Introduction: The style of Yang Yi's Sun Seal Book can be divided into two periods, the traditional period and the innovation period. The former belongs to the borrowing and learning of traditional schools such as Er Li and Xu Xuan, and the latter is a new innovation based on Deng Shiru. In general, the sense of line, structure and style characteristics presented by the two periods are very different.
Any style of writing must undergo an evolution, from copying to creation is a continuous practice, in practice to question, to solve the question, again to raise the question, continue to solve the question, so that the cycle of spiraling upward process. Then, in the process, the aesthetic of the writer will change, and then there will be a change in the style of creation.
01 quaint elegance and mellow and elegant
"The beauty of words is extremely good than the small seal", Yang Yisun believes that the study of seal books must start from the small seal of the Qin Dynasty, and the early study of the Qin small seal is very in-depth, and the Qin Dynasty carved stone he is studying can almost be chaotic.
Yang Yisun's early years were insightful in the study of traditional seal books. He had studied Li Yangbing's small seal and gave a high evaluation to the status of his small seal, but he was quite critical of Li Yangbing's "Explanation of Words and Characters". In the Song Dynasty, in the academic environment of the unification of the thesis, Xu Xuan was able to insist on carrying forward the seal book, driving the literati to learn the seal, and made indelible contributions to the development of the seal book of the Song Dynasty.
In this regard, Yang Yisun was very fond of Xu Xuan and believed that Xu Xuan's book was better than Yang Bing. But he also showed that the two people's seal books are lacking, Li Yangbing's seal books have been shown to be tacky, and Xu Xuan's seal books are still a little far from the ancient quality.
Yang Yisun's hard study of tradition is more mature in terms of pen control ability, line texture, knot control, or qi zhang method. For the mastery of this kind of brushwork, it is not only difficult to subordinate, kai, line, grass, but also in the seal book is also the most stringent, because it can basically be characterized as a kind of uniform speed writing, compared to the variable speed of writing, this must be long-term training to write freely, just like learning martial arts to start from squatting, solid and profound basic skills are the foundation for innovation and breakthrough. This traditional small seal can no longer be fully recognized by Yisun, and it is imperative to innovate the seal book.
Yang Yisun worshiped Li Zhaoluo as a teacher when he was young, and Li Zhaoluo and Deng Shiru had a deep friendship, coupled with the suggestions of several neighboring predecessors, and his friends Deng Shouzhi, Weng Tonggong, and the Zhao brothers exchanged and discussed, he was well aware of the wonderfulness of Deng Shiru's seal book, and his heart longed for it, and established the object of innovation to be taught. On the basis of mastering Deng Shiru, participating in the charm of Jin Wen is the focus of his innovation.
Pro "Yishan Monument"
With the pen, all strokes are started in the opposite direction, and the vertical stroke is first wrapped upwards and then run down. Stroke horizontally to the left and then run to the right. When moving the pen, the pen is centered, keep the pen edge always in the center of the stroke, and must return to the front when closing the pen. On the line, the thickness of the whole word is basically the same, and the horizontal drawing of each word is always on the horizontal line, and the vertical painting is on the vertical line. Within a word, horizontal and vertical are roughly equidistant and parallel. The inclination of the left and right of the circular arc stroke is basically symmetrical, and the circle is used at the turn and junction of the stroke, without pause and re-pressing, without showing the sharp edge, and not seeing the gui angle. The lines of the work are uniform and beautiful, the knot body is square and dignified, and the ink color is flying white, which should be written in thick ink or shengxuan. The whole work gives people a feeling of quiet and dignified, simple and elegant.
Six Chapters of June Poems
Yang Yisun combined the thick and vigorous creative techniques of the stone drum and the vigorous jin wen into the small seal, and used the script as an annotation. The main body of the pen is mainly a round pen, the starting pen is thick and round, the line pen is crisp and smooth, and the pen is closed in two ways, and the round pen is alternately presented with the sharp edge and the sharp pen. The contrast between the thickness and thickness of the lines is obvious, and the rhythm of the writing is slightly rhythmic and dynamic, and the sense of flow is strong. The glyph structure has changed, the whole is mainly square, a small part follows the stone drum and the golden text leaning side of the posture, from time to time there are some small changes in the local to break the traditional symmetrical arrangement, more flexible and vivid, the change is integrated in the unity, coupled with the casual nature of the script interpretation, giving people a unique feeling in aesthetics, the whole work is elegant and lively, reflecting Yang Yisun's superb ancient writing skills and creative techniques.
The Eight Sayings of the Seal Book
Mainly round pens, the lines are curved and straight, round and full, and most of the outward lines are extended, showing a muddy atmosphere, which is very similar to the traditional period of erli's practice. At the turn of the stroke, there is a square fold, the character is dignified and elegant, and there is no sense of leaning on the side. Each word is written in thick ink, and at the end of the stroke, a vigorous and intermittent dry pen appears, which first highlights the rhythm of writing, and secondly, forms a thick and ethereal visual sense. Overall, it presents a round and dignified atmosphere.
