"Book Raft" is one of the main achievements of calligraphy research in China, summarizing several aspects such as penmanship, ink method, cloth white, and style, and the text is concise and concise.
In the "Book Raft", Zheng Zhongguang gave a lot of unique research results, which have many innovations compared with the previous scholars. For example, "It is not easy for people to know that it is not easy to hide the pen and hide the front... The combination of the law in the use of the pen does not concern the strength or weakness of the wrist", which is very different from the ancient and thick calligraphy style since the Wei and Jin dynasties and the emphasis on the use of wrist strength.
Wang Xizhi, a calligraphy master known as a calligrapher, believes that calligraphy creation should be "three points into the wood" to achieve beautiful and powerful effects. In the "Book Raft", Zheng Chongguang analyzed this, believing that the Tibetan feng had nothing to do with the power of the wrist, did not negate the calligraphy bones of Wang Xizhi and Wei Jin, but focused the research on the two key points of starting and closing the pen, believing that through the "combined posture" and other methods, the effect of starting the pen and hiding the edge and closing the pen out of the front could be achieved.
It is worth noting that the Raft gives great respect to the creation of calligraphy and ancient methods, and many of its creative theories are still based on ancient law theories. For example, in response to the layout analysis, Zheng Chongguang proposed in the "Book Raft" that "those who are lively and not sluggish are open-minded, and those who are not stagnant in circulation are round." The concept of "chance is born of each other, and change is out" is very similar to the previous idea of attaching importance to "artistic conception" when Caosheng Zhang Xu's calligraphy was created.
In "Book Raft", Zheng Zhongguang retains the consistent tradition of calligraphy creation in China, attaches importance to the artistic conception of calligraphy creation, and conducts a more unique evaluation of the value of artistic conception, and his theory makes the artistic control and understanding of calligraphy creation rise to a higher level.
01What is "inverse"?
He who desires to go along with it will be reversed, he will fall, he will rise from it, he will turn it around, he will bend it, he will restrain it, he will stop it, he will stretch it, he will bend it, he will pull it out, he will squeeze it, he will restrain it, he will expand it, he will do it, he will stop it. The book is also inverse.
In the "I Ching And Saying Gua Biography", it is said: "The number of the past is smooth, and the one who knows the coming is reversed, so the reverse number of the "Easy" is also "the inverse number of the book of the heavy light" is influenced by the idea of Easy Learning.
In the "Explanation of Words and Words", it is explained like this: reverse, yingye. Take the meaning of greeting each other. Shao Bowen said in the Imperial Pole Classics: "Yang is retrograde in yin, and yin is retrograde in yang." "Explain "inverse" in terms of the dialectical idea of yin and yang intervening.
Shigemitsu expounds the relationship between the opposites and unity of "shun" and "reverse", "fall" and "rise", "turn" and "fold", "choke" and "dun", "stretch" and "bend", "pull" and "squeeze", "bundle" and "tuo", "line" and "stop", and applies it to calligraphy techniques to discuss the relationship between them interdependence and interaction.
He who desires to go along with it will be the opposite
In terms of pen strength, starting the pen against the front is conducive to the exertion of force, hiding the edge in the stroke, and the pen meaning is rich, so that it can be thick and solid and not thin, so that the stroke is "strong".
What will fall will rise, it will rise
When the brush falls on the paper, the pen rises and falls first, at this time the wrist action is "lift" and "press", "press" before lifting the pen, the wrist first accumulates strength, and the dot painting will be calm when the pen is dropped, so that the stroke is vivid and not flat.
If you want to turn it around, you will fold it
If you want to "turn" evenly, write a round stroke, when you write a round stroke, you must "want to turn first" when you write, in order to provide enough power for the next line of pen, "turn" and "fold" combination, so that the "turn" does not show edges and corners, but gives people a sense of "round strength" hidden in the bones.
He who desires to restrain it will be stopped, and he who desires it will be stretched out, and he will be subservient
Only the strength of "Dun" can achieve the spirit of "restraining"; there is a momentum of "bending" before writing, and the "stretching" of writing can exert force, so that the line will be vividly changed.
He who wants to pluck it out will be squeezed
Combine the action of lifting up and pressing down when closing the pen, so that the end of the stroke will not be shallow and weak, but perfect and powerful, and the line pen to the end of the stroke cannot be stopped suddenly, and the momentum should be as far as possible, so that "at the end of each wave of painting, there are faint ink marks, such as rice pearls." " effect.
He who wants to restrain it will be expanded
Shigemitsu believes that before the end of the stroke, make the pen fully expanded, and then slowly lift the pen away from the paper, gradually tightening, revealing the pen edge. And he said that it is not easy to close the pen, and if you want to deal with this problem well, you need to have a deep understanding of the eight points and the chapter grass. The key to "closing the pen and making a sharp edge" is not related to the strength of the wrist palm, but to make good use of the gesture.
What he wants to do, he will stop
Strokes such as turning, hook picking, etc., in the process of writing, the pen is first prepared, so that the pen is powerful, and there is enough friction between the paper and the pen, rather than sliding on the paper. In this way, the strokes are round and powerful.
02 The measurement of ink, the emptiness of white
If you want to "enter the door of the bookmaker", in addition to paying attention to the use of pens, you also need to have a certain grasp of the rules. In terms of rules, Zhong Chongguang focused on "arrangement" and "craftsmanship", he said: "The measurement of ink is divided, and the white is pure and pure." ”
Ink method is the use of ink method, China's generations of calligraphers have different attitudes towards this, some calligraphers think that ink method is irrelevant, and some calligraphers believe that ink law has an impact on calligraphy artistic conception and expressiveness.
In the "Book Raft", He analyzed the ink method and believed that "grinding ink is ripe, and breaking water is used to live", that is, the ink should be polished fine and thick, and the ink color used for breaking water will be moistened. The degree of "blackness" caused by water breaking is different, and the visual effect is very different from the "light" sense produced by the contrast with the white place. The theory is similar to previous studies, but more condensed, and gives the influencing factors of "live" and "turbid" in the ink method.
Regarding bubai, Shigemitsu also has his own opinion: "Painting can be like the cutting of a golden sword... The cleverness lies in the cloth white... The frame is wide and silky tight". In the "Book Raft", the method and value of cloth white are systematically explained and analyzed, and its theoretical value is extremely high, and the scholar Wang Wenzhi during the Qianlong period highly praised the research results of Zheng Chongguang. It is believed that it can be compared with Sun Guoting's "Book Genealogy".
Its subsequent influence is that the Bubai theory has received more attention in the creation of calligraphy, and it has also opened up ideas and provided direction for follow-up research. It is worth noting that Shigemitsu and his "Book Raft" are not the first and first works to conduct the study of calligraphy and whiteness, but a more systematic analysis of the previous generation of theories has enabled them to be presented in a concise and concise language, which has an important impact on the creation of ordinary calligraphy and the study of calligraphy theory.
epilogue:
The theoretical value of "Book Raft" is reflected in three aspects: the content is diverse and the theory is rich; it is simple and concise, and the theory is incisive; the analysis is profound and the insight is unique. From the perspective of influence, the "Book Raft" is involved in the artistic conception of calligraphy, brushwork, ink method, and cloth white, and the study and study of calligraphy in later generations can also be used as a reference to the "Book Raft".
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