At this point in the story, many people may be looking forward to a climax in the Yuanming and Qing dynasties, who broke through the Tang rules and Song Yi, caught up with the two kings... Unfortunately, when the story got here, there was no more.
Before Zhao Mengfu appeared, let's see how far the Yuan Dynasty book circle inherited the Song Feng transformation method.
Feng Zizhen 《Title Zhan Zi Pious Tour Spring Map"
In the article "Discussing with Mr. Xu Bangda about the "Brushwork" Calligraphy and Painting" (https://www.toutiao.com/i7021694660414374439/), the author mentioned that the thief is not caused by the production process of a certain pen, but is related to the quality of a certain pen and the writer's understanding of the thief. I don't know if the thief's style of writing started from Feng Zizhen, but it is true that Song Jin and the previously unseen thief can be traced back to at least this point.
Zhao Mengfu's shining debut has indeed become the only landscape in the Yuan Dynasty.
In the Yuan Dynasty, if you want to get a shi, you must first be a first-class Mongol and a second-class Semu (Western Xia, Hui, etc.), and then a third-class Han Chinese. Friends of Tibetan porcelain or more can see that Yuan Qinghua's painting work is first-class, it looks wanton and rough, but in fact, the pen is superior, the look is vivid, most of the Han literati have no way out, and they have to do these jobs for the Yuan people. The painting on the yuanqinghua is formed at one time, the branches and leaves are luxuriant, and the imitation is enough to see if the leaves are as refreshing as the belly of the knife.
When Zhao Mengfu was born, the Southern Song Dynasty had not yet perished. As a Song dynasty, it is very difficult to be appointed as a yuan jixian bachelor. Zhao's own statement that he "will repay the emperor with loyalty to the emperor" also made him greatly despised among han scholars. In fact, it was probably the Mongols who found that they could fight the world on horseback, but they still had to have culture to govern the country, so they took a fancy to zhao, one of the "Wuxing Eight Juns" who had become famous at the end of the Southern Song Dynasty, and decorated their facades in terms of culture, and by the way, they searched for various treasures, especially book posts. Zhao Mengfu, who was involved in calligraphy, did not perfunctory Emperor Yuan, but bluntly said that he wanted to abandon the Song and learn Wei and Jin, and directly became the heir of Emperor Wu of Liang. "Since Wu Xing Zhao Gong came out, the learners have known the book of jin" (Yu Ji,"Ancient Records of Daoyuan Studies"). Zhao Mengfu studied Wei and Jin very thoroughly, and even learned the Western Jin Dynasty Suojing's Zhang Cao (Zhang Cao is an ancient grass, starting from Qin, and there is no adhesion between strokes to meet bamboo Jane).
But we may have misunderstood Zhao Mengfu, and his loyalty to Emperor Yuan may not be like the historical legend. And look at Zhao's text on "Qing Ti in the Fast Snow":
Zhao Mengfu's "Sunny Post when the Snow Is Fast"
"The Eastern Jin Dynasty has been nearly a thousand years now. Absolutely not to be obtained, when the snow is fast, the treasures of the QingTi Jin Wang Xi Book of the Past Dynasties are also..."
However, Zhao Shi has the following "Songxue Old Man Pro Seventeen Posts":
The origin of the original of Zhao Shilin's "Seventeen Theses" has always been unknown, and it has become an unsolved case in history. Until the author saw this post in the folk:
Wang Xizhi Cursive "Seventeen Theses"
The author has already put on several comparison pictures before, which shows the carefulness of Zhao's pro-post. The most incredible thing is that Wang Xizhi's post was empty of four words at the end, and Zhao Shi also came down unchanged. Writing this, perhaps readers will have a similar speculation with the author, that is, Zhao's Linti is not only to improve his calligraphy, but also to pass on this post and retain the calligraphy lifeblood of the Chinese literary room, which may also be the primary reason for his appointment to the Yuan Dynasty. He first presented the "Qing Ti of the Fast Snow Time" to Emperor Yuan, hoping that the imperial court would confirm the entire Chinese calligraphy tradition of the Upper Wei and Jin Dynasties and set it as the supreme program, and then he would use his own collection of sages to preserve all the valuable calligraphy and paintings he had collected and pass them on to future generations. Maybe after so many years, we can overturn the case for Zhao Shi, who is not a person who sells the Lord for glory.
