Zheng Zhen (1806-1864), zi yin, number chai weng, nest master, meridian mountain child, in his later years also numbered five feet Daoist, do not sign and tongting chief and so on. Zunyi people of Guizhou. Intensive study of scriptures, primary school, writing Hongfu. In addition to learning, he is proficient in poetry, and there are first-class poets of the Qing Dynasty. Zheng Zhen was listed in the "Qing History Manuscript Ru Lin Biography" for his outstanding achievements, and was known as the "Southwest Shuo Ru". His son Zheng Zhitong once commented on his father: "He is also fond of calligraphy and painting, constant display left and right, shuzu plain, imitation of Ou Chu, painting Zong Sibai, and JianWen Shen." Zheng Zhen also commented to herself that "this (author's note: calligraphy) is a special skill in learning, and it must not be unkind." The Republic of China scholar Ling Ti'an praised him as "three masterpieces of poetry, calligraphy and painting". Zheng Zhen has a lot of ink marks passed down. A large part of this is hidden in the Guizhou Provincial Museum.
I. Li Tai Confucian Tomb Table Zheng Zhen Kai Shu Li Tai Confucian Tomb Table Rubbing 165CM*82CM On Paper Qing Daoguang Twenty-two Years (1842)
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The "Tomb Table of the Li Tai Confucians" was written by Zheng Zhen for her mother. Mother Zheng died in the 20th year of Daoguang (1840) and was officially buried in the spring of the following year in Meridian Mountain.
Zheng Zhen and her mother have deep feelings, and their relatives are also filial piety. After burying his mother, he set up a house next to the tomb to guard filial piety, wrote the "Tomb Table of the Li Tai Confucians", and personally wrote a stele and a stone. The stone stele was erected in the twenty-second year of Guangxu (1842), with more than 300 words and rich texts, describing the rise and fall of the Zheng family, as well as the life, words and deeds, moral conduct, and family teachings of Zheng Mother. The inscription says that Mother Zheng is extremely strict in educating her children, "Sincerely my son, he will be diligent, he will be righteous, he will be drunk, he will not be able to speak well, he will not be filial to his brother and brother, this is not my support, and he will not go to my grave." Therefore, Zheng Zhen believes that his current virtue and learning are inseparable from his mother's teachings, that is, "the power of the TaiRu people to recreate my Zhen clan is also." On the forehead of the stone stele are written the six seal characters of "Tomb Table of the Li Tairu People". Under the banner is a vertical inscription, written in italics, taken from Yan Zhenqing's "Yan Family Temple Stele" and "Magu Immortal Altar", with a fat pen and bone, flat and square. On the basis of the Yan body, the characteristics of the Lishu are integrated into it, and the font is horizontal and flat, wide and square, solemn and clean, making the whole article more upright, simple, stubborn and overflowing with internal beauty, and it is also just like Mother Zheng's hardworking, strong, rigorous and simple life. This style of calligraphy is said to have come from a curtain tour when Zheng Zhen was young. In the sixth year of Daoguang (1826), Zheng Zhen entered the curtain at Cheng Enze, who was studying politics in Hunan, and thus became acquainted with the local literati Huang Benji (zihu idiot), "Ben Ji is highly pure, elegant and golden stone, gathers thousands of volumes of ink books since the pre-Qin and Han dynasties, Mr. Zhiguan, each leading his effect to the Enlightenment of Kai Fachuan". At the end of the Qing Dynasty, Zhao Kai, a beginner and scholar, commented on this tomb table: "The structure is firm, the writing is solemn, and it is the first in the golden stone in Yizhong." It is true that this inscription is beautifully written, the style of writing is rigorous, and the carved stone is exquisite, and the virtue and filial piety displayed in it are even more admirable, which better reflects Zheng Zhen's book theory idea of integrating writing creation and moral practice. After the death of Zheng Mother, Zheng Zhen wrote many poems to remember her mother, and during the period of guarding the tomb, she also recalled her mother's life and deeds, and simulated her tone to record them one by one, and obtained sixty-eight articles, titled "Mother's Teaching Record", to give to relatives and friends.
II. Monument to the Death of Tang Shuyi Zheng Zhenli Book Monument to the Death of Tang Shuyi Rubbings 91CM*95CM on Paper Qing Xianfeng Five Years (1855)
Tang Shuyi (Zi Fang), the cousin of Zheng Zhen, served as a political envoy in Hubei and Shaanxi. Zheng Zhen and Tang Shuyi were also friends and friends, and during Tang's idle residence in Guiyang, he often talked with Zheng Zhen and Mo Youzhi about books and paintings in the Shugui Caotang, and poetry and wine lingered, and they talked about the affairs of the world. In the third year of Xianfeng (1853), the Taiping Army began, and Tang Shuyi became an envoy to Hubei and supervised Huangzhou. In the fourth year of Xianfeng, in a fierce battle with the Taiping Army, Tang Toujiang was martyred in the line of duty. This inscription was written by his son Tang Jiong (字鄂生) in the fifth year of Xianfeng and was handwritten by Zheng Zhen. The article recounts Tang Shuyi's martyrdom and his family's search for his bones to be buried in his hometown. The terrible situation is lamentable to read.
