Based on the basic information, writing content, background, and calligraphic characteristics of this volume, as well as taking into account the writing materials, tools, and difficulties of Huang Tingjian's life in his later years, this paper speculates that this volume may have been written when Huang Tingjian was demoted to Yizhou for the second time, that is, between 1103 and 1105.
Huang Tingjian (1045-1105), known as Luzhi, Fu Weng, alias Gu Daoren, was a native of Fenning, Hongzhou (now Xiushui, Jiangxi), and a famous writer, poet, calligrapher and calligrapher in the Northern Song Dynasty. In the history of literature, he is known as "Su Huang" along with Su Dongpo, and at the same time he is the leader of the Jiangxi poetry school. In the history of calligraphy and Su Dongpo, Mi Fu, Cai Xiang and called the "Song Dynasty", his unique high standard of large characters and wild grass has a profound impact on later generations, known as "the first in the history of the millennium". [1]
According to the "Complete Works of Huang Tingjian's Calligraphy", there are 121 calligraphy inkblots and inscriptions recorded in Huang Tingjian's surviving calligraphy, including seven cursive inkblots,[2] the most famous are the volume of "Lian Po Lin Xiangru Liebiography", the volume of "Zhu Shangza Post", the volume of "Li Bai's Reminiscence of Old Travels" and the volume of "Liu Yuxi's "Bamboo Branch Words" (hereinafter referred to as the "Bamboo Branch Words" volume). Compared with the first three works, the academic community has not paid much attention to the volume of "Bamboo Branches". This paper attempts to estimate the possible writing time of this volume by observing the basic situation of this volume, the background of the writing, the characteristics of calligraphy, the materials used, and the observation of this volume in the stage of Huang Tingjian's life experience and the evolution and development of cursive writing, in order to attract more attention and research from the academic circles to this volume of calligraphy.
1. Nine hundred years of drama, unforgettable: the basic situation of the handscroll
The volume of "Bamboo Branch Ci" has a total of 40 lines and 283 characters, of which the nine poems of "Bamboo Branch Ci" in the main text have a total of 36 lines and 252 words (53 words are damaged and 14 words are missing), and the Bawen has a total of 4 lines and 31 words, which is basically complete. Most of the mutilated characters are concentrated in the lower and first half of the scroll, indicating that the lower part of the scroll was heavily damaged during the handing process (Fig. 1). This volume was donated to Tianyi Pavilion in 1979 by the family of Mr. Zhu Yuqing (1885-1968), a great collector from Xiaoshan who lived in Ningbo. Prior to this, there was no record of circulating information, and there were several collection seals at the end of the volume, which were unrecognizable due to refuge. When it was donated to Tianyi Pavilion, this volume was not framed, but later Tianyi Pavilion asked Mr. Liu Yisan, a retired framer of the Shanghai Academy of Chinese Painting, to restore and frame it, and the silk added was said to have been collected from the old painting scroll.
Please view it horizontally
Fig. 1 The introduction of this volume is written in the late Ming and early Qing dynasties by Min Sheng (1597-1680) in the large character "Ink Brush Dance", which is written in a smart and natural manner, and is signed "Eighty-three Weng Min Sheng's imitation of Cai Zhonglang's pen" (Fig. 2). Min Sheng is a native of Wuxing Wucheng (now Huzhou), the word Yifu, the name Xueling, Mi'an, Lingren, his great-grandfather Min Jue (1430-1511) was a Jinshi in the eighth year of Tianshun (1464), the official to the criminal department of Shangshu, quite a family reputation. [3] Min Shengshao was famous, but he did not participate in the scientific examination, and he was recommended and did not go, and regarded himself as a Yimin, because he was interested in the art of war, and compiled and engraved the book "The Four Editions of Bingyuan" in the first year of the Apocalypse (1621). Before his death, he was imprisoned for being involved in literary prisons. [4] In his later years, his family was poor and supported his family with calligraphy and seal carving. It is speculated that the volume of "Bamboo Branches" may have circulated in Huzhou in the late Ming and early Qing dynasties, and collectors may have admired Min Sheng's character and calligraphy, so please lead him. At this time, Min Sheng was eighty-three years old and returned to Daoshan the following year.
Figure 2 "Bamboo Branches" is followed by Xu Bangda and Sha Menghai's Jianbai, as well as Chen Congzhou's view. In 1978, Mr. Xu Bangda, accompanied by Huang Yongquan, a calligraphy and painting connoisseur at the Zhejiang Provincial Museum, went to Tianyi Pavilion and left a poem (Fig. 3):
After the authentic work of the old man of the valley. Miasma rain and smoke leaning on bamboo branches, Langzhou flavor Fuzhou knows. The withered vines shook the place, and the words and sentences were based on the ink pool. First, it may not be possible for Xiangshan to have it, and the high evaluation is straightforward. Written to be respectful of no Buddha, than the south of the city tired of steaming. Second, the valley was originally Yuan Fu in the second year of the summer book in the south of Rongzhou City, and this volume was written in the evening. In the winter of 1978, Xu Bang became knowledgeable.
Figure 3: Mr. Xu's Huang Tingjian's "Book Dream of Words" is the "Book Liu Yuxi's "Waves and Sands", "Bamboo Branch Words" and "Willow Words" recorded in "The Complete Works of Huang Tingjian": "Summer is tired, and the guests in the house are tired of relieving the boat. If you want to sleep, you can't sleep during the day. Try to make the ink of the order, so it is the twenty-seven chapters of Emei Shi Qing Chongcao this Yuefu. In the middle of the summer, my arm hurts, my books are sweaty, my arms are fingered, and I am afraid that I will not be able to read from now on. In April of the second year of Yuan Fu, Jiaxu, Rongzhou Chengnan was appointed to the Yuntang book. [5] Mr. Xu believes that Tianyi Pavilion and Jiji are two works, but they are both late strokes.
