Zheng Qi, who enjoyed a heavy name at that time, was severely criticized and even ridiculed by Chen Yixi, Yang Bin, Wang Shu, Qian Yong and others from the late Kangxi period. This encounter shows that the aesthetic and technical pursuits of the early and later periods are very different from those advocating epigraphy. Through the case of Zheng Yi, we can accurately observe the evolution of the concept of epigraphy in the Qing Dynasty
Zheng Mo "Lishu Five Laws Album" Part paper Lishu Taiwan He Chuangshi Calligraphy Art Museum Collection
Zheng Yi (1622-1693) was the most famous calligrapher in the early Qing Dynasty who participated in the visit to the monument and studied the Han monument. At that time, he was sought after by many well-known scribes, and the famous scholar zhu Yizun (1629-1709), who also wrote the book, showed considerable admiration for him, not only considering the eight points of the Zheng clan to be his teacher, but also regarding him as the first of the dynasty, and Yan Ruoxuan (1636-1704) respected him as a "sage" in the book world, along with Gu Yanwu (1613-1682), Huang Zongxi (1610-1695) and other great Confucians. In a letter to Dai Tangqi, Yan Ruoxuan said: The twelve saints (of this dynasty), Qian Muzhai, Feng Dingyuan, Huang Nanlei, Lü Wancun, Wei Shuzi, Wang Yuanwen, Zhu Xihuan, Gu Liangfen, Gu Ningren, Du Yuhuang, Cheng Zishang, and Zheng Ruqi, and even more yu Jiayan, Huang Longshi, and all fourteen people, are called saints. Whether it is to sing the lishu of a calligrapher in a concentrated way, or to honor a living lishu as a "saint", it is a very rare phenomenon in the history of calligraphy. Characterized by its strong writtenness and freehandness, Zheng Zhilishu had a considerable influence on the simultaneous and later writers, and according to statistics, there were about a dozen calligraphers who inherited its appearance. As a result, he became a benchmark for future generations to talk about the early Qing Dynasty. Interestingly, zheng gui, who enjoyed a heavy name at that time, from the late Kangxi period onwards, was severely criticized and even ridiculed by Chen Yixi (1648-1709), Yang Bin (1650-1720), Wang Shu (1668-1743), Qian Yong (1759-1844) and others. This encounter shows that the aesthetic and technical pursuits of the early and later periods are very different from those advocating epigraphy. Through the case of Zheng Yi, we can accurately observe the evolution of the concept of steleology in the Qing Dynasty.
(1) Sage: Zheng Zhen in the eyes of the literati in the early Qing Dynasty
Zheng Qi (Chinese: 郑簠; pinyin: 郑簠; pinyin: Zhāng zhō Originally from Putian, Fujian Province, Ming Hongwujian (1368-1398) moved to Jinling (present-day Nanjing, Jiangsu). Zheng Mo never came out in his life, he adhered to his family learning, to practice medicine, his medical skills are quite famous in the local area, until his old age is still "medical entertainment". For a while, because of the sick Yingmen, he had the idea of escaping from his name, and Li Yu (1610-1680) wrote a poem to satirize and exhort, "Gifting Zheng RuQi" Xiao Yingyun: "Ruqi literati are also able to write poetry, and they are friendly, and they are famous for their Qihuang techniques. Although Zheng Mo was a cloth cloth, he lived in the old capital with a crown and spokes, and he was good at knotting, so "whether he knows it or not, everyone knows that there is Mr. Taniguchi under the white." He made friends not through the practice of medicine, but through his letters. Combining literature with heirloom works can be roughly examined as one of its recipients. After the death of Jiang Yan (1607-1673) who lived in Suzhou after the Ding Revolution, Yu Ying wrote a biography by Zheng Yi. Zhou Lianggong (1612-1672), who lived in Nanjing, explicitly stated that he "learned books from Taniguchi", and he advised Zheng Tow to copy prefaces or inscriptions for the books he had engraved, such as the LaiGutang Seal, the Guangjin Shiyunfu, and the Character Touch. Wang Hongzhuo (1622-1702), who was in Shaanxi, directly demanded in a letter to Zheng Mou that "those who ask for it are willing to give it as a feeling", and his Duheting joint is also written by Zheng. Zhejiang scholar Zhu Yizun's "Exposure Pavilion" also hung plaques and links of Zheng Yizun's books everywhere, and poured them over. Kong Shangren (1648-1718), who had served in Yangzhou, kangxi jiwei (1689) spent the Mid-Autumn Festival with Zheng Mo, and it was The night Zheng Zhen who sprinkled it for him, and received no less than a dozen pieces of paper, Kong Sigh sighed that "this music is consumed by one person alone." Among the more than 80 "recorded" letters handed down by Zheng Qi, there are some "recorded" recipients who are also quite famous, such as Cao Zhenji (1634-1698), Zhang Zhen (1632-1712), Jiang Yujie, Fan Xi (1616-?). ), Yan Guangmin (1640-1686), Jin Zhijing, etc. It is worth noting that a considerable number of Zheng Yi's friends were Jinshi scholars, such as Gu Yanwu, Zhu Yizun, Cao Rong, and Wang Hongzhu, and the development of epigraphy in the early Qing Dynasty was closely related to the revitalization of Lishu.
