Chen Yongzheng: Kang Youwei pushed the study of stele calligraphy to the peak

■ Li Wentian Seven Words of The Book of Letters courtesy of Artron

Chen Yongzheng, former vice chairman of the Chinese Calligraphers Association and former chairman of the Guangdong Calligraphers Association, believes that after a period of splendid splendor at the time of the Ming and Qing dynasties, after the middle of the Qing Kangxi Dynasty, with the prevalence of the imperial examination system, The Taige calligraphy was all the rage, and the Guangdong book world was also a rare scene. The only person who has achieved a little success is the old scholar Hu Fang. Hu's cursive writing, deeply influenced by white sand, flows away naturally, and Xiao Kai is beautiful and round. At the same time, there are also Wang Later, who originated from the Cabinet And also has the power. The following is Chen Yongzheng's review of the history of the development of calligraphy in the middle of the Qing Dynasty and the modern era, and with his consent, it is presented as follows:

■ Collection Weekly reporter Liang Zhiqin/Finishing

During the Qianjia period, the calligraphy "Four Masters" created a new scene

During the Qianlong period, Guangdong Thessian calligraphy made great progress, and some calligraphers began to get rid of the shadow of Taige calligraphy and create a new path for themselves, the most outstanding of whom was the first to push Su Er. Su's lifelong seclusion in his hometown of Shunde, teaching and writing, calligraphy art also shows a simple and open style, letter and writing, uninhibited, its cursive is clumsy and simple, natural and wonderful. In the Guangdong book world of the Ming and Qing dynasties, after Baisha, Su Er's calligraphy personality is the most distinctive and prominent, so his calligraphy is valued by Cantonese people. Later, Zhuang Yougong, Wu Han, Su Bingrui, Chen Changqi, Gan Tianpet, etc., also won well, enough to be famous. It was not until the years of Qianlong and Jiaqing, when Feng Minchang, Li Jian, Song Xiang, and Wu Rongguang came out, that the Guangdong book world truly recovered its vitality and created a new scene.

Feng Minchang is one of the pioneers of Chinese calligraphy, Feng's calligraphy is very knowledgeable, absorbed in many families in the Jin and Tang dynasties, traced back to the Han and Wei inscriptions, and his calligraphy with pen folds should also be thanks to this. The calligraphy is thin and strong, and the cursive writing is entangled with dragons and snakes, which is innovative. Li Jian was a pure Thesisian calligrapher, longer than poetry and painting, whose poems were high and ancient, and whose paintings were beautiful and sparse, which was exactly in line with the style of his books. Li Jian is a talented person who is good at writing all kinds of books, in addition to the grass, and is also good at sealing and printing, and is known as the "four absolutes" of poetry, calligraphy and painting, and has a high reputation in the country. Song Xiang was also a great poet, his poetry was high, and his calligraphy was as imposing as his poetry. Its calligraphy origin, starting from Su Shi and Mi Fu, receiving the Jin people, obtaining the essence of the second king, and then transferring to Li Yong and Yang Ning's style of grass, taking many paths, so it can integrate each family and become one. Song Xiang tried to use bagasse, bamboo leaves, etc. as pens to achieve special artistic effects, and it is said that the famous "Five Poems" and "Boya Qintai Inscription Wall" were written with these ghostwriting objects. Wu Rongguang calligraphy, majestic ups and downs, unique style. Wu's early years to learn Europe, later to take the east slope, in his later years to the north of the monument pedestrian grass, take the Fa duoshi, and eventually become a generation of everyone. As written in his later years, Du Shixing's book strip screen, Shen Xiong Pu Mao, looking around at the same time, seems to be incapable of resisting with it. In addition to the four masters, the Guangdong book world during the Qianjia period was colorful, and the famous scholars Zhang Jinfang and Huang Danshu were skilled in pen and ink; Xie Lansheng is good at calligraphy and painting, and his penmanship is round; Zhang Yuesong is majestic and strong, and he can taste it for a while. Lishu also has a new look. Yi Bingshou entered Guangdong in the early years of Jiaqing, and almost no one in Guangdong who learned to be ascribe was not affected by Yi's watershed. Liu Huadong, Peng Tailai, Chen Tan, etc. all learned to be Yi body and changed slightly. Later, Ming Binglin was more interested in imitating it. The seal book has Lü Pei and Huang Zigao, who are flexible and gentle and pure with their pens.