Wang Xizhi Cursive "Seventeen Theses" and Zhao Mengfu's "Seventeen Theses"
This folk version of the cursive "Seventeen Theses", only the second half of the volume, is roughly the same as the content and calligraphy of the version circulated during the Tang Taizong period (only rubbings), the details are not exactly the same, and at the end of the post, there is Wang Xi's falling money and stamp. The Taizong version, according to the accounts that have survived today, was collected into a book to collect Wang Xizhi's letters from that year, and because the first post began with "Seventeen Days...", it was named "Seventeen Theses". The folk calligraphy style of this version is more mature and sophisticated than that of the Taizong version, and it is speculated that Wang Xizhi has re-created a number of his calligraphy works in one volume, rather than the letters of that year, so it is only printed at the end, and there is a phenomenon of missing words. Some pseudo-experts in the Department of Literature and Literature denounced the pre-Song dynasty calligraphers as forgeries, and neither understood the aging of clay paper, nor were they familiar with the history of calligraphy, nor did they know very little about the study of gold and stone. The following is a cultural relic unearthed from a personal seal from Wang Mang's new dynasty, the inscription "Seal of Wang Zhong", whose style coincides with the private seal on the Wei and Jin Fa post circulated by the people.
Wang Mang's New Dynasty Private Bronze Seal "Seal of Wang Zhong"
Folk Tibetan Wang Xizhi "Anecdotal Posts" on the Wang Xi's seal
In the end, how many calligraphy works of the Wei and Jin dynasties were passed down by the Zhao family is unknown. Zhao Shi may not dare to seal it, so as not to invite disaster. The visible collection seal "Wu Xing" today has never been known, and it is speculated that it may be owned by the Zhao family. Zhao Shi could only pretend to be devoted to learning Wei and Jin calligraphy to cover up the truth of the Hidden Post. He even received a facsimile rubbing of the "Lanting Collection", not only posted, but also wrote several articles in a row, which was full of praise. Unlike today's people, ancient calligraphers got the real handwriting, often quietly put it on the shelf, not to be discovered, from time to time to take out the post, and then innovate pen and ink, so that their calligraphy by leaps and bounds. Nowadays, most of them are investment collections, and they are also put on the shelf, and after a few years, they take out the funds for turnover. The ancient literati regarded the word "calligraphy and painting" as if they were their lives, which was the face of the literati. As mentioned earlier, only Song Huizong, the emperors of the past, really squeezed into the ranks of the literati.
When it comes to Zhao's own calligraphy, it is not, as he himself said, blindly anti-Song, and some of its knots are obviously up and down the Song style. He was only the yuanren who learned from the Song dynasty to pay no attention to anything. Zhao calligraphy, compared with the entire Yuan Dynasty, is stable and elegant, and has resumed the pursuit of the word "beauty", but it has not fallen behind the cliché of the Southern Dynasty to learn the second king. In Zhao's calligraphy, the shadows of Wei Jin, Tang and Song can be seen at the same time and become their own style. Not excessive, comparable to Yan Zhenqing's contribution to the Tang Dynasty's calligraphy.
As shown in the following figure, green is the characteristics of Wei and Jin strokes, green is the characteristics of Tang Dynasty strokes, and blue is the characteristics of Song Dynasty knotted calligraphy and strokes.
Folk Collection Zhao Mengfu "Tablet of Courage"
In the Yuan Dynasty, there were also Zhao pai scholars such as Xian Yushu, Ke Jiusi, Yu Ji, and Guo Ji who studied Zhao Mengfu, and the group was huge. The history of books has been objectively handed down, and Zhao Mengfu is still the most popular.