Zheng Qi's "Lishu Jiannan Poetry Axis" Lishu lishu on paper Collection of the Palace Museum in Beijing
On the one hand, the literati obtained works from Zheng Mo through various channels, and on the other hand, they often wrote for Zheng Mo's lishu and competed for weight. Zhou Lianggong, Wang Huang (1593-1676), Liu Tiren (1612-1677), Yan Guangmin, Wang Wan (1624-1691), Tang Yansheng (1616-1692) and others have expressed their respect for Zheng Zhilishu in their inscriptions. For example, Wang Wanbao's "Nine Kinds of Books of Han Li" has clouds: "Eight points is straight to the Eastern Han Dynasty, with a pen that is both round and strong, deep in ancient meaning, breaking the habit of rectification since the Tang Dynasty, and the ink treasure of the true Xi world." [xvi] Zhou Lianggong titled Zheng Zhen's "Lincao Quan Li Instrument Collection" Wayun: "Mr. Taniguchi Zheng came out, and the true and pure qi of the ancients was restored, which made people know a little about the ancient law." In their pen, Zheng Yi seems to be the first person to climb the two capitals. It is believed that the admiration of these famous scribes for Zheng Zhilishu is sincere, and Zheng Qi's extensive study of Han monuments and the pursuit of flying momentum have drawn a gap with the stereotypical atmosphere of the Ming Dynasty represented by Wen Zhengming (1470-1559). He thus became a benchmark for the early Qing Dynasty, and when people discussed the achievements of other lishu, they would consciously or unconsciously compare it with Zheng Fu. Qian Yong once gave Zheng Yu such a position without hesitation: "At the beginning of the country, there was Zheng Gukou, who began to learn the Han Monument, and then discussed it from the Zhu Zhuyuan (Yi Zun) generation, and the han Lizhi was revived." "The revival of Han Li was the starting point of Qing Dynasty epigraphy, and Zheng Shi made great contributions to the study of steles. Out of the excitement of Zheng Yi's book, but also out of return for Zheng Qi's works, many literati gave him "eight-point book songs", counting 16 songs, out of the hands of 15 people. Its popularity was that of the early Qing dynasty scholar Wang Duo (1593-1652), Guo Zongchang (?) -1652), Fu Shan (1607-1684 or 1685), Wang Shimin (1592-1680), Cheng Yi (1607-1692), Zhou Lianggong, Zhang Zhen, Gu Ling (after 1609-1682), Zhu Yizun, Cao Si, Chen Gongyin (1631-1700), etc. can not be expected to be compared. The phenomenon of eight-point book songs focused on Zheng Mo and his Lishu creation illustrates at least two problems. First, in the early Qing Dynasty, Lishu had a degree of attention unmatched by other book styles. Yan Ruoxuan called Zheng Qi, who was good at Lishu, a "sage" in the book world, juxtaposed with Gu Yanwu, Huang Zongxi and other great Confucians, which also fully illustrated the status of Lishu at that time. Second, these poems reveal that Zheng Mo's writing state is strongly performative, and his lishu has a majestic and vigorous aesthetic feeling because of the emphasis on the momentum of writing; at the same time, in terms of structural characteristics, it maintains a conformity with the classics of the Han Tablet. These are very different from the Ming Dynasty Lishu, which is modeled after the Three Kingdoms Lishu.