In jiaqing and Daoguang's early years of Guangdong's book circles, there were still a large number of famous artists such as Liang Qiru, Tan Jingzhao, Huang Peifang, Zhang Weiping, Zeng Wangyan, Luo Bingzhang, Wu Lanxiu, Xiong Jingxing, Zeng Zhao, Han Rongguang, Bao Jun, Cai Jinquan, Chen Qikun, and so on. Most of these writers are well-rounded and lack creativity. The Guangdong book scene has also reached a time when change is indispensable.

Li Wentian created his own calligraphy with Guangdong characteristics

After the Opium War, the economy and culture of Guangdong have undergone tremendous changes, which is also reflected in art. Guangdong calligraphy has also taken on a new look, and calligraphers have worked hard to explore and create new paths. Scholars Zhu Ciqi and Chen Li can be said to be important figures in guangdong's modern calligraphy.

Zhu Ciqi once studied books from Xie Lansheng, and he had a deep understanding of the essentials of calligraphy that "intended to be written first" and "had a heavy pen head", so his calligraphy was intentional and pen-oriented, penetrating the back of the paper, and Cang Xiu was majestic, which had a great influence on his disciple Kang Youwei. Chen Li's seal book, cast for two weeks qin and Han, the law is rigorous, and the park is mao and zhi; The book is strong and upright, the momentum is calm, and it has its own scholarly edges and bones. Zhu and Chen Ershi have a high academic status in Guangdong, cultivate many talents, and promote the development of Guangdong calligraphy.

During the years of Daoguang and Xianfeng, literati scholars followed the path of thesis, such as Tan Ying, Luo Tianchi, Chen Liangyu, Chen Pu, Meng Hongguang, Feng Yuji, Ye Yanlan, Luo Jiashao, Ding Richang, Wang Yu, Huang Huaisen, Luo Anxian, etc., and more or less accepted the style of writing in the pavilion style. Except for a few painters such as Su Renshan, Su Liupeng, and Julian, who have a slight appearance, most of the remaining children lack real artistic personality. During this period, the emergence of the famous stele scholar Li Wentian brought vitality to the Guangdong book world.

Li Wentian once held the positions of waiter and scholar, and as a reader who rose to a high position from the imperial examination, he was able to abandon the calligraphy of the pavilion, work hard to explore the art of calligraphy, transport the stele into the post, and create his own calligraphy with Guangdong characteristics, Li Wentian's contribution is enormous. Its calligraphy is engraved on the Sui and Tang dynasties, taking the charm of the Wei stele, which is graceful and thick without losing its spiritual meaning. In particular, Li Wentian's stele emphasizes the meaning of "writing", unlike some epigraphers who deliberately imitate the erosion of ancient steles, and can exude a sense of movement in the straightforward to peaceful, thus showing the effect of the two major factions of epigraphy and theology blending with each other.

Kang Youwei collected many inscriptions to melt and cast into a "kang body"

In modern times, there are also Pan Cun, Deng Chengxiu, Jiang Fengchen, Zeng Xijing and others. Deng Chengxiu's calligraphy is thin and hard, known as "iron painting silver hook", with a strong personality; Jiang Fengchen respected the Wei Monument, and used both square circles to make a living and seek newness; Zeng Xijing originated from the Six Dynasties inscription, and the Tang Dynasty wrote the scriptures next to it, which was quaint and elegant.

The most important thing is that some famous artists of the Theo school also moved closer to the stele school and absorbed the strength of the north stele to form a unique calligraphy style. Chen Qiaosen is a scholar and has a strong wind and bone, and is thin and hard; Liang Dingfen learned from Liu Gongquan, Chu Suiliang, and Huang Tingjian, and used his pen to cut off steep cliffs, reveal his spirit, break through the rest of the land, unify rigidity and xiuyi, and his artistic personality is particularly distinct; Tao Shao learned from the Tang Dynasty, next to Mi Fu and with a thin pen.