The inscription of Tang Shuyi's death monument is more than 800 words, written in a book, and there is no stele. Zheng Zhen took the "Ceremonial Instrument Stele" on the interstitial structure of the font, and the pen flavor got the charm of "Cao Quan Stele". In the meantime, Zheng Zhen also integrated some of his own styles, thickened the strokes, changed the strength of the "Ceremonial Instrument Monument" and the agility of the "Cao Quan Monument", especially slightly converged at the swallowtail tip of the horizontal painting, making the strokes more subtle, the brushstrokes more solemn and serious, and the glyphs thicker and more square. In the white of the whole text, Zheng Zhen deliberately handled it particularly neatly and correctly, so that the whole work appeared solemn, thick and deep, which not only conformed to the style of the sacrifice text, but also carried Zheng Zhen's respect for Tang Shuyi.
3. Xingshu, Kaishu Xinzha Zheng Zhen Xingshu, KaiShu Xinzha 25.2CM*111CM on paper During the Qing Dynasty
This is a horizontal scroll framed by three letters. The first letter was written by Zheng Zhen to Mo Youzhi in the twenty-sixth year of Daoguang (1846), and was also written by Zheng Zhen in his middle age. This correspondence is written in letters, with the occasional taste of italics, which is different from the "Tomb Table of the Confucian People of Li". The meaning of the north stele of this book is relatively heavy, especially in the twists and turns of the strokes, more flanking is used. Although the handwriting is neat, it changes freely due to the font size, and the whole text appears lively and flexible.
The second pass was also written to Mo Youzhi, the text is unrestrained, painful, and has a sense of completion. In the meantime, it is still seen that Zheng Zhen's thesis study has taken the way of honoring the Jin and Tang Dynasties, and the "two kings" style is obvious. The third passage was written to Mo Tingzhi (字芷升), the sixth son of Mo and Li. According to Ling Ti An kao, this letter was written on September 23, 1857, the seventh year of Xianfeng. Shi Zhengzhen is 52 years old, compared with the writing style during middle age, this letter presents a clear face style, especially in the turning strokes and longitudinal strokes, it can see the thickness of the face body, but at the turning point, it also integrates the brush flavor of the Song Dynasty Su Shi, multi-fold, not like the roundness and elegance of the face body. The whole line is both free and smooth, but also rigorous, steady and flexible, and there are changes in the work, which can be called a masterpiece. Zheng Zhitong once gave a high evaluation to his father and He Shaoji's achievements in learning Yan Body, saying: "Xianzi Zhenshu published "Family Temple" and xingshu published "Fighting for Seats"; Mr. (Author's Note: He Shaoji) really published "Magu Ji", and the book "Send Liu Taichongshu". Therefore, the face is different and the pen is the same, and each creates its own extreme. Unknown contemporary appearance or better than the Si? However, I did not see it either. ”
4. Two seal banners
Zheng Zhen Seal Book Banner 44CM*119CM Five Years of Qing XianFeng on Paper (1855)
Zheng Zhen Seal Book Banner 43.4CM*117CM On Paper Qing Xianfeng Eight Years (1858)
Zheng Zhen studied under Cheng Enze. Cheng Enze Character Yunfen, Number Chunhai, Familiar with the Six Arts, Good at Examination Evidence, You JingHan Xu Clan Character Learning, Daoguang Three Years (1823) was a Guizhou Scholar, and Zheng Zhen formed an indissoluble relationship. Cheng Enze once taught Zheng Zhen: "In order to learn not to read first, why read the books of the three generations of Qin and Han?" Therefore, Zheng Zhen worked the study of phonology, and also wrote philological monographs such as Speaking of Wen YiZi, Saying Wen Xin Appendix Examination, and Notes on Ceremonial Notes. It was precisely because of his academic preferences that he also loved seal books and had a direct influence on his creation. At the same time, Zheng Zhen is also very interested in ancient monuments. In his "On Painting and Poetry with Li Zhaoxun", there is such a passage: "Daoguang Pengzi (author's note: Daoguang Eight Years, that is, 1828), with Cheng Enze's view of Daozhou, there is a tour of Yuxi, and Li Shaowen (Yang Bing) seal book Yuan cishan Yuxi Ming, looted it." Therefore, many scholars have commented on his seal calligraphy Li Si and Li Yangbing, especially thanks to Li Yangbing, which is not unrelated to the "YuanCishan Yuxi Ming" that he personally developed.