(2) Flying - the fun of Zheng Zhili's book
The early Qing Dynasty was the flourishing period of hanbei worship, and Zheng Yi was undoubtedly the most extensive and in-depth calligrapher who studied Hanbei. In order to obtain as many models as possible to learn, he threw himself into the enthusiasm of scholars visiting the monuments at that time, and the Collection of Takuben was quite impressive, and his student Zhang Zaixin (1651-?) In the "Trivia of the Law", it is said: "The gentleman devoted his life to this, purchased the Han monuments in the world, spared no effort, and saw that his family had collected ancient steles, accumulated four cabinets, and copied them all over the place." Zheng Yi therefore has a broader vision and scope of capital than the contemporary calligraphers, and in a wide range of copying, he has formed a unique set of concepts about the creation of Han tablets and Lishu: First, to learn Lishu, it is necessary to take the Fahan Stele. Because of the strangeness, Zheng Yi had studied the Song Jue (1576-1632) lishu of the late Ming and early Qing dynasties for a long time, but finally found that the farther away the ancients were, the day would be separated, so he deeply regretted his past, began to learn from the Han Tablets, and advised scholars to be "simple and self-ancient, clumsy and self-curious", and did not have to aim at Wei Qi. Jin Zhijing's "Records of Thought" says that he "discussed the study of division and subordination, but with Han as the sect, it occupies a very high area, so the pen has been transported since ancient times", which is the key to the success of Zheng's Lishu. In Zheng Qi's later years, Zhang Zaixin, a native of Anqiu, Shandong, went to Nanjing to ask him for advice, and Zheng shi commented on the Han monuments in Shandong, Shaanxi, and the south, taking "Fadu" as the sect, thinking that if he gave it up, he would not be allowed to enter the Han doorway. He said: "Dongping has two steles, "Hengfang" and "Zhang Qian", which are quite quaint and elegant, and the first scholar of jining Xuegong. "Lu Jun Monument" and the stele yin have a legal degree, "Wei Shi" can also be the name of the official, "Jing Junming" before and after the two stele, Fang Yan is cute. In Zheng's understanding, only the inscriptions that should be prepared by the Fa have the value of taking the Fa, especially for beginners. In an inscription after copying the "Han Kong and the Hundred Stone Stele of the Temple", he also said: "The calligraphy of the Eastern Han Dynasty is the most complete at this moment, and those who have the ambition to do so must not be victorious." The Xiping Stone Classic, Pai Yiyun: "Although there are very few in existence, the first canonical torture device is there, and it is already Lu Lingguang." "From the square and leveled Han stele, we can see the typical residence of Lishu, and learning from the Han stele is not from this hall. Second, although it is necessary to pay attention to the law when writing a letter of affiliation, it will lose its vividness if you stick to the law. Therefore, we can only rectify the rules without being satisfied, and we must also pay attention to the dangerous posture and sharpness. In this sense, he particularly admired the "Ceremonial Tablet":
The pen is thin and strong, sharp as a sharp edge, as thin as gossamer, and it is a family of carvings in the Eastern Han Dynasty, which makes it difficult for later scholars to continue to describe. Feng Ying revealed that Yan Qiao forced people to become a family of their own in han jie, so scholars rarely can zongzhi. The font is strong and profound, dangerous with the pen, and difficult to copy. Its fibers are like gossamer at the beginning, and cannot be traced; its through places are like the iron flag square exhibition, and the majesty is amazing. Among the multitudes, there is more than enough talent, and so is the one who is spiritually sufficient.
Zheng Mo's "Lishu Huanxi Yarn Axis" on paper, Shanghai Museum Collection
When discussing the "Yi Ying Monument", he also said: "The Law of Li has the tendency to tilt on the side of the yi, and at this moment, the posture is fully prepared, the ancient color is shining, and it is the first famous artist of the Eastern Han Dynasty." In Zheng's view, in order to seek the "ancient meaning" of the book, the "potential" of the flying of the pen and the dangerous "state" of the structure are also indispensable. The Han monument is a vivid and interesting quaint, in the middle of the strange, in the peace of the danger, in the quiet of the movement. If you are blindly square, you are less than the wind. Therefore, in the creation of the Hanbei Linshu and lishu, while maintaining the square and simple quality of the knot, it is necessary to obtain strange postures and flying momentum through writing - with changes in pen, speed, and rhythm, otherwise it is difficult for the work to have a "divine atmosphere" to speak of. This understanding of the Han stele directly affected Zheng Mo's creative state and style. Song Huan (1614-1674) "Song of Gifting Zheng Ru Instruments" has clouds: "Splashing ink on the four seats, the wind and rain are at hand." Such depictions are not conjectures and exaggerations in poetic form, and are described in other texts of the same period. Jin Zhi Jingmu Zheng Lishu is "Cao Li", like Zhao Miguang's (1559-1625) "Cao Seal", it is a one-step one-step. He said:
Common wine dancing, snow in the window, red candles in a few, ink pond fish dragon, leaping to fly, more firecrackers a few times to make its breath, and then the sleeves of the sleeves, talk and laugh to the guests, swing the accumulated size of a number of stands, Jupan has more courage, sitting in the guest sigh. There are many books in the book, and the book needs to be set off to cheer up its spirits, and the ancient book people may only have the case of Zheng Zhen.
Kong Shangren also said in a letter to Zheng Shi: "Mr. Ran Ran white beard, iron arm and jade wrist, the broom of the Middle Mountain, the pool of the North Underworld, the leap of insects and fishes, the hovering of tadpoles, so that the audience can see the spirit of the eyes and ears." "It can make the group viewers see the spirit of the eyes and ears, and the writing process is naturally very infectious and expressive." Regarding the style of Zheng Zhili's book, Fang Shuo tried to describe it as "composed and flying", and he praised it even more in the "Ming Tuo Han GuoYang Ling Cao Quan Stele": "At the beginning of the country, Zheng Gukou Mountain People, specializing in this body, were enough to be famous. When it moves and changes shape, it feels funny. As for the big book, the pen and ink have turned into smoke. "Composure and flying refer to the pen, shifting and transfiguration refers to the structure, and guqu can refer to the purpose of the interest." Third, out of the consideration of dangerous posture and sharpness, Zheng Mo always regards "writing" as the soul of lishu, paying attention to the rise and fall, bones and echoes in the pen. Zhang Zaixin's "Lifa Trivia" paraphrased Zheng's words: "People in the world only write with fur, use pens for writing, inherent ups and downs, but between the upper and lower sides, there must be a backbone, there must be a tendon, there must be a head and an end, there will be a spirit, otherwise it will not become a family." "Rise and fall refers to the suppression and setback of the pen, can not be flat and direct, smeared; the bones refer to the structure of ZhuoLi, every word is an organism, the connection of dot painting must be firm and flexible; echo refers to the up and down four sides of the end of the look, full of fun, no operator's drawbacks. If you purely depict the shape of the book, you only get its fur. This passage of Zheng Mo can be regarded as a dissection of one's own "divine qi" or a criticism of the habits of predecessors. The emphasis on writing and freehand is the most important feature of Zheng's book.