Mr. Xu's visit to the Pavilion may have been due to the fact that this "Bamboo Branch Words" recently participated in the "Report Exhibition of Cultural Relics Collected by Various Provinces, Municipalities and Autonomous Regions" held at the Palace Museum in Beijing, and its appearance attracted the attention of the cultural relics circles at that time. In 1979, the magazine Calligraphy published a picture of this volume in its first issue. [6]
In 1980, the staff of Tianyi Pavilion sent the volume of "Bamboo Branches" to Mr. Sha Menghai, who was living in Hangzhou at the time, and Sha Lao made a long passage at the end of the volume (Figure 4):
Lu Zhihao wrote Liu Mengde's bamboo branch song, the valley inscription volume two collected a journey, volume eight received "and the dream of his poems and books" a journey, volume nine and two collections, the latter one marked "self-grass", that is, this book also. Editor's note: "There is a stone carving on the right", it is known that it is based on the stone book, and the authentic work has not been observed. Song calligraphers Su and Huang are equally famous, and each has its own specialty. Zizhan Shi Yi Shao, Qing Chen, the pen is charming, and the crown is I. Lu Zhizhen's book refers to the "Crane Ming" method, ups and downs, not owned by Zizhan. Zizhan is less grass, Lu Zhi is committed to Bo Gao, Tibetan truth, running to the dust, self-proclaimed "the boat in the view of the oars for many years, the group of Ding pulling, is the feeling of less progress", there is a taste of its words and books! Lu Zhi is thirty-one words, the book is not signed, and the inscription in other places is often nameless, and the person who sees it has no words. Nine hundred years of drama, ink and silk, moving, several exhibitions, unforgettable. In 1980, Gengshen March Sha Menghai Ji.
Figure 4 Sha Lao examined this volume in detail, and he marked the relevant records of "Bamboo Branch Ci" in the "Valley Inscription" literature. It is believed that Huang Tingjian in the ninth volume has two chapters, of which the latter one is "Another Book from the Song of Grass and Bamboo Branches" The text is the same as that of Tianyi Pavilion: "Liu Mengde's "Bamboo Branches" is nine articles, and the poet is also a poet. So that Bai Juyi, Zhang Ji is for it, may not be able to. [7] However, Sha Lao believed that he was copied according to a stone inscription rather than an inkblot. Regrettably, the stone carvings seem to have been lost today.
The original manuscript of the inscription made by Sha Lao for the Tianyi Pavilion is now in the Sha Menghai Academy, and the manuscript shows a number of revisions (Fig. 5). When writing, Sha Lao also used the treasured Wanli ink, which shows how much he cherished this volume. On April 28, 1987, the National Calligraphy and Painting Appraisal Group concluded that this volume was "authentic, fine". [8]
Figure 5 2, Langzhou flavor Fuzhou Zhi: The writing background of the volume of "Bamboo Branch Words".
Fu Shen once said that the content of Huang Tingjian's calligraphy was a kind of allegory, and his writing of "The Biography of Lian Po Lin Xiangru" was related to the experience of being involved in the old and new party disputes and being degraded, and he hoped that there would be no disputes between private individuals, and that the interests of the country should be put first. [9] Obviously, Huang Tingjian's writing of Liu Yuxi's 'Bamboo Branches' is also deeply meaningful.
"Bamboo Branch Words", also known as "Bamboo Branch Song", is a genre of poetry, created by the Tang Dynasty poet Liu Yuxi (772-842), there are two groups, one group writes two poems, the most famous poem is "the sun rises in the east and rains in the west, the road is sunny but sunny". The other group of poems is nine, that is, the content of the Tianyi Pavilion book. Liu Yuxi's "Bamboo Branches" had a great influence on Song Dynasty poets such as Wang Anshi, Su Shi, Su Zhe, Qin Guan, Lu You, Liu Kezhuang, etc., as well as Huang Tingjian's "Jiangxi Poetry School". [10]
Huang Ting insisted that "The Song of the Bamboo Branches" was a ballad of thought,[11] and when he was demoted to Guizhou for the first time, he said, "From Jingzhou to the upper gorge, into Guizhou, to taste the dangers of mountains and rivers, because of the double stack, it was passed on to Ba Niang". There are sentences in the poem, such as "Mo Yanyuan outside the Ghost Gate", "Mo melancholy outside the Ghost Gate"[12], "Kuizhou Bamboo Branches Relieve People's Sorrows", "Kuizhou Bamboo Branches Worry He" and so on. [13] Imagine that when the song echoes in the lonely valley, the resentment and sentimentality caused by the hardships of the road may be soothed. In addition to self-writing, Huang Tingjian wrote the most is Liu Yuxi's "Bamboo Branches", in addition to the subtlety of the words, it implies that he has a relationship with Liu Yuxi, who also has the experience of being degraded, which can be described as "the same is the end of the world".