It was Kang Youwei who really pushed the study of epigraphy to the peak. Kang's influence, both in terms of calligraphy theory and calligraphy practice, spread beyond Guangdong to the whole of China and even Japan, South Korea and other places. Kang Youwei wrote the famous book "Guangyi Zhou Shuangyi" during the Guangxu period, proposing the theory of "honoring the monument", but in the creation, he transported the stele into the post, with a "round pen" stele, which has a unique instrument. He took the length of many inscriptions and forged them into his own "kang body" calligraphy, building a monument in the history of Chinese calligraphy.

In the 20th century, Guangdong calligraphy presented a colorful style

In the 20th century, Guangdong calligraphy presented a colorful style. During this period, there were many Guangdong scholars, and their achievements were high, and they all held an important position in the national book circle.

At the beginning of the 20th century, a large number of literati scholars in the late Qing Dynasty were able to write poetry and good books and were active in the Guangdong book circle. For example, Lin Boqian, Zhou Tinggan, Wu Daorong, Zhu Qilian, Dai Hongci, Liang Yuwei, Pan Feisheng, Zhu Ruzhen, Chen Botao, Wang Zhaoquan, Wang Zhaoyong, Zhang Xuehua, Gui Kun, Cheng Xuexi, Lai Jixi, etc., are all accumulated scholars, and in calligraphy, they are completely traditional thesis and calligraphy, and the calligraphy is particularly outstanding, mostly based on modesty and elegance, and after these people entered the Republic of China, their fame became more and more famous, and some even made a living from the characters. Wu Daorong learned the Sui Monument, quite vigorous and solemn; Zhu Ruzhen is quite close to the pavilion, rich and tidy; Zhang Xuehua xingshu Qing Ya Xiuyi; Guituo Xingkai Gao Pumao; Pan Fei's voice is fluent and natural. The above families can be regarded as the inheritors of the traditional calligraphy style since Qianjia.

During the Republic of China period, Guangdong scholars had a large number of people and great achievements. The "Kang School" formed by Kang Youwei and kangmen scholars is called one of the five major schools of calligraphy in China during the Republic of China period by calligraphy historians. Kang Youwei's creativity was even more exuberant in his later years, and many of the masterpieces passed down from generation to generation were made at this time. His disciple Liang Qichao studied Tang Kai and went up to the Northern Monument, Qing Junchonghe, and Gong Gong Ruya; Luo Xuekang traces back to the "Shimen Ming", the penmanship is thick and flexible, the font is simple and beautiful, and it is very personal.

The famous seal calligraphers Deng Erya and Jian Jinglun were both engraved on seals. Deng's fine gold text, with a pen fang jin there is roundness, elegant and clean; Jane's use of oracle bones as a book is particularly distinctive. In addition, Li Yinsang, Feng Yuan, Feng Han, Ou Jiangong, Feng Kanghou' families, or Gong Xiaozhuan, or Gong Jinwen, each has its own victory. Famous writers include Hu Hanmin and Lin Zhimian. Hu Shi specializes in "Cao Quan Monument", and the beauty flies; The Lin clan learned Han Li all over the world, self-contained, strong pen strength, Shen Xiong Gao Gu, and had a great influence on the modern Lishu in Guangdong. Yao Lixiu and Zhao Hao can also be subordinates, and sometimes have good structures. Luo Zuozhangcao, sometimes using the continuous grass method, the pen is sharp and strong, and the elegant grace, and the Wang family can be called double Bi. Jian Jinglun's chapter grass is simple and ancient, don't open all the way.

The Guangdong book circles of the Republic of China have the highest achievements in writing

During the Republic of China, the achievements of the Guangdong book circles were the highest. Ye Gongqi is a generation of people, enough to compete with the Central Plains and chase the deer to the left. He inherited the innovative tradition of Wu Rongguang, Li Wentian and Kang Youwei in the Qing Dynasty, and transported the stele into the post, and the stele was integrated into one, forming a unique style. He also used the Weibei penmanship as a Zhao body, Xiu Jin Yi Tang, the pen power of the big book, and the small character book was naturally elegant. Huang Jie is a famous scholar who writes books in his spare time and pursues a clear and elegant mood, which is both ethereal and calm, and extremely exquisite. Chen Rong entered the grass with the north stele, the penmanship was dangerous, the spirit was introverted, just healthy and graceful, and both. Cen Xue Lu Xingcao is also quite impressive, cutting powerfully, and strange and positive.