Breaking the disadvantages of the Ming people's habit of subordination and learning directly from the Han Monument has always been accepted by future generations of Lishu scholars, and even as the only way to learn Lishu. However, Zheng Mo's concept of the ups and downs of the pen and the care of the end, that is, the emphasis on writing, has a considerable contradiction with the goodness of scholars since Qianjia. In the period of the prosperity of Pu Xue, scholars took the examination of the truth of the branches of history as everything, reflected in calligraphy, the beauty of the flowing beauty people had no time to take care of, simplicity, thickness gradually became a necessary condition for evaluating the superiority or inferiority, or even a sufficient condition. The emergence of technical language and aesthetic categories such as center forward, Tibetan front, middle real, slow, thick, clumsy, implicit, plain, etc., subverts various traditional calligraphy concepts such as eight-sided front, hook and lock, power to gain momentum, mastery, and encountering changes. Taking Yi Bingshou (1754-1815) as an example, he more pursued the plain and simple stylized pen to highlight the clumsiness, the tension created by the easier and more square structure to highlight the momentum, and the fat and thin and virtual changes of the dot line to hint at the vividness of the layout. This is very different from Zheng Mo's pursuit of creating the "divine spirit" of the work with the vivid care of the pen. Zheng Yan was fiercely criticized after Qianjia, and it was precisely this proposition of his and the embodiment of this proposition in his works - flying and circulating.
(3) Bugu: Criticism of Zheng Zhilishu in the middle of the Qing Dynasty
The Zheng ZhiLishu had a great influence in the early Qing Dynasty. According to the literature and the comparison of the handwriting, there are many calligraphers in the same period of the scale of their calligraphy appearance, such as Zhou Lianggong, Zhou Zaijun father and son, Zhang Zhen, Zhang Zaixin father and son, Gu Ling, Kong Yuxi, Wang Kui (1645-about 1710), Wang Yong brothers, Yu Zhiding (1647-1716), Wan Jing (1659-1741), Lin Yi (1660-?). ), Wu Zhan'ao and others. For example, when Wan Jing was a teenager, he learned the nature theory from Ying Shuqian, learned Han Li from Zheng Zhi, and learned from Yan Ruoxuan to learn from Geography. Wu Zhan'ao, the son of Xin'an Wu Yuan, was also personally burned by Zheng Zhen, and tasted a poem: "The Duke of Hair taught me to examine jinshi, and I started with "Kong Zhou" and "Cao Quan". It can be seen that in addition to the influence of Nanjing and Yangzhou, the Book of Zheng Lili affected Anhui, Zhejiang, Fujian, Shandong and other places.
Zheng Mo's "Lishu Ancient Gentleman's Five Words and Poems" ink on paper
Later scholars influenced by Zheng Yun also included Gao Fenghan (1683-1749), Gao Xiang (1688-1753), Jin Nong (1687-1763), Zhu Min, Zhu Wenzhen, Tang Zhi, Mao Wei (birth and death unknown) and others in the Eight Monsters of Yangzhou. In his later years, Jinnong said in a collection of lacquered works: "Eight points of thirst for the beginning of the seventy years of the year. The Han and Wei people did not have this method, nor did the Tang, Song, Yuan, and Ming dynasties. Kangxi Jinling Zheng Gukou is good at body, can not be said to be thirsty pen eight points, if a moment to learn Zheng Gukou, not to mention the thirst pen eight points also. Although he used his thirst for eight points to show that he was different from Zheng Mo, Jin Nong's early habits were indeed inseparable from Zheng Mo. The "History of the Imperial Qing Dynasty" quotes the "Hangzhou Fuzhi" as also referring to Jinnong as "eight points of work, Fa Zheng Gukou, and small variations of its body." "We only need to compare his early Lishu with Zheng Yi's "Guangjin Shiyun Fu Order" written by Zhou Lianggong, and it is not difficult to find the inheritance relationship between them. Fang Shuo believes that the stele scholar Deng Shiru (1743-1805) also started from Zheng Gui, "The Two Steles Before and After the Confucius Temple of the Old Tuohan Lu XiangShi Chen" Baoyun: "The "City God Temple Stele" written by Yu Zhongxuangong of Wu County is his (press, referring to Zheng Gui) handwritten book, and those who know it should say that it is far better than the heavy book "Guo Tai" a stone. This is where the beginner learned. ”
Although Zheng Mo not only had a great contribution to the Qing Dynasty Lishu, but also influenced a large number of simultaneous and future generations of Lishu, due to the changes in the aesthetic concept of epigraphy after Qianjia, the calligraphers advocated the simple and simple Lishu style represented by Yi Bingshou, and the "flying movement" that Zheng had praised was denigrated as clever and unpretentious. This reflects the change in the concept of the late period of epigraphy, in which Zheng Mo could not gain the sympathy of the posthumous theorists.