Huang Tingjian was a jinshi in the fourth year of Zhiping (1067), and in the eighth year of Yuanfeng (1085), he was recruited to Beijing as the secretary of the provincial school, and was involved in the Yuanyou party dispute because of his friendship with Su Shi. Zhang Dian and Cai Bian falsely accused him of being disrespectful to the emperor when he revised the Records of the Emperor Shenzong, so he was demoted to Fuzhou (now Fuling District, Chongqing City) and placed in Qianzhou (now Pengshui and Miao Tujia Autonomous County, Chongqing City). In the first month of the second year of Shaosheng (1095), the fifty-one-year-old Huang Tingjian began a degrading life in the last years of his life. In December of the fourth year of Shaosheng (1097), Huang Tingjian's cousin raised Kuizhou Road Changping, and Qianzhou was under his jurisdiction, and Huang Tingjian moved to Rongzhou (now Yibin City, Sichuan) in order to avoid suspicion of relatives. In June of the first year of Yuan Fu (1098), the Huang family arrived at the degraded house, first lived in the broken temple, and then moved to the side of Tu'er Village in the south of the city, borrowing land to build their own houses. In the third year of Yuan Fu (1100), Song Huizong succeeded to the throne, and a group of Yuanyou people were recalled by the imperial court, and the Huang family also set off to return to the east in December of that year, but the physical condition was not good, and he said that "he arrived in Jingzhou in April, and died of two major illnesses in May and July." [14] In this year (1101), the Huang family moved four times at the age of one and was exhausted. In June of the first year of Chongning (1102), Huang Tingjian took charge of the Taiping Prefecture, but was deposed nine days later. In August, Guan Gou Hongzhou Yulong Temple. In September, he went to Ezhu (now Wuchang, Hubei), where Huang Tingjian lived for more than a year. Because of his suspicion with Zhao Tingzhi in his early years, Zhao used the mouth of others to slander Huang in "Jingnan Chengtianyuan Tower" There are words of gloating and slandering the country. Therefore, in November of the second year of Chongning (1103), Huang Tingjian was once again relegated to Yizhou (now Hechi City, Guangxi). Huang arrived in Yizhou in May of the third year of Chongning (1104), during which life was difficult, but Huang Tingjian was willing to eat. On September 30 of the following year (1105), a generation of writers and great calligraphers passed away in the military office. [15]
Compared with Huang Tingjian's two derogations, Liu Yuxi (772-842) was degraded three times in his life. Liu Yuxi lived in an era when the eunuch dictatorship, the division of feudal towns, and the corruption of the imperial court. In order to reform the evils of the times, Liu Yuxi participated in the "Yongzhen Reform" movement, but after Xianzong ascended the throne (806), the reform group failed, and Liu was demoted to Langzhou Sima. Nine years later, he was once recalled, however, on the way, he offended the powerful because of poetry, and was once again demoted to the history of the state assassination, and then changed to the history of the state assassination and the history of the state assassination. In the twenty-first year (806-826), he ran to the mountains and rivers of Bashan, from a high-spirited young official to a head full of silver threads. In 828, at the age of fifty-seven, Liu Yuxi finally returned to Luoyang and served as a scholar of the Ministry of Rites and the Jixian Palace, but was ostracized again in the party struggle and was demoted for the third time. In the last years of his life, Liu traveled to Suzhou, Ruzhou, Tongzhou and other places until his death. [16]
Political frustration made Liu Yuxi express ideals in poetry and prose, and achieved great success, especially "Bamboo Branches". Liu once said that the reason for composing "Bamboo Branches" was to imitate Qu Yuan's "Nine Songs" composed in Yuanxiang,[17] and he adapted the lyrics and tunes of folk songs, integrating the cultivation of literati poetry into simple folk songs, and at the same time using metaphor and harmony, so that the songs can not only reflect the customs of one side, but also achieve the appreciation of elegance and vulgarity. Behind the imitation of Qu Yuan, there is Liu Yuxi's admiration and pursuit of Qu Yuan's personality and spirit in prison. Du Fu, who "asked for his life for the people", was also admired by Liu Yuxi, and the "Ten Quatrains of Kuizhou Songs" he wrote when he drifted to Kuizhou also inspired Liu's "Bamboo Branch Words", that is, Huang Tingjian's "Bamboo Branch Words" and "Kuizhou Song" are "different songs for the same work". [18]
Liu Yuxi, who is "in the minds of the people", did not shake his beliefs and ideals in life when he was politically frustrated and his life was turbulent, and the indomitable and unchanging character he embodied in his body was exactly the "Linda Festival and vulgar" that Huang Tingjian admired and practiced all his life. Liu Yuxi's innovative spirit in the field of poetry also deeply moved Huang Tingjian. Innovation is also the practice of Huang Tingjian's life, whether in the field of poetry or calligraphy, he has always been on the road of diligently seeking and constantly surpassing himself. Therefore, Mr. Xu Bangda said that "Lang (Lang) Zhou flavor Fuzhou knows", through the volume of "Bamboo Branch Words", we see the ancients in the same line of personality and spirit. This spirit has never disappeared from Qu Yuan more than 2,000 years ago to Du Fu, Liu Yuxi, and Huang Tingjian.
3. Waves and old people: the calligraphy characteristics of the volume of "Bamboo Branch Words".
The writing of the "Bamboo Branches" volume reflects the typical cursive style of Huang Tingjian. First, long and short knots are drawn on the knots, and some characters are condensed to appear in dots, such as "heart", "no", "mountain", "three", "gu", and "cup" (Fig. 6), a form that was later absorbed and brought to the extreme by Zhu Yunming. Second, the strokes are extended to break the constraints of conventional font structures, such as the apostrophes of "ren", "lai", and "individual" that appear many times in the volume, as well as the initiation of the characters "silver", "chuan", and "companion" (Fig. 7). This spear and halberd is recognized as the most distinctive feature of Huang Tingjian's calligraphy, especially in his regular script. Third, through the font size, the contrast of line straightness, thickness, virtual and real, etc., to enrich the changes. Or elongate the upper and lower structures, such as "lai", "shore", and "li", or stretch left and right, such as "like", "crazy", "noisy", "gorge", "ape", etc. (Figure 8). Font size changes are typical, such as "stepping on spring", compressing "spring", and the extension of the upper and lower characters to form a staggered fall. In the three characters for "go to burn", the extremely shrunken "go" is surrounded by the relaxed word "burn", and the "burn" and "she" are contrasted with the sparse and coarse (Fig. 9). Fourth, Huang Tingjian mostly writes in long solid lines between the characters in the volume, which brings about spatial changes in addition to the strength, such as the characters "up", "lixiang", "parasitic" and "ape cry" (Fig. 10). In addition, the number of words is different to reflect the stable or ups and downs. It can be seen that almost every line of characters in the volume swings along the central axis to varying degrees, such as the line "Qutang Noisy", which swings several times from left to right and then from right to left. Another example is the line of "people's hearts are not as good as water and other idle flat land", through a word or number along the central axis of the left and right changes, the space also changes from sparse to dense, and then from dense to sparse, especially when writing the word "flat land" at the end of the line, due to the limited remaining space, Huang creates an extensible space for the word "ground" through a large left lower wire, and at the same time pulls the left and right structures apart, forming a contrast between the size of the upper and lower levels, and echoing with the first word "people" in this line. This subtle treatment is ubiquitous throughout the volume, reflecting Wong's cursive response to the situation, reaching the realm of "doing whatever you want without overstepping the rules" (fig. 11).
Figure 6
Figure 7
FIGURE 8
Figure 9
FIGURE 10
In Figure 11, in addition to the interesting between the lines, the chapter pattern of the whole volume changes from loose to tight, and then from tight to loose, reflecting the sequentiality and rhythm of the writing.
