Introduction: In the early days of the Qing Dynasty, because the Kangxi Emperor loved Dong Qichang's calligraphy, for a time the government and the public learned Dong Chengfeng, but there were still a group of calm scholars who realized the weakness and monotony of Dong Shu and began to look for ways to save dong shu, trying to break through the limitations of Dong Shu, and Zheng Zhongguang was one of them.
笪重光, 字在辛, 号君宜, also known as Toad Guang, Yi Shuo, Jiang Shang Wai Shi, Yugang Sweep leaf Daoist, in his later years ju Mao Shan Xue Dao, renamed Yi Guang, Chuan Guang, Number Feng Zhen, Shi Qing Dao people, Jiangsu Jurong people, written in calligraphy and painting.
Qing Qin Zuyong called him "Four Greats" together with Jiang Chenying, Wang Shifeng, and He Zhuo in the "Tong Yin On Painting", and wrote the theory of calligraphy and painting "Book Raft" and "Painting Raft". There is also a volume of "Character Sketch" and "Grammar", which are not preserved.
There are eleven volumes of "Collected Poems on the River" in the world. And the name of "History of the Outer World on the River" overflowed with the Universe, and together with Leng Shisheng and Yu Jing, he was called "the Three Poets on the River".
Xiao Kai", "Jiazhou Collection"
The 01 book is also inverse, and the line and stop are reversed
Shigemitsu is not only a calligrapher, but also a painter, and there is also an infiltration of painting theory in his "Book Raft". The communication of calligraphy and painting is also a feature of his "Book Raft".
The Raft discusses calligraphy techniques in the form of essays and notes. The language of this article is simple and easy to understand, and the style is concise and simple, which can be described as "learning after being caught, and those who know it think that they have exhausted the golden needle". One of the main themes of the whole text is "exquisite out of waviness, ingenuity lies in the whiteness of the cloth, the change of body size, and thus divided, guan zhong wang kai fa special situation and know it." This points to two key elements of calligraphy: "with a pen" and "distribution". In addition, Shigemitsu has a unique view of pen and ink.
Shigemitsu discusses the use of pens in calligraphy from three aspects: movement, gestures, and aesthetics. It uses the "inverse number" in yixue to apply to the calligraphy technique to explain the movement of the pen in calligraphy. From "Echo", the gestures of stroke succession are discussed, highlighting the importance of "silk pulling". From the "Round Show", the center forward is emphasized with the pen, thus highlighting its aesthetic pursuit in the use of the pen.
Regarding the use of pens, Shigemitsu said:
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 person who knows the coming is reversed, so the inverse number of the "Easy" is also "the inverse number of the "book also inverse" of the light of the light is influenced by the idea of Easy Learning.
In "Book is Also Inverse", Shigemitsu analyzes the movements of the pen in calligraphy, unifying the two opposing gestures, so that the dot painting lines are powerful and moving vividly. With the basic theory of contradiction and mutual use, He Zhongguang expounded the opposite relationship between the flow and reverse, ups and downs, turns, stops, stretches and bends, pulling, bunching, and stopping in the process of pen operation.
The Seven Verses of the Book of Conduct
02 Is like a dragon turning, like pushing and leading
"Or call for illness and should be late, or call slow and should be fast" is to require the combination of illness and astringency in the echo, the two set off each other, and change in the contrast, so that the lines are richer and the visual effect is more prominent.
The echo is realized in the gesture exchange, that is, the potential energy generated when the previous stroke is closed, which is just used by the next stroke, and the undertaking between the two strokes is the echo of the gesture. Echoing the original independent lines into an organic unity, as if there is "qi" flowing between the upper and lower pens, the lines come alive.
Zheng Zhongguang said that "starting the pen is the call, the undertaking is the response, or the call should be late, or the call should be slow and should be fast", "disease" and "astringency", "late" and "speed" are the opposite relationship, the rapid and astringent trend, not only refer to the speed of the pen, but also refer to the power contained in the pen. With the pen "disease" the line is smooth and round, and with the pen "astringent", the line is dignified and thick. At the same time, it reflects the rhythm of The Pen of The Heavy Light: one is sharp and one is astringent, one is slow and one speed, showing the penmanship of the Flute "like a dragon turning, like pushing and leading".
Starting a pen is the beginning of a painting, whether it starts well or not, often affects and determines the momentum of a painting or even a whole word. Successive generations of writers have attached great importance to writing the beginning of the pen. From the difference in body posture and pen, He zhongguang proposed the basic method of writing various strokes, that is, the horizontal painting showed an upward trend, the vertical painting showed a downward tendency, the pen weight was lifted, the pen was light, the pen was folded, the pen was wrapped in a circle, the pen was pointed, and the pen was sharp. Different strokes, different characteristics of the starting pen, master these characteristics, deal with the starting pen, in order to undertake the stroke well written, the word posture to form an echo, and then write a masterpiece.