In Zheng Qi's time, seeking a kind of writing in the inscription to break the stereotype of lishu since the Yuan and Ming dynasties was not only a requirement of the internal logic of the history of calligraphy, but also a sign of success in the eyes of people at that time. However, the epigraphy after Qianjia paid more attention to introspection, emphasizing thickness and simplicity, and Yi Bingshou's "operator"-like cloth white was regarded as a new idol of epigraphy because of the heaviness of his dot paintings and the tension of the structure. In such a situation, Zheng Was severely criticized, even ridiculed, such as weak strength, jumping, and immorality. Of course, we cannot deny Zheng Yi's achievements and his important position in the history of epigraphy, but we can glimpse the internal evolution trajectory of the concept of epigraphy in the Qing Dynasty.
In the early Qing Dynasty, those who were keen on inscriptions never denigrated the inscriptions, they studied inscriptions in order to seek the origin of the Calligraphy of the Erwang Calligraphy, and still learned the Tang tablets and inscriptions in Theory and Xingcao. In the inscriptions of the inscriptions at that time, even if there was no boundary between the inscriptions, the stele was often called the post. Some calligraphers who admired inscriptions also attached great importance to the Fa Ti. Kang Youwei (1858-1927) called "the prosperity of steleology, the bad of the study of theology", only part of the situation at the time of the great prosperity of steleology, which is not incompatible with the actual situation of the initial rise of steleology.
Some of the criticisms against Zheng Fu focused on the Guo Youdao Monument, which Zheng Mo and Fu Shan wrote separately. Kangxi's "Jiexiu County Chronicle" monument "Guo Youdao Tomb": "Cai Zhonglang wrote a tombstone, which was obliterated for a long time, and Guo Qingluo supplemented the book in the twentieth year of the Wanli Calendar." In the twelfth year of the Kangxi Dynasty, Fu Shan supplemented the book. In the 30th year of the Kangxi Dynasty, Wang Kui of Zhixian County asked Jinling Zheng To supplement the book, and Yu Yumin erected a monument. "In the thirtieth year of the Kangxi Dynasty (1691), Zheng Qi was instructed by Wang Wei to rewrite the full text of the Guo Youdao Stele, and after Yu Yumin's stone, he and Fu Shan's inscription were erected next to Guo's tomb, and these two heavy book inscriptions were unanimously criticized by posterity, and Yang Bin, Weng Fanggang (1733-1818) and others pointed out that Fu and Zheng renren re-copied the "Guo Youdao Stele" in writing and calligraphy, believing that "the handwriting is ugly, there is no ancient meaning", "the body is fabricated, and the traces are ugly." However, Zhou Zaijun (Zhou LiangGongzi), a contemporary of Fu and Zheng, had a very different evaluation of the works that the two copied, and he once praised them with a poem: "Taiyuan FuShan's pen is strong, and he writes about duofeng gods with intention." My friend Zheng No. 8 Jigu, QinBei Han Jie is on a blind date. ...... Wave skimming is a healthy book far away, and the old wrist body is bent and strong. Nakaro's text is unashamed, and Taniguchi's zigzag is majestic. Saying "ugly" on the one hand and "majestic" on the other side are very different. Obviously, this is not something wrong with Zheng Yi's lishu, but a change in concept. Considering that the Guo Stele is said to be written by Cai Yong, it may also be related to the critic's sublime psychology of "not catching the ancient now".
Compared with Fu Shan, Zheng Mo not only specialized in writing lishu, but also gained great glory in the early Qing Dynasty. Therefore, he has become the target of the target of everyone. Commentators since Qianjia have criticized Zheng Zhili's book as "not ancient", mainly manifested in "weak strength" and "provocative", both of which are related to the use of his flying pen.