Huang Tingjian has mentioned many times in his book discussion that Zhang Xu folded hairpin stocks, Yan Zhenqing's house leakage, Wang Xizhi's cone painting sand and printing mud, as well as Huaisu's startling snake into the grass, Suo Jing's silver hook and tail, these characteristics of the ancients' pen can also be seen everywhere in the volume of "Bamboo Branch Ci". For example, the vertical hooks of "east" and "come" are thin and sharp. The words "peach", "is", "dao", "burn" and the words "nine" and "also" in the inscription are indeed solid and powerful like a scorpion swinging its tail (Fig. 12). In particular, the folded hairpin strands, the house leakage marks, and the cone painting sand all reflect the strong sense of the front in the pen, which constitute an important part of Huang Tingjian's "pen in the word", and these are largely due to Huang Tingjian's thinking and practice of the pen with the seal. He said: "Zhang Changshi Guan Gu Zhong Ding Ming Ke Fighting Seal, and Cao Sheng is worthy of the father and son of the Right Army. [19] He also said: "Recently, scholars and doctors rarely learned the ancient method, but the pen was entwined left and right, so it was called cursive ear, and I did not know that it agreed with the branch fight, seal, and subordinate law. [20] These comments also benefited from Huang's rich experience in connoisseurship of Qin and Han seals and gold and stone inscriptions. [21] The most distinctive feature of Huang Tingjian's cursive writing is the use of the pen, which is like water and flows, reminiscent of the Tai Chi style of wrapping needles in the cotton, the swiftness of the oars, and the graceful fluency of the Gongsun sword dance, just as the words "like", "come", "bridge", "ripple" and "rippling" in the volume of Bamboo Branches (fig. 13).
FIGURE 12
Fig. 13 The writing speed of the "Bamboo Branch Ci" volume is not fast, Huang Tingjian's cursive script changed the Tang Dynasty Zhang Xu, Huai Su and others who pursued madness with urgent illness, and he realized the "rhyme" of cursive with the strength and variety, "there is a pen in the word". As Cong Wenjun points out, cursive writing was the prevailing trend in the Song Dynasty,[22] and Huang Tingjian was undoubtedly the most outstanding pioneer and leader. The old Mai Qi Qiao, the ancient clumsy and spicy volume of "Bamboo Branch Ci" is filled with a kind of charm of idleness, clumsiness, and old books, which is exactly the embodiment of Huang Tingjian's words that "the pen and ink are their own people, and the clumsiness needs its rhyme". This charm is also an important reason why this volume is recognized by the academic community as the pen of Huang Tingjian in his later years. So, when will it be late?
Fourth, the time when the volume of "Bamboo Branches" was written
(1) Previous research in this volume
As mentioned earlier, the volume of "Bamboo Branches" only came into public view in the late 70s of the 20th century, and the 1979 issue of Calligraphy magazine published a picture of the scroll's pull-out pages. In the same period, Zhao Yixin's article "Huang Tingjian's Calligraphy Art" has a relevant explanation for this volume: "The recently discovered handscroll of "Bamboo Branch Ci" is majestic and beautiful, like wild rain invading pines, and the breeze caressing water, with infinite charm. Those who are familiar with Zhang Xu and Huaisu cursive will feel at a glance that the words "peach blossom" and "fireworks" in it are vivid in the "Four Posts of Ancient Poems"; The words "good", "open" and "come" were transplanted into "Huaisu's Self-Description". ”[23]
In 1986, Huang Tianbi included this volume in his article as a treasure of Huang Tingjian's calligraphy in his later years, such as "Li Bai's Memories of the Old Tour", "Jingfubo Shrine", "Huangzhou Cold Food Poems", and "Fan Fan's Biography", and believed that its style and "Li Bai's Memories of the Old Tour" belonged to the same category as "smoke and clouds full of paper, vertical and horizontal monsters, dragons and snakes flying, and thousands of forms". [24] In 1988, Wang Yuchi published the article "A Brief Treatise on Huang Tingjian's Cursive Script", arguing that "Bamboo Branches" and "Li Bai's Memories of the Old Travels", "Zhu Zuo Ti" and "Lian Po Lin Xiangru Liebiography" (hereinafter referred to as "Lian Po") are the works that best represent the characteristics and achievements of Huang's cursive writing, and that it is closer to "Li Bai's Memories of the Old Travels", and that both volumes may be earlier works. [25] In 1998, the fourth issue of the "Calligraphy Series" published a special issue of "Tianyi Pavilion Calligraphy", which had a brief appreciative description of the volume of "Bamboo Branch Ci", but did not go into depth. In 2009, Cao Baolin chronologically sequenced Huang Tingjian's five cursive inkblots, arguing that the style of the Bamboo Branches was similar to that of Li Bai's Memories of the Old Travels, both of which were written in Qianzhou and earlier than the Zhushangza and Lian Po written earlier than Rongzhou. [26] In 2017, when he edited the works of Song Jin in the Complete Works of Chinese Calligraphy, Shui Zhiyou designated this volume as "The Book of Covenants in Later Years", and commented: "This volume is vigorous and bold, varied, and magnificent. ”[27]
The earliest systematic collation of Huang Tingjian's calligraphy was made by Huang Jun, who seems to have changed many times in determining the time of writing the "Bamboo Branch Ci". In 2013, he published an article entitled "Huang Tingjian's Cursive Script and His Creative Process", which was labeled "Written in Qianzhou in the second year of Shaosheng", i.e., around 1095. [28] At the end of the same year, he published an article entitled "The First Calligraphy in the History of the Millennium: The Artistic Achievements of Huang Tingjian's Calligraphy from the Perspective of the Masterpieces", in which the "Bamboo Branch Ci" volume in the appendix "A Brief List of Calligraphy Works" was marked as "written in Qianzhou in the third year of Shaosheng", that is, about 1096. [29] However, in another article entitled "The Annual Examination of the Flower Qi Poems", he argues that the "Flower Qi Poems" and "The Bitter Bamboo Shoots and Liu Yuxi Bamboo Branches" written in the second year of Yuan Fu are all in harmony with each other, and the charm is secretly combined. Especially obvious is the cursive "Liu Yuxi Bamboo Branch Words" volume". [30] The precedent "Yuanfu 2nd year" indicates that at this