There are also two unique style bookmakers, very innovative. Gao Jianfu entered the book with the painting method, and his wild grass was like a paraquat vine, circling and swirling, the ink method was thick and dry, and it was arbitrary, and the knot body was wanton and majestic, unprecedented, and could open up a lifelong face for the wild grass. Yi Ru first learned Zhao Zhiqian, and in his later years, Yi Hao was uninhibited, and even tended to be weird, but his pen power was beyond the reach of a shallow scholar who talked about new creations.

Sun Yat-sen, a great man of a generation, although he did not use the title of the book, his calligraphy was generous and graceful, and he had a sense of humility. Dr. Sun Yat-sen has many surviving ink stains, which are enough for future generations to see. Chen Shaobai, Gu Yingfen, Liao Zhongkai, Chen Jiongming, He Xiangning, Xie Yingbo, Chen Shuren, Hu Yisheng, Zhu Zhixin, Zou Lu, Wu Tiecheng, Luo Yiqun, Chen Mingshu, Chen Jitang, Li Xiangen, Liang Hancao, and a large number of Cantonese people who are active in the political arena have considerable calligraphy.

Lu ZiShu Xingcao was deeply rooted in Dong Qichang's divine essence

In the second half of the 20th century, the Guangdong book world developed rapidly and achieved fruitful results. In the 1950s and 1960s, the older generation of calligraphers were still active in the book world, and Shang Yanjun studied calligraphy for the late Qing Dynasty, and his books melted into one, dignified and beautiful. Although Ye Gongqi was in Beijing, he was very concerned about the calligraphy activities in his hometown. Gui Tao, Shum Xuelu, Xiang Hanping, Feng Kanghou, Chen Jinghong, Luo Yuanjue, Zeng Xiying, etc. are still writing books in Hong Kong.

Contemporary calligraphers are known for their seal books, including Rong Geng and Shang Chengzuo. Rong Geng made outstanding contributions to the ancient script, and the golden text he composed was peaceful and neutral, peaceful and self-assured. With the pen, it is round and square, light and heavy, dense, as if inadvertent, and the real words are rigorous and meticulous, with a clear and simple beauty. Shang Chengzuo was good at writing seal books in various bodies, the oracle bones were clean and beautiful, the jin wen was gentle and elegant, and in his later years he liked to be Qin Li, and he was majestic and simple. Wu Zifu devoted himself to Han Li, melted and cast various monuments, and became the appearance of Yan Jinxiu in his own end. Qin Sheng loves the "Tablet of Cuan Baozi", and his writing is also quite strong. Mai Hua Sanshan's book, round and beautiful. Li Tianma is proficient and elegant, gentle and elegant. He Shaojia focused on the North Monument, and xingkai kuanbo gujin. Zhan Antai and Guo Dushi both entered the grass with the method of stele, Zhan's elegance, Guo's arrogance, the same origin and different ways. Lu ZiShu Xingcao was deeply rooted in dong Qichang's divine essence, and it was far away and elegant. As for cursive writing, Ruan Huizhi and Tong Shaobi are the most capable. The second king of the Nguyen clan foundation, by reference to the "Book Genealogy", the penmanship of Liu Shi'an, taking the meaning of "Ping Fu Ti", simple and simple, outstanding and famous. In his early years, Tong learned Kang Youwei and Zodiac Zhou, and in his later years, he studied Mechanics Huai Su and Sun Guoting, and was in a high realm of deep and super-easy, xiongjian and ancient clumsiness. In addition, such as Hou Guo's old pen, Hu Gentian's sense of detachment, and Huang Haizhang's deep Zen meaning, are all outstanding for a while. The old calligraphers of the contemporary Guangdong calligraphy circle have inherited the past and the future, taught by words and deeds, and have made outstanding contributions to the development of Guangdong calligraphy in the 21st century.