"Wang Jiwangye Poetry Axis" on paper, Qingdao Municipal Museum Collection
While affirming the merits of Zheng's early years of copying, Chen Yixi criticized the strength of his later works after the maturity of his personal style: "Baixia Zheng's early years of learning (press, "Cao Quan Stele"), quite similar, late revival of the Tang Dynasty, no strength, and no follow-up. When Wang Wei criticized Zheng Gui's re-copying of the Guo Youdao Monument, he also specifically talked about his "tenderness and weakness.". Wang Qiangang also thought that the Zheng family's big list book was weak, and "finally felt that the posture was better than the backbone." The feeling of "powerlessness" may be related to Zheng Mo's use of a pen to be fat. Liang Zhangju (1775-1849) put it very vividly, "Essays on Retreat", volume XXII:
At the same time, Zheng Gukou is the most written book, and it is inevitable that the habit is too heavy. Smell it at times there is a play on the black lacquer square, adding white powder four points, said to be Zheng Gukou Lishu "Tian" character, its bad taste can be known, I don't know why the wave got its name that day.
Liang gave a dramatic analogy to satirize Zheng Lishu's fat and bad taste, thinking that he was just a waste of time.
The commentary pointed out that the weakness of Zheng's pen was also related to the depiction of the form of the inscription. Wang Shu bluntly rebuked his study of Cao Quan for "drawing his head and drawing his feet", and only got his fur. "Bamboo Cloud Inscription" Volume 1 "Cao Quan Stele":
Zheng Nü (press, i.e. Ru character) is absolutely famous at the time, and it is necessary to learn only one stele of "Cao Quan". ...... It should be based on the ancient strength and pain, and the pen strength is extremely painful, so that it can penetrate into the bone marrow. Once the dregs are exhausted and the void is gone, it can be detached. Therefore, those who study "Cao Quan" should earnestly ask for it. Can not be painful, but take the head to draw the corner, there is no one who can be "Cao Quan" also. Female (Ru) instrumental writings mostly depict their shape in a weak manner, and their skin and ears are also obtained in the "Cao Quan".
"Imaginary Boat Inscription" also yun:
"Cao Quan Stele" does not wear clothes and does not walk, such as not intentional and work Yiqi, so Guo Yunbo has "intricate changes, not accessible to posterity", which is not one in Han Li. Kan Xiaoshizhi was a subordinate, with Zheng Gukou concentrating on this book, barking and eating, so it was said that the Han Law was summarized in this stele, which could be Tai Xi Ye.
Wang Shu believes that the writing of the Lishu is "ancient and painful", and even if you study the beautiful Han stele such as the Cao Quan Stele, you must seek it with deep pain. Like Zheng Mo, "depicting its shape with weakness" is bound to jump in surprise and lack the strength to penetrate the bone marrow. He also quoted yuanren Wuqiuyan's view that the lishu was "squarely integrated" and opposed the structural fragmentation caused by Zheng Qi's jumping kick with a pen. In the inscription of the "Ten Thousand Texts" Lishu No. 3, he says:
Since Zheng Gukou came out, he has rectified his habits since the Tang and Song dynasties, smashed them all, and called on the world with Han law, and the world followed them calmly. Whenever you see the whole book, don't ask about good or evil, and throw it away. In the end, Taniguchi Lishu is only the body of the Han people, and most of them use pens to depict their shape with weakness.
Zheng Qi's "Lishu Su Shi Bao Sentence Axis" on paper Lishu Tianjin Museum Collection
Wang Shu even believes that Zheng Mo used Hanfa to call on the world, but in fact, the "square rectification" of Hanfa is seriously damaged by it. He said in the inscription of the "Lou Shou Monument": "The predecessors talked about Li Shuyun: Fang Jin was clumsy and cut through the iron. Coming out of the valley mouth and the Han fa is very bad, we must rush to save it in this way. ...... The stele is square in Hanli, which is similar to the Han Renming. Wang Shu called for the "Square Rectification" of the Lou Shou Monument to save Zheng Gui's loss of "only learning the "Cao Quan" stele" by using the "Fang Rectification". Interestingly, Zheng Yi actually often wrote the "Lou Shou Monument", and every time he copied it, he suddenly felt that "the true alcohol of the two Han Dynasties was suddenly in sight, and the old gains were abandoned as if they were forgotten". Hoping on a stele to save the customs of calligraphy is a unique phenomenon of Qing Dynasty epigraphy, and in the era of Kang Youwei, people are more hopeful that through the study of a stele, a personal style will be formed, and it will be enough to pass it on.
Contrary to Wang Shu's statement, Liang Shu (Qianlong Twenty-Seven Years Old) believes that xueli should start with the Yiying Stele, "If you start with the Cao Quan Stele, it is easy to drift, and if you start from The Zhang Qian, it is also moderate." He is also suggesting that the "drifting" of Zheng Zhilishu is not unrelated to the Cao Quan Stele. He also criticized Zheng Mo for not being able to write on many occasions:
To taste the penmanship of his (Zheng Mo), he did not finish it. Therefore, although the name of Kangxi is important for a while, it is not expensive today.
Recently, those who have learned eight points of books are imitating the body, and if they really write with the method of writing, they will have a period of vigor and danger, which is dangerous and fearsome.
He did not have the method of writing, although he crossed the time sage, he could not track down the former philosopher.