time he considered the volume of Zhuzhici to be written in 1099. In the 2021 revision of the Complete Works of Huang Tingjian's Calligraphy, the volume of "Bamboo Branches" lists work No. 61, which was dated to "about the third year of Shaosheng in Qianzhou", that is, around 1096. In the analysis part, he said: "Regarding the year of this work, the author originally scheduled it to be made in the second year of Yuanfu (1099), which may not be accurate enough, and now the adjustment of the year is the third year of Shaosheng (1096). Judging from the style characteristics of cursive script and regular script at the end of the volume, it may have been written shortly after the old man of the valley entered Shu. The degree of indulgence in cursive writing is not as good as the "Zhu Zhu Zhu Post", etc., although the chapter is also full of smoke and clouds, but there is a strong swing within a line, the layout of the side danger to take the momentum, there is no "Zhu Zhu Zhu" and other obvious, the flying and chic degree of the gesture is also slightly visible signs of the heart and hand can not be smooth. These signs are characteristic of the early stage of the early mutation of cursive writing in the later years of the valley. Looking at the 31 characters at the end, it is also somewhat different from the ups and downs of the gesture after the Yuan Fu. It is very close to the "Pillar Inscription Scroll" and "Poems to Forty-nine Nephews" written in the Shao Sheng period. ”[31]
Recently, Xu Yongfu re-examined Huang Tingjian's nine works in cursive script, and after comparing the "Flower Smoke Post" "Badongpo Huangzhou Cold Food Poems", he believes that the "Bamboo Branch Ci" volume is earlier than the "Badongpo Huangzhou Cold Food Poems" in 1100, and the "Valley Collection" records that "Shu Liu Yuxi's 'Lang Tao Sha', 'Bamboo Branches' and 'Yang Willow Branches' words each have nine poems because of the clouds behind the clouds", and the year is "April Jiaxu in the second year of Yuan Fu (1099)", so this volume is simply determined to be composed in April 1099. [32] The relationship between these two texts, which Xu Bangda has already mentioned in the inscription, is not the same work. The views of the experts are summarized as shown in the table (table 1).
(2) Comparison of the volume of "Bamboo Branch Ci" with other ink volumes
To investigate the possible time of the writing of the Bamboo Branches, it is necessary to place it in the context of the development of Huang Tingjian's cursive script. At the same time, it is necessary to use works with an exact time of writing as a comparison.
It is not difficult to grasp the characteristics of Huang Tingjian's cursive writing at various stages, because Huang Tingjian has been constantly self-reviewing, summarizing, criticizing and putting his cursive writing into words. His cursive script can be degraded to the first cut-off point, i.e., 1095. In 1094, Huang Tingjian had an epiphany in Huanglongshan, saying that the word "too exposed mangjiao" in the Yuanyou period (1086-1094) dragged on as the Zen family said "sticky belt bones". Previously, friends such as Wang Dingguo, Qian Xian, and Su Shi pointed out that his cursive writing was not workable and tacky, but Huang Tingjian once disagreed. At this time, he lamented that "he has been learning cursive for more than 30 years, and at the beginning he took Zhou Yue as his teacher, so he has been shaking and vulgar for 20 years" [33], and "he does not know the bird with the pen (escapement, so there is no pen ear in the word"[34]. "There is no pen in the word", that is, there is no charm, and there is a pen like an eye in a Zen sentence. Huang Tingjian did not hesitate to criticize his teacher Zhou Yue, who had been studying the law for 20 years, calling his cursive writing "strong and sick rhyme", and his penmanship was quite far from that of the ancients. [35]
The six years (1095-1100) of being demoted to Sichuan were the most important stage for Huang Tingjian to think, comprehend, practice, and finally establish his own cursive style. In the first three years, the ink of the Tang Dynasty cursive masters Zhang Xu and Huaisu, especially Zhang Xu's pen, gave Huang Tingjian great inspiration for his penmanship:
Cover Zhang is wonderful in fat, hidden in the real wonder in thin, these two people, a generation of cursive crown also. [36]
יהוה, יהוה. [37]
Zhang Changshi is grass, but there is a place where the dust is super-anecdoted. If you do it with your imagination, you can't get it as if you want it. [38]
Zhang Gong's posture is upside down, and his calligraphy is also in the law. [39]
Zhang Changshi folded hairpin stocks, Yan Taishi's house leaked method, Wang Youjun cone painted sand and printed mud, Huaisu flew birds out of the forest, frightened snakes into the grass, and Suo Jing silver hooked and tailed, the same is a stroke. The heart does not know the hand, and the hand does not know the heart. [40]
There are a lot of such realizations. In addition to the "upside down", Huang Tingjian also repeatedly observed and copied the ancient posts of the Wei and Jin dynasties, a large number of stone carvings, gold and stone and other ancient calligraphy, plus he had to sit and watch nature, and draw grass from it. After several years of "painting all over the paper", Huang Tingjian felt quite confident in his cursive handwriting: "Thirty years of making grass is like a subtle creation today!"[41]
However, after moving to Rongzhou, Huang Tingjian was not very satisfied with the old work, and even felt quite hateful. "See how abominable old books are, and there are probably three or four bad ears in the cross. Today, the ancients are calm and happy, but it is difficult to be a bosom friend!"[42] What triggered Huang Tingjian's thinking was the reverse trend boat on the road of Rongzhou, he said: "When I came to the road (i.e., Rongzhou), the boat watched the oars for many years, and the group of people dialed the paddles. However, compared with the ancients, when you enter, you will repeat the rules, and when you go out, you will run to the dust, and you can get it as if it is yes!"[43] The paddle requires continuous action without being impatient or impatient, and the arc of the oars in the air is beautiful and vigorous, including the "confidentness" of the oarsman, which gave Huang Tingjian inspiration in the use of the pen. The more than two years in Rongzhou (1098-1100) was an important stage for Huang Tingjian's cursive writing to pursue composure and happiness.