Zheng Zhen's seal book "Banner of Baizhu Mountain House" was written in November of the fifth year of Xianfeng, when he was 50 years old, and the words "Baizhu Mountain House" still had the imprint of Li Yangbing, but it also integrated his own understanding and style. Four big characters, the line of the pen is bold, not to worry about the subtle thoughtfulness, especially when starting to write back, the intention is not informal, and there is a degree of acceptance, which shows its relaxed creative mentality, but also can see the profound calligraphy skills. The thick and vigorous strokes are different from Li Yangbing's smooth circles and appear particularly magnificent. The end of this banner is written in a book: "Elder Brother Gefeng is raftered outside the red edge gate, in order to guard the tomb of his honored people, the worshipper Lanting Zhuye, The Chuan Zhuye, his ambition can be known." On November 24, 1955, Zi Yin's brother Zheng Zhen (郑珍) was appointed as the signature. "Fifty words of small characters. The lightness and liveliness of the book contrast with the thick and heavy seal book, which makes the whole work interesting. It can be seen from the text that this was given to Wang Jiechen by Zheng Zhen. Wang Jiechen is a feng, claiming to be a descendant of Wang Xizhi, so he calls himself "Lanting", and there is a sentence in the style that reads , " Lanting Bamboo , who worships bamboo " .
His other seal books, The Banner of the Orchid Pavilion Jingshe and the Banner of the Baizhu Mountain House, are works of the same type of calligraphy and are also very similar in style. The difference is that the strokes of "Lanting Jingshe Banner" are thicker and thicker, and the sense of thickness of the font is also stronger. But in terms of style, the two works are very different. The "Banner of the Orchid Pavilion Jingshe" is written in a seal book: "Esheng this house is named after Chu Lin Wedge, Zhen." Twelve characters, jagged, but there is an interest in the cliff, so the whole work is more clumsy. This banner was made by Tang Jiong. Tang Jiongzi Esheng, the old man of Chengshan, the resident of Lanting.
V. Lishu Seven Words Lian Zheng Zhen Lishu Seven Words Lian Rubbings 162CM*41CM Five Years of Qing Xianfeng on Paper (1855)
The Book of Seven Sayings of Lishu was written in the fifth year of Xianfeng. This Lishu and the aforementioned "Monument to the Death of Tang Shuyi" are both works of a considerable period, and both take the "Cao Quan Stele" in terms of interstitial frame and penmanship, and change it on the basis of this stele to make the font more ancient and thick. But the mood of the two works is not very different. In the same year, Zheng Zhen returned from libo asylum with her family, running all the way, hungry and unclothed, during which the bitterness was indescribable. On the way, two grandchildren were also killed, both physically and mentally injured, and there is a poem: "Seven people in the whole family are out, and one is already weak." When you sigh, your life is difficult, and your sorrow comes to you. And there is also "originally to escape, to increase the number of deaths and sorrows." It's a poignant read. In October, Zheng Zhen returned to Guiyang, gathered with relatives and friends, "talked to Mo Youzhi, Tingzhi and Tang Jiong", and then temporarily lived in Tang's To Return To Caotang", on poetry and painting, night is not physical, for people to paint this is the sentence of Longchai's inscription painting God... And with Youzhi tour of Dongshan". In the poetry, wine, singing, and talking about the scriptures, the pain of hurting relatives and the pain of leaving home can be expressed. At this time, Zheng Zhen, associated with his own half-life ambitions and experiences, wrote down an episode of "I am born to be useful, and God indulges in blessings and is difficult to do" in an episode. The writing is leisurely and unrestrained, which is not only a detachment from suffering, but also a sigh of life, which makes the whole work exude an open atmosphere, a sense of transparency and open-mindedness in terms of perception. This association was made for the gift of Tang Jiong, according to Ling Ti'an zai, "In the middle of Guangxu, the Yangming Ancestral Hall of Guiyang Fufeng Mountain was completed, the Jionghui double hooked on the wood, all parties were expanded, spread widely, the Qian people went out of the province, the Qian eunuchs returned to their hometowns, Heng took this as a bequest, from more love." It can be seen that people at the time loved and recognized Zheng Zhen's calligraphy works.
Zheng Zhen, as a typical representative of scholar-type calligraphers, enters the book with virtue, enters the book with academic cultivation, and enters the book with temperament and interest, and in terms of skills, he learns the ancient instead of mud, absorbs the family, and finally forms his own style, which can be regarded as a generation of calligraphers.
Text: Liu Heng
Photo: Guizhou Provincial Museum Collection
Edit: Information Center