Liang's criticism of Zheng Mo's penmanship is actually a criticism of his penmanship method, and he believes that Zheng Fei uses the pen to jump too much, and the range of presses is too large, so he cannot "really write", do not "really write", and cannot write solidly. Since the middle of the Qing Dynasty, solid pens and pens have become an important technical means and formal characteristics of epigraphy. Later, Bao Shichen proposed the brushwork of "starting and ending dry" in "Yizhou Shuangyi", the purpose of which is to dot painting without "timidity".
Whether it is a criticism of the strength of Zheng's calligraphy, the method of taking the method or the use of the pen, it is ultimately a criticism of his calligraphic concepts and writing methods. Because in the understanding of these scholars, only square, thick, and real is the symbol of "ancient".
Commentators also speculate on the connection between Zheng Yi's pen jumping and the erosion of the Han tablet. He Zhuo (1661-1722) mercilessly mocked Zheng Zhilishu as "if the human body suffers from bad sores, it is even an abomination." The so-called "bad sores" refer to zheng's use of the pen to press a large range, and the contrast between the thickness and thickness of the dot painting is too large. In an era of "reverse entry and exit, ten thousand millimeters of concerted force" as the criterion, excessive exaggeration is difficult to accept. However, He believes that Zheng Zhizhi's purpose in doing so is nothing else, but to show the skin of the Han monument. QianlongJian Zhang Sixe's "Song of Wang Chu Shi Shi Shen Eight Points" has a cloud: "Jinling Zheng Zhenshi eroded, and has been in disarray for a hundred years." Lu Yao (Qianlong Seventeenth Year) "Adult Proposition Linben Xiyue Huashan Stele" also yun: "There is no painting of sand and ink mud, and the world competes for Gukou learning (Zheng Qi)." I don't know if it is not authentic, but when it comes off its hand, it shines. They believe that the dot paintings of the Han stele are polished and that the erosion is the result of natural weathering over thousands of years. In addition to depicting the erosion of the Han stele, Zheng Mo insisted on the end and gave up his roots. Weng Fanggang also criticized Zheng Gui's simulation of the erosion ambiguity, and the Guiweigu Finger Eight-Point Book Song has a cloud: "Coming to Fushan Zheng's generation, intentional detachment is still dry. Ancient feelings are not corroborated, and the light taste is blurred in God. He believes that "ancient" does not lie in the appearance of the ban bar, And Zheng Mo's depiction of the traces of the ban barge is a deliberate attempt to get rid of it, but it cannot get its ancient meaning.
"Lishu Scroll Lishu Gulefu Chapter", Shanghai Liu Haili Art Museum Collection
In order to elevate Yi Bingshou, Gui Fu (1733-1802) and other contemporaries of the Lishu scholars, Qian Yong also criticized the heroes of the revival of Han Li that he praised, and the "Shuxue" Yun:
However, Taniguchi learned the erosion of the Han stele, and vainly provoked himself, and the charm of the Chinese stele was also increased and damaged without authorization. The wise are sick. ...... Although the ancient stele is there, it is not passed on with a pen, and there is no source of teaching, and it is personally inherited to refer to the painting. ...... In present-day Beiping, there is Weng Qinxi Gexue, on the left side of the mountain there is Guiweigu Daling, Wumen has Qianzhu Tinggong Zhan, Yangzhou has Jiang Qiushi Shi Shuyu, Fujian has Yi Moqing Taishou, Tiandu has Ba Juntang Zhonghan, Zhejiang has Huang Xiaosong Sima and Jiang Zhaoxiang Xiaolian, all of whom can claim to be self-proclaimed in Han law, and scholars have become increasingly prosperous since then.
Here, Zheng Mo's pen and Zhu Yizun's structure have become the objects of his criticism. Qian Yong believes that the reason why Zheng Mo used his pen to "pick up the slack" was to imitate the traces of the erosion of the Han monument. In Qian Yong's view, Zheng Yi only had the merit of grass creation at most in Lishu, and the prosperity of Lishu was after the rise of Weng Fanggang, Gui Fu, Qian Daxin (1728-1804), Jiang Deliang (1752-1793), Yi Bingshou, Ba Weizu (1744-1793), Huang Yi (1744-1802) and others after Qianjia. Because the writers of this era were well versed in the techniques of laying brushes and laying horizontal and vertical, the dot paintings were thick and solid, and the structure was neat and plowed, and this was the ancient meaning of the Han stele in their understanding.