The last five years of Wong's life, from 1101 to 1105, were marked by his cursive writing, which he "doubted about his predecessors, and his penmanship was even older in this life"[44];" The small print at the end of the book, only the drunken monks of Yongzhou can do it. If the generations of Agus see it, let it be ashamed to death"[45];" After returning from Shuzhong, it is less than the ears of the ancients" [46]. This kind of self-satisfied speech is obviously more than in Sichuan, so cursive writing was also very frequent during this period. Huang said: "In the south of the Yangtze River, we will never make grass for others." Now come to Yizhou (i.e., Guangxi), there are no seekers. The writing of "nothing is indispensable" has made Huang Tingjian's cursive writing reach the pinnacle of his life again and again.
First of all, it is clear that it will not be a work from about 1096, which can be seen from the comparison of Li Baiqiupu's Song. In Huang Tingjian's cursive script, there are not many that clearly record the date, and the Song of Li Bai Qiupu is one of them, which was inscribed in May of the third year of Shaosheng (1096) (fig. 14). From the inscription, it can also be seen that because of the unsuccessful failure to prevaricate a friend's request for cursive, Huang "made a joke" for it. Huang Jun said that this is Huang Tingjian's cursive work at the beginning of the mutation, that is, it is at the time when it wants to change into a cursive body and is not mature. [47]
FIGURE 14
The whole article is clear and refreshing, the speed is fast, the tip of the pen is thin, and there are more fronts, such as "ground", "three", "no", "river" and other words. There are too many twists and turns in a large number of words, which seems a little contrived, such as the excessive winding in the upper right corner of the word "rare", which does have the disadvantages of Huang Tingjian's self-criticized "random twists and turns". Some characters even appear to be somewhat "enchanting," such as the word "sorrow" (Table 2). It is worth noting that Huang Tingjian writes in a very pleasant environment, and his mood is pleasant,[48] which is quite consistent with the crisp use of the pen in the work.
In addition, comparing some of the same characters in the Zhuzhici volume with that in the Song of Li Bai Qiupu (Table 2), it can be seen that the former is more hidden, thick and calm, and the writing is simple and natural. The latter is more exposed and has rounded strokes. If you compare it with a person, the volume of "Bamboo Branch Words" is like an old man, concentrating and holding his breath, and his mind is self-sufficient. "Li Bai Qiupu Song" is like a passionate and determined cadre, invincible. The two works have different temperaments, and obviously they will not be works of the same period, and the volume of "Bamboo Branches" is undoubtedly later.
Similar to the galloping and crisp brushwork of the Song of Li Bai Qiupu is the later volume of Lian Po, but the latter has less casual and charming strokes and appears more mature than the former, which Huang Jun believes was written around 1098. [49] The Lian Po volume contains a large number of strokes that resemble sharp swords, especially in the long strokes, such as "ren", "wen", "enter", "come", "and", "nai", etc., the characters with exaggerated strokes such as "wall", "yan", "fa", "zai", "ten", etc., and some long and horizontal characters such as "see". There are also a large number of extremely thin lines, such as "xian" and "qin", as well as ligatures between many groups of characters (Fig. 15). It is undeniable that the sharp, fine, and rounded brushwork are all manifestations of Huang Tingjian's later self-criticism of "no pen in the words", that is, there is joy but not enough composure. As Chu Mo said when commenting on the volume of "Lian Po": "Because the pen is fast, the edge is shallow on the paper, and in some places, only a very small part of the tip of the edge is moving, so the sense of force is not very strong, and there is even a sense of floating." ”[50]
FIGURE 15
Therefore, it is very likely that the volume of Lian Po was composed after Huang Tingjian "traveled the boat and learned the grass", but he was committed to composure and pleasure, that is, before he came to Rongzhou in the second half of 1098. From the second half of 1098 to February 1100, Huang Tingjian continued to ponder and practice cursive writing in Rongzhou, until one night in February, after drinking several glasses of wine, Huang said: "My ears are hot and my eyes are dizzy, and suddenly the dragon and snake enter the pen." Forty years of study, now known as the so-called Aoshan Enlightenment Book!" This is another epiphany in cursive. Then, in July of that year (1100), when Huang went to Meizhou to visit his aunt, he saw Huaisu's long-admired "Self-Narrative Post" at Shi Yangxiu's house,[51] which was undoubtedly another useful trigger for his cursive creation. It can be said that the year 1100 was a turning point for Huang Tingjian's cursive script to achieve a qualitative leap. Since then, he has ushered in the peak moment of creation, and the most representative work is none other than the volume of "The Posts of the Lords".
The pen of "Zhu Zhu Zhu Zhu" is calm and happy, the earlier sharp strokes are no longer reproduced, the range of dot painting twists and turns and interspersed is intensified, the word posture is more dangerous, and the rules and stones pave the streets, and it is natural. Sometimes the sudden increase of one or two characters in the font is used to create spatial interest, such as the 8th ~ 11th line, through the three "zhi" characters to form a large swing of the chapter, and form a seal on the chapter of the blank, which is extremely rare in the previous cursive script (Fig. 16), and the ink color of this volume is more reflected by the natural rhythm of the writing. The exquisite and rich variation of the penmanship of the "Zhu Zhu Zhu Zhu Zhu" makes it recognized as a masterpiece that best represents the mature style of Huang Tingjian's cursive writing.
Fig. 16 The Theravada is generally recognized as dating to 1100, but Chen Zhiping has examined it in more detail as December 1100. [52] It was written at the time when Huang Tingjian ended his six-year life of debasement and returned to the East. Coupled with the "bright window and a few clean" when writing, Huang Tingjian's mood is particularly smooth, and he turns it into a hearty vertical pen for this volume.