The Seven Sayings of the Seal Book
One of Yang Yisun's best works in his later years, he used both square and round strokes and was eclectic. The starting pen of the round pen is reversed into the flat out, and the square pen is started, and the paper is cut directly into the paper with a pavement. The pen closing place is casual and natural, there are wrapped sharpening pens, the tip of the pen is sharp, there are also abrupt stops, the pen is broken and the state of completion, the turn, the articulation or the circle or square, random changes. The overall emphasis is on the quaintness of the brushwork. In the treatment of some short strokes, the sharp knife carving of the golden text is revealed. In terms of rhythm, the priorities are properly grasped, the starting and turning points are slower, and the rhythm of the line is slightly faster. In terms of structure, the vertical trend of the seal book that has remained unchanged for hundreds of years has been changed to nearly flat square, but there are also individual characters with rectangular body, which vigorously express the rhythm of the line, strengthen the flow and elegance of the line, weaken the sense of thick condensation, and be regular but lively, dignified and more elegant.
02 Lishu and Xingyi are only among them
As we all know, in the middle and late Qing Dynasty, in the great trend of epigraphy, the scholars were not good at grass, even Deng Shiru, Yi Bingshou, Bao Shichen, Zhao Zhiqian and other people are more difficult to achieve the integration of inscriptions, reasonable and good. Yang Yisun took the law as the best, but his enthusiasm for learning books was almost devoted to the seal book, so his lishu and xingkaishu were only among them.
Yang Yisun's Lishu takes the fa Deng Shiru, and in the same vein as the Seal Book in the use of the pen, slightly adding the northern stele penmanship, when writing the Seal Book, it does not lose the clumsiness of the ancient Li, and the Writing of the LiShu does not lack the simplicity of Shi Li, which is the unique feature of his Lishu. On the pen, straight pipe, paving, reverse in and out, center line pen, square and round pen, point drawing lines are simple and thick. In terms of glyph structure, Fangzheng is simple and simple, and has a strong Charm of HanBei, he occasionally breaks the convention of various parts of the word while accepting the ancient law of the knot body to be symmetrical, but because the sense of rhythm of the line is not enough, coupled with Yang Yisun's use of thick ink thirst pen, it will occasionally cause the condensation of the line.
For the Lishu, Yang Yisun commented on himself: "Wushu Seal Jie Jie Tang Shi, proud or excessive, subordination can not reach also." Although he failed to become a representative of lishu in the Qing Dynasty, his practice of lishu and the creative concept of the integration of seals and lishu are still worth learning from and learning.
Yang Yisun's xingkai books have few surviving ink marks, and are basically collected in major museums, and their forms are mainly couplets and codexes. He takes the ancient as the sect, turns to many teachers, and has a variety of creative styles and unique styles. In addition, there is a more obvious phenomenon, that is, the use of the line letter as a reference, it can be seen that Yang Yisun is still relatively satisfied with his own letter of letters.
"Lishu Eight Words Lian"
The line is calm and steady, the lines are thick and simple, and there is a refreshing beauty in the simple mao. Words such as "sitting", "book", "platform", "painting", Yang Yisun consciously weakened the typical stroke of Lishu - Bo Zhen, weakened the sense of frustration of lifting the press, and basically did not adopt the big ups and downs and sharp contrasts, but at the end of the stroke, the gesture of picking and picking was strengthened, the deficiencies of The wave were bridged, and the relaxed sense of rhythm was added to the whole work.
"Record fanshi lake poems"
The layout method is rigorous, the glyphs are uniform and elegant, the atmosphere is deep and introverted, and it is full of the atmosphere of a loose, open, and elegant literati book. Between the lines, the rules are decent, refer to the characteristics of the North and South Dynasties, strengthen the pen dark press, the pen is steady and subtle, the pen is secretly mentioned, the pen is implicit at the turn, and the circle is square. The ink color is calm and thick, and the thirst pen is white again, and the thickness and ethereal are reflected in each other.
"The Biography of Mr. Zhongchang"
If "Lu Fan Shihu Poems" belongs to the introverted and calm school, "The Biography of Mr. Zhongchang" reflects more of a state of creation that is relaxed and free. With the pen, the middle side is used interchangeably, the square circle is lifted at the same time, the first half of the control of the nib is extremely high, sometimes as thin as silk hair, and some of the charm of Wang Xi's book is flowing, and the second half shows the trend of the dragon with the strong emotion, the pen and ink fly, making the turn powerful, sometimes waving, and sometimes the pen is as heavy as Taishan. Words and words, lines and lines penetrate each other, looking forward to each other, and the ups and downs are strong, which is the same as the state of mind when Sun Guoting's "Book Genealogy" was created.
epilogue:
Under the guidance of his predecessors and his brother Deng Chuanmi, Yang Yisun recognized the path of seal and formed his own unique style of seal writing on the basis of the teacher Deng Shiru.
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