected by the "Tai Ge style" calligraphy style at that time, and go all the way to neat and rigorous, but it shows a side-by-side unrestrained way, which is really valuable.
Zhang Bi's cursive writing is also sometimes interspersed with lines, such as:
"Butterfly Love Flower Words"
The word "less" in the second line, the last stroke is infinitely elongated to the lower left, just interspersed in the middle of the three lines of "thousand" and "autumn", and the words "dry" and "autumn" are written very small in order to avoid the apostrophe of "less".
Another example is the horizontal of the "Ten Thousand" character in the third line, extending to the left, and the "Fang" character in the fourth line, in order to avoid this horizontal painting, leaves the lower right part blank, and the whole word is in a right-leaning posture.
Looking at another work with the same content, the word "thing" in the first line stretches down vertically, a stroke occupies the spatial distance of two words, and the word "He" below is tightened in the lower right part of the word "every" in order to avoid this vertical painting, forming a strong contrast in size.
The word "at" in the third line stretches to the left, occupying the position of a word in the fourth line, followed by the next "person" word, interspersed with a twist and a stroke to the right, two consecutive indulgent strokes put together, but without a little sense of contrivance, it is natural.
Two works with the same content, but different Chinese characters are used to express the beauty of interspersed avoidance in the calligraphy chapter, which shows that Zhang Bi has been extremely skilled in the use of this technique. Although it was not used as frequently as Huang Tingjian, it also allowed the viewer to experience Zhang Bi's bold and exaggerated skills, which was also extremely rare at that time.
epilogue:
Although Zhang Bi's cursive teaching methods "Zhang Xu" and "Huai Su" in his later years, the cursive writing of the two is smooth, the pen is like flying, the pen is like a snake in an instant, and the paper is full of smoke and clouds, but look at it quietly, and no pen is lost.
Zhang Bi was naturally influenced by the two of them, and the writing speed was also as fast as lightning, as fast as thunder, and with "speed". However, while learning "speed", the loss of pen power is a major drawback of Zhang Bi's cursive writing.
Zhang Bi only learned the cursive temperament of Xu and Su Na, but lost the lines of both "like cone painting sand" and "like printing clay" that are both tough and powerful, resulting in weak and weak pens.
——END