Comparing the first two volumes, it can be seen that Li Bai's Memories of the Old Journey is slightly inferior to the Zhu Shangza Post in terms of pen power and speed, but there is a more calm and old pen in writing, showing the appearance of "everyone is old when the meeting is passed" (Fig. 17, Table 3). Just as Shen Zhou sighed at the back of the volume of "Li Bai's Memories of the Old Travel": "The pen is in a trance, out of the ghost, it is called the grass sage, and it is suitable for Yan!" This kind of old-fashioned vigor makes the volume of "Li Bai's Memories of the Old Tour" recognized by the academic community as Huang Tingjian's work in his later years. [53]
FIGURE 17
Comparing the volume of "Bamboo Branch Ci" with "Zhu Shangza Post" and "Li Bai's Memories of the Old Tour", it can be found that it is closer to "Li Bai's Memories of the Old Tour" in terms of pen and knots. A careful comparison of the same characters in the two works shows that the volume of Zhuzhizi is significantly more straightforward and sloppy (Table 4).
Regarding the writing of "Bamboo Branches", Wang Yuchi in his 1988 article argues that the strokes are not concise enough, and some of the characters are even a bit sloppy, and he speculates that the writing may have been an inferior pen, making the writing a bit like a draft, but it is precisely because of this that it seems more natural. He believes that the skill of the calligrapher can still be seen in the writing. He said: "From the perspective of penmanship and other aspects, "Li Bai's Memories of the Old Travels" is close to "Bamboo Branches", and they may both be slightly earlier works. However, "Li Bai's Reminiscences of the Old Travels" is more elaborate and perfect in all aspects than "Bamboo Branches". [54] This may be reflected in the loose fronts of some characters, especially the dotted ones, such as "full", "jiang", "three", "cup", "heart", "front", "no", and "song" (fig. 18). A closer look at the original traces is related to factors such as the pen used, the material of the silk and the poor condition. This piece of silk is dull and the surface is badly worn, and the whole volume can be said to be repaired everywhere. The repair and remounting also have an impact on the perception of many characters, such as the looseness of the edge of the word "song" is the result of the remnant repair, including the end of the apostrophe of the word "shore", which is scattered from the picture, but in fact it is damaged at the end.
Fig. 18Sometimes such repairs can also affect the structure of the font, such as the "Zhu Lou" (fig. 18) in the ninth line, where the silk is broken and the left and right are glued together when it is remounted, so that the vertical painting of the character "Zhu" disappears, and the space on the left and right of the character "Lou" also shrinks, making the knot quite strange, and even affecting the qi, such as line 33 in the volume. Therefore, objective factors such as the dullness of the silk copy, the wear and fading of the handwriting, and the large number of repairs will interfere with the appraisal of this volume.
(3) Huang Tingjian and writing instruments
Among the objective factors, the material influence of writing is even more important when we face this volume of "Bamboo Branches". There are some thick strokes in the volume, which make people feel that they have not been able to control the brush when writing, such as the folding pen of the character "long", the left-handing of the character "branch", the connection of the character "intestine", the folding of the character "is", the turning of the pen of "cloud", "silver" and "wave", and the pen of the character "hairpin", which may also give the impression that Wang Yuchi is not concise enough (fig. 19). It shows that Huang Tingjian does not seem to be able to use the performance of this pen freely.
Figure 19Actually, it is not easy to write cursive on silk, especially large grass. Someone once sent a silk to ask Huang Tingjian to write a book, and Huang said:
The silk sent to the fan face, as if not in the section, so written, he fanned on the day, and the slightest urgency was lost in the situation. I have a back worker, so that the break is a short axis, and the real grass can be written. [55]
The silk sent, holding a Zhaojue Pengdao back two small shafts. The weather is cold, and the use of the instrument is not very good, the production is not as good as the law, and the grass is used on two shafts. Spring is warm, when the back of the two axes, as the Chinese word to send. [56]
It can be seen that the weather and utensils have a great influence on the writing of silk books, and Huang Tingjian sometimes has works that "production is not as good as law". Judging from the fact that he specifically pointed out "real grass", "line grass" and "Chinese characters", it is not easy to write big grass on silk. Wong's surviving silk Wax Plum Poems (cursive script) and Ayamoto Hua Yan Shu (regular script) are generally weak compared to Wong's works on paper. [57] This may be an important reason why the diameter of the Zhuzhi Ci volume is smaller than that of Huang Tingjian's other surviving cursive scripts on paper,[58] and that his silk books are very few in existence. Think about it, if you use a pen that is not very good to write grass on silk, it must be even more difficult, not to mention if the silk itself is not good. However, as far as Wong is concerned, he does not care about these things. He said, "The old man's book can't ...... I haven't tasted a thing in my chest, so I don't choose pen and ink, I don't think about the paper, the paper, and I don't care about the clumsiness and character. ”[59]
Although it is said that he is not a clumsy worker, Wong Tingjian is actually very concerned about the tools of writing, and he has been constantly experimenting with all kinds of new pens and various types of paper throughout his life, which is exactly the same as his innovative spirit of calligraphy. In the "Complete Works of Huang Tingjian", you can see everywhere the records of "Try Shucheng Zhang Zhenbi", "Try Shucheng Zhang Zhenyuan Heartless Jujube Pen", "Try Zhang Tong Pen", "Try Zhang Geng's Old Wool Pen", "Try Yanshui Jujube Pen", "Good Paper Trial Pen" and other records, the famous "Book Gift Zhang Datong" volume, Huang's record "It is a day to be idle, try to write this article". Huang Tingjian also often gave feedback after the pen test, such as "Try Xuancheng Zhuge Fang under the candle, and feel that the penmanship is the same as the pen power of Li Bai's "Baitou Yin" in Qianzhou Shishu, and there are similarities in differences." [60] "Take Yan Yong's old unintentional jujube core pen, and it will be pleasant." [61] "The heartless jujube core pen can be used as a fine book, like turning left and right, without breaking its edge, it can be told to Zhuge Gao, Li Zhanzhi, and serving Qiying." [62]
In addition to the above, the pens mentioned by Huang Tingjian also include "Zhang Zhenji Jujube Heart Pen", "Zhang Wu Pen", "Yang Shen Pen", "Shi Qiying Pen", "Zhang Yu Lilac Pen", "Lang Qi Zao Xin Sanzhuo", "Xuancheng Zhuge Fang Sanzhuo Pen" and so on. He said: "If you get one, you can spend a lifetime." Mo Deyi, you can take a step. The paper is hemp rattan bamboo, with its real estate suitable, all have good work. Only the pen work is the most difficult, its choice is as good as Guo Tai's commentator, and its heart is like a wheel of cutting wheels. [63] During his lifetime, he wrote essays such as "Pen Talk", "Ink Talk" and "Research Talk", which showed an in-depth study of writing tools.