During the period, there were Zhang Yu and Ni Zhan, and the book style was more innovative than that of Zhao Mengfu, which was listed below:
Zhang Yu "Poetry Scroll"
Ni Zhan, "Landscape Scrolls in Collaboration with Wang Meng"
Ni Zhan's Song style knotted calligraphy is obvious, but it has changed the drawbacks of "judging ugliness" and "thief" in the early Yuan Dynasty, and has created a new aesthetic mood by inheriting the fine brush and elongated skimming from the Song Dynasty. Although it is not similar to the ancient method of Wei and Jin, it has not fallen into the trap of the earthworm shaking pen, neat and refreshing, into its few brushstroke landscape paintings, complementing each other, listed as one of the "Four Families of the Yuan", which is well deserved.
The early Ming dynasty scholars, represented by the "Wumen Shu School", included Xu Youzhen, Shen Zhou, Zhu Yunming, Wen Zhengming, Tang Yin, and others, and the basic style was changed between Song Su Huangmi and Yuan Zhao Mengfu, and the Song style of Feng Zizhen in the early Yuan Dynasty and Zhao Bingwen in the Jin Dynasty was also dragged back and made a big fuss. Although there are many variations, in general, they have not exceeded these three types of wind directions, and both Wei Jin and Tang Fa are weak. Perhaps what Zhao Mengfu did not expect was that he painstakingly chased after the great king Suojing, and wanted to inherit the wei and Jin style of calligraphy, so that posterity would know how to change the law and innovate in the inheritance, but the posterity only looked at his calligraphy, and the Zhao family could only stand with both hands.
Ming Shen Zhou《行書千人石夜游卷》
Ming Wu Kuan 《 Epitaph of Lady Han of Kai shu 》
Ming Zhu Yunming 《Lanting Collection》
Ming Zhu Yunming 《Peony Fuxing Grass》
In the late Ming Dynasty, Dong Qichang swore to pursue the Jin people, but in fact it was still the song and Yuan style, probably the Wei Jin understood by zhao Mengfu, just as the Song people learned Yan Zhenqing's understanding of Wei Jin.
Dong Qichang 《Reading Fu》
I also have a Xu Wei, and another Wang Duo. The style of writing became more and more uninhibited, and it did not get rid of the Song and Yuan Dynasties.
Xu Wei 《Self-written Poetry Album》
Wang Duo, "Linchu Ben Lanting Collection"
Wang Duo 《 Trek 》
There are also zodiac weeks that combine Zhao Mengfu and Zhang Yuni to innovate:
Zodiac Week Ode to Filial Piety
In the early Qing Dynasty, Dong Qichang was admired, and the Qianlong Emperor's writings also had the style of Dong, and the shadow of Zhao Mengfu could be seen on it. Qianlong, like Zhao Mengfu, collected many Fa Ti that the Second King had descended. Although Wang Xizhi's "Qing Ti in the Fast Snow", Wang Xianzhi's "Mid-Autumn Festival" and Wang Xun's "Boyuan Ti" are named "Sanxi", in fact, there are not a few kinds of Two King Fa Ti that exist. At the same time, there are no less than ten posts in the "Orchid Pavilion Collection Sequence" with reliable Xiang Zijing and Qianlong seals, which can be seen in facsimiles, linbens, and of course, authentic manuscripts. It is an indisputable fact that there are more than "Three Xi" in the Sanxi Hall.
Although Qianlong was bitterly approaching the king, in the end he was not used in his usual imperial questions, perhaps he still preferred Song Yuanming's new style in his heart. The following is the Qianlong Pro Sanxi Ti:
Qianlong Pro 《三希帖》
Qianlong Pro 《QingTi when the snow is fast》
Qianlong Imperial Title 《Willow Crow Reed Goose Diagram》
Qianlong Imperial Silk "Luli Luting Chart Axis"
In the middle of the Qing Dynasty, the Beipai school of calligraphy arose, with Jin Nong, Deng Shiru and others, who worked the aspect of sealing. It is not difficult to distinguish between this kind of seal and ancient seal, just to see whether there is Tang Kai, Zhao Mengfu and other people's knotted calligraphy and brushwork. Those dynasties that have long gone, the style of books does not actually exist.