However, Zheng's method of using the pen was not to depict the traces of erosion, as criticized by the above-mentioned families, but on the contrary, he did so in order to get close to the original state of Han writing. The so-called "pick and pick" is exactly the brushwork that Zheng Mo saw from behind the blade of the Han Monument. When Zheng Mo talked about the inscription rubbings, he particularly emphasized the "clarity" of the calligraphy and painting, and his reverence for the Cao Quan Stele was related to the integrity of the inscription. When talking with Zhang Zaixin about the Western Qin and Han monuments, Zheng said: "The Stone Classics are peeling off and not existing, and the Cao Quan Steles are very true in the Wei river moraines of the Ming Dynasty in the Gaoyang Xuegong and the Ming Shen Sect. The ancients used the pen, and the calendar can be seen. Although he believes that the Cao Quan Stele "is one word and one method, one painting and one method, square length and size, and no amorphous body." Non-ten years of kung fu can not exhaust its mysterious purpose", but after all, it can be seen from the Chinese calendar that the ancients used pens, and naturally more expensive than the group of products. The 5 inscriptions I saw on "Cao Quanbei" by the author without exception emphasized the "clarity" of the calligraphy and painting, from which we can see the real use of the pen, and the "Cao Quanbei" was therefore evaluated by Zheng Gui as "Jia Yu Han Stele".
Obviously, clarity for Zheng Yi can not only recognize the text, but also help to trace the process of using the pen in the time of shudan through stone carvings. In the absence of Han Jian yet unearthed, Zheng Yi had no reason to see the ink of the Han People's Lishu, but he believed that the clear stone carvings could convey the mood of pen and ink. In this sense, his efforts not only obtained more "ancient meaning" in the structure and form of Han tablets than the Yuan and Ming Lishu scholars, but also closer to the actual situation of Han writing than later Lishu scholars. The "Cao Quan Stele", "Ceremonial Instrument Stele", and "Yi Ying Stele" copied by Zheng In the early days are quite polished, and there is no depiction of the Ban Barge. The large-scale writing of his mature period is quite rhythmic, the overall speed is faster, and there is no possibility of "depiction". Therefore, the "erosion traces of the teaching method" criticized by people do not conform to the actual situation of Zheng Mo. Commentators simply find an excuse to deny Zheng's sense of writing, rhythm, and throbbing.
Recent epigraphers are really enthusiastic about the "mottled" golden stone atmosphere, and the more vague the inscription, the more it can arouse their good feelings. They imitate the traces of this sand and gravel grinding, use the trembling pen as fun, and even use the "accumulation of points into lines" as a representation of skill, and expect to obtain a historical and natural meaning. Although this reading is understandable, it is very different from the original appearance of history.
Zheng Mo's "Seven Laws banner of lishu" silk book Xiling Printing Society collection
(iv) Conclusion
Although ma Zonghuo (1897-1976), a close friend, affirmed that Zheng Yu did not hurt Yu Ya, he also bluntly said that it was not ancient: "Taniguchi was subordinate, and at that time it had a heavy name, and it was known that it had not entered the ancient world. The evaluation of "not entering the ancient" is nothing more than a devastating blow to Zheng Zhen, who has spent his life pursuing quaint and true alcohol.
Because of his emphasis on writing and freehand, Zheng Zhilishu was criticized for his lack of penmanship, jumping and kicking, etc., so it was "not ancient", and "not ancient" was naturally "not expensive". The criticism of Zheng Is largely due to the contemporary interests of scholars since Qianjia. In the early Qing Dynasty, the revitalization of epigraphy directly contributed to the upsurge of Hanbei learning and the noble status of Lishu, at that time, as long as it was possible to learn Hanbei, it was possible to get a very high evaluation, Zheng Yi can be said to be at the right time, his Lishu is not only a symbol of strength and momentum, but also a symbol of "ancient". A cloth calligrapher can be listed by the great Confucian Yan Ruoxuan as a "saint" on an equal footing with Gu Yanwu and Huang Zongxi, such a "noble", is there a second calligrapher in the Qing Dynasty?
From the differences in the evaluations of Zheng Yi's posthumous life, we find that the different understandings of "ancient" in the early Qing Dynasty and the middle of the Qing Dynasty are a contest between two aesthetic and technical pursuits, although the problems they discuss belong to the category of epigraphy. The former emphasizes a kind of writing and lyricism, the latter pays more attention to academic cultivation; the former focuses on momentum, the latter is mainly silent; the former pursues the rhythm and coherence of the pen, while the latter regards plainness and thickness, horizontal and vertical as everything. Therefore, we cannot generalize about qing dynasty epigraphy, and we cannot cover the whole of epigraphy with one concept. Through the case of Zheng Yi, we can accurately observe the evolution of qing dynasty epigraphy.
Such fierce criticism behind him was something that Zheng Mo, who was in the ascendant at the time, could not have foreseen. From this case, it is not difficult to find an important phenomenon in ancient Chinese art criticism: critics have never been detached from independence, and like the authors of works of art, they are more or less subject to the contemporary tastes of the historical period in which they live. In the Qing Dynasty, academic orientation often played a decisive role in the evaluation of works of art.
Text | Xue Longchun's original title | Excitement and ridicule: the encounter of the early Qing dynasty scholar Zheng Qi
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"Confirmation: The Second Contemporary Calligrapher's Exhibition of Works"
Exhibited in January 2020
170 authors, 360 pages, hardcover on canvas;