There are two manifestations of echoes in calligraphy: one is an invisible echo, that is, the pen is broken, and the other is a tangible echo, that is, a silk belt. Invisible echoes are more common in the letters, hidden in the pitch of the strokes to the back, although there is no trace of the connection between the upper and lower strokes, but it feels that there is "qi" flowing. Tangible echoes often appear in cursive writing, and "qi" is revealed along with "silk".
In the "Book Raft", the tangible echo of "silk pull" is described more, and he believes that the power of the gossamer is more than the power of straight painting, "black circle and white square, the frame is wide and silky tight" is a further explanation of the power of the gossamer: the structure of the word is mostly square, and the round lines contrast with the square blank, the structure between the wide words is compact because of the hairspring tie, and the expressiveness of the gossamer is more prominent than the expressive protrusion of the straight painting.
"Xingshu Yamanaka Chronicle Poetry Axis"
03 Pen has the different uses of the middle peak and the side peak
The Ming Dynasty calligrapher Fengfang believed that bones were born in the fingers and tendons were born in the wrists. He discusses "tendons" and "bones" separately. And Zheng Zhongguang believes: "The bones are planted and erected, the tendons are attached to the bones and swirl, the bones are shortened, the tendons are fat and thin, the two are not separated from each other, and the role is solid and belongs." "Tendons" and "bones" are interdependent and inseparable, but their respective roles are different.
Mrs. Wei's "Pen Array" said: "Those who have many strengths and abundant tendons are holy, and those who are powerless and have no tendons are sick." How to achieve "multi-force and abundant tendons", Shigemitsu said, "If you want to know more power, watch its luck halfway through." What is abundance? Chaqi nuo all the way". If you want to know whether the stroke contains power, just look at the middle section of the stroke running, what is the abundance of tendons? Look at where the strokes are transferred.
Zheng Zhongguang believes that writing should not only pay attention to the beginning and closing of the pen at both ends of the stroke, but also pay attention to the line stroke and the transfer of the stroke in the middle of the dot painting, and it must be written vigorously, fully and powerfully, and it is impossible to trust the brush. Bao Shichen also attaches great importance to this problem, he said in "Yizhou Shuangyi": "The method of using the pen is seen at both ends of the painting, and the ancients are strong and arbitrary, and those who are unattainable by the ancients are cut off in the painting." ”
Liu Xizai's "Outline of Art" also emphasizes that the book should be "heavy rib knots", and the tendon knots here are the transfer points of the strokes, and point out: "If the pen does not change and keeps slipping down, the tendon knots will die."
How to write strokes to the fullest? Zheng Zhongguang believes: "If you can transport the center forward, although the defeat is round, you will not be the center forward, that is, Jia Ying is also inferior." The center line pen, the pen is evenly forced, the dot painting is solid and thick, full of elasticity, contains bone strength, and has a rounded and vigorous beauty. Therefore, successive generations of writers have advocated the use of multiple centers.
Shigemitsu believes that even if the strokes written by inferior pens are still round and healthy; if there is no center, even the best brush, even the best sharp edge can not show the effect of vigor. Such a statement may seem extreme, but it can be seen from this that Shigemitsu attaches great importance to the center forward's writing.
Zhong Zhongguang admires the beauty of the round show, the center uses the pen, the pen edge gathers the strokes straight, the pen edge is neat and full, so that the strokes are round and solid, and the strokes are round and the real words are beautiful. The phrase "the root of superiority and inferiority lies in this" does not require that the calligraphy should be "pen and pen center" to be considered "excellent", but emphasizes the importance of the center.
The attitude of the shi to the use of the center and the side is reflected in the "Painting Basket": "The pen has the different uses of the middle peak and the side peak. It can be seen that Shigemitsu is not blindly emphasizing the need to use a center. Different situations have different treatments, the center is round, and the "side can be taken" to use the flank appropriately, which has a smart and sharp effect. In addition, Shigemitsu emphasized that the way he holds the pen will also affect the center's writing: "The horizontal wrist side tube hinders the center."
"Jiazhou Collection"
epilogue:
What makes people wonder in The Book Raft is probably that "don't say that the word soft is inferior, such as the pen is not the first purple can not be soft." "That's it." The word "soft" is equivalent to weakness, but here Shigemitsu says "Don't say that the word soft is inferior" as if in conflict with the "round strength" he emphasizes.
In fact, the softness mentioned by Shigemitsu is not weakness, but softness and rigidity, like cotton wrapped in iron. Shigemitsu believes that it is not easy to write a stroke with a soft middle and a rigidity, and the first product of zihao can write a stroke like a cotton wrapped iron. Although such rhetoric is somewhat exaggerated, it can be seen that Shigemitsu attaches great importance to "bones and bones" and his research on writing instruments.
——END