Looking at the Eastern Han Dynasty, the fat pen wave picks the natural circle, the Qing Dynasty lishu wave pick, there is the image of the Tang Kai square fold, and the wave pick is short, which is the wind since the Song Dynasty. In terms of font type, the Eastern Han Dynasty Lishu is flat and round, and the Qing Dynasty Lishu is square.
Eastern Han Dynasty
Qing Jinnong 《Lishu Lian》
Looking at the small seal of the Qin Dynasty, the skimming pen retains the end of the sharp pen of the big seal, and there is also a method of direct collection without processing, but there is no Song Feng out of the thief or the appearance of shaking the pen, the round stroke method is simple, and the point of the kaifa is not seen. Deng Shiru's small seal circle turn is skilled, the font type has Tang Zhifang rules, and the pen handling is very exquisite.
Folk Tibetan Qin Small Seal Dharma Thesis
Qin Hu rune on the inscription
Deng Shiru Seal Book "Records of Bai's Caotang"
The history of the book is broken, and this is the end of it.
If you are interested, you can take the ancient calligraphy inscription that you are not familiar with, or draw an inscription poem, first use the above methods to deliberate, try to break the generation, and then trace back to the source to see if the answer is correct or not. (Don't look for controversial works)
The author has used this method to break the inscription poems on some unfamiliar scrolls, and the conclusions reached are completely consistent with the recognized age of these paintings.
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Links to addresses in this series:
(1) Introduction and Bibliography
https://www.toutiao.com/i7005399367796523551/
(2) Learn from the old
https://www.toutiao.com/i7007665986388230694/
(3) Why is it ironclad evidence
https://www.toutiao.com/i7007970218022601220/
(4) The harm of the principle of prudence
https://www.toutiao.com/i7008497667794043403/
(5) Old paper and old paper
https://www.toutiao.com/i7008717584250012168/
(6) More used paper
https://www.toutiao.com/i7009148716946866702/
(7) Do not waste identification by quantity
https://www.toutiao.com/i7009495857997529630/
(8) Old silk and old silk
https://www.toutiao.com/i7010738850561606177/
(9) More aged silk
https://www.toutiao.com/i7011057131587650056/
(10) The hardest hit area of the Colo edition
https://www.toutiao.com/i7011296717857407524/
(11) Imitation of various diseases
https://www.toutiao.com/i7012133129221718566/
(12) Books are not paintings also
https://www.toutiao.com/a7012840098832302606/?log_from=99901bf8e20d5_1632823595967
(13) The common realm of poetry, calligraphy and painting
https://www.toutiao.com/i7012919978521379367/
(14) Seal comparison
https://www.toutiao.com/i7013210659445899789/
(15) Printing clay analysis
https://www.toutiao.com/i7013971432262697483/
(16) Mounting and discontinuation
https://www.toutiao.com/a7015004463748383236/?log_from=c0bbe5742e08f_1633588500666
(17) Pro-script and authenticity
https://www.toutiao.com/i7016161221325947399/
(18) Facsimile and authenticity
https://www.toutiao.com/i7016509262021050911/
(19) Inscriptions and rubbings
https://www.toutiao.com/i7017223608376328717/
(20) History of Calligraphy and Broken Dynasties
https://www.toutiao.com/i7017617230129086988/
(21) Wei and Jin
https://www.toutiao.com/a7017991470330151438/
(22) Northern Dynasty Qi Sui Tang
https://www.toutiao.com/i7018369547761730086/
(23) What did the Southern Dynasty quarrel with
https://mp.toutiao.com/profile_v4/graphic/publish?from=edit&pgc_id=7020945402824344071
(24) Tang Kai fixed the law degree
https://www.toutiao.com/i7022810999468163588/
(25) The Song Dynasty broke the Tang Rules
https://www.toutiao.com/i7022871173885133343/