It is not difficult to see from Huang Tingjian's relevant arguments that the pen he used in his early years in the secretary province and later in Qianzhou and Rongzhou was not bad. When he was in the secretary's province, he often had friends give good pens, such as the soft and pleasant "orangutan brush", which was given by Qian Mu's father to Goryeo. He has a poem to thank his friends for sending Xuancheng pens: "Xuancheng has changed the squatting chicken distance, and Zhuge masters have rat whiskers." A bouquet of joy from the public, a thousand gold to buy in the market. Mantou ink Ke Ke fight, win and Zhu Men full of silverfish. I'm ashamed that I didn't have a grass hand at the beginning, and I won't write the clerk's paperwork. [64] When he was in Qianzhou and Rongzhou, Yan Yong made three pairs of pens for him to steam otter hair. Lu Dayuan made more than 200 large and small pens, "nothing is undesirable". Lu Dayuan also restructured the gorilla orangutan brush, removed the inverted, don't twist the heart, Huang Tingjian claimed to use it very well. In addition, Huang said: "Zhang Yu clove pen, twisted heart is extremely round, and the beam is powerful. You can learn the words of Xu Jihai's "Yu Temple Poems", and you can't serve Qiying and Zhuge Yuan. As a Tibetan sharp pen to write such as a large character, very desirable, the best is that the edge is less and powerful. ”[65]
However, in the first year or two between 1101 and 1105, as mentioned above, Huang Tingjian lived a prosperous life due to the change of office. When Yizhou was relegated to the miasma in 1103, he set out from Hubei, and said that he was extremely short of paper and ink because he traveled lightly. [66] He produced his own paper without paper, and once wrote to a friend: "If you want to pound twenty volumes of paper, I wonder if there is a big pounding stone in the county"[67]
The poverty of life made Huang Tingjian sometimes only buy the cheapest quills, such as in a "self-written" volume he inscribed: "In November of the second year of Chongning (1103), Yu Yu was half a year old in Yizhou...... Practical three dollars to buy a quill book. [68] One day in the fourth year of Chongning (1105), he drank some wine and was quite bookish, "there is ink on the case, and the pen is not there, because he wrote this volume with three coins and chicken quills"[69]. Chicken quill brushes are quite common in Guangxi, and its hair is relatively soft. Chen Zhiping said that many Song people used their own personal experience to prove the clumsiness of the quill brush, such as Fan Chengda, who said that "its edge staggered and did not listen to orders." This pen also became famous because of Huang Tingjian's use, and the world called it "valley quill pen". [70] Imagine what effect it would have when a quill brush, perhaps a kind of inferior pen that we do not know all about today, met with a rough silk of less than good texture?
epilogue
If "Zhu Zhuzai Post" is exquisite, and "Li Bai's Old Tour" is old and spicy, then the "Bamboo Branch Words" is spontaneous. Regardless of the workmanship, not bent attitude, simple and plain, and even if there is a failure, it does not care about and embellishment. As Zhu Xi said, Huang Tingjian "Yizhou is the most old-fashioned book, and it should not be clumsy." [71] Therefore, considering the comparison of the above Zhuzhici with other books, the tools and materials used, and the difficulties of Huang Tingjian's life in his last years, it is very likely that the Zhuzhici volume was written by Huang Tingjian when he was relegated to Yizhou for the second time, that is, between 1103 and 1105, which is later than the volume of Li Bai's Reminiscences of the Old Travels. At this time, there are very few opportunities for Huang Tingjian to say that "if you have a few clear windows and a good pen and ink, you can do thousands of words tirelessly". However, he has the indifference to the seeker of the book, no longer entangled in the quality of the pen and ink and the book, and his heart has entered the free Zen realm of "not bothering the rope and self-integration", which is the true pursuit of Huang Tingjian's artistic life.
Exegesis:
[1] Huang Jun, "The First Book History of a Thousand Years: The Artistic Achievements of Huang Tingjian's Calligraphy from the Perspective of Hand-to-Descend Works", in Valley Calligraphy Hook and Sink Record, Chinese Renmin University Press, 2013, p. 3.
[2] Huang Jun, ed., The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), Jiangxi Fine Arts Publishing House, 2021.
[3] Min Jue (1430-1511), the name Chaoying, Tianshun Jiashen (1464) Jinshi, once pacified the thieves in Guangdong and Jiangxi and Jiangxi, and was meritorious in the military affairs of Liangguang as the governor of the imperial history of the right capital. At the beginning of Zhengde, Liu Jin used things, asked for resignation, died at home, gave Taibao, and Zhuang Yi. See Li Tangji, Huzhou Fuzhi, engraved edition of the 23rd year of Qianlong (1758), vol. 20, pp. 10b-11a.
[4] Li Tangji, Huzhou Mansion Chronicles, engraved edition of the 23rd year of Qianlong (1758), vol. 21, p. 44a.
[5] Huang Tingjian, "Shu Liu Yuxi's 'Lang Tao Sha', 'Bamboo Branches' and 'Yang Willow Branches' Each Nine Poems, Because of the Follow-up", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, Jiangxi People's Publishing House, 2011, p. 878.
[6] Calligraphy, No. 1, 1979, Shanghai Painting and Calligraphy Publishing House, 1979. The back cover contains pictures of the entire volume and expounds.
[7] Huang Tingjian, "Another Book from the Song of Caozhu Branch", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1603.
[8] Lao Jixiong, Appraisal of Ancient Chinese Paintings and Calligraphy, Oriental Publishing Center, 2011, p. 2672.
[9] Fu Shen, "Huang Tingjian's Confirmation of the Ink Scroll of the Pillar Inscription", Twelve Lectures on Calligraphy and Painting Appraisal and Art History, Zhejiang University Press, 2017, p. 177.
[10] Bian Xiaoxuan and Bian Min, Liu Yuxi's Commentary, Nanjing University Press, 1996, pp. 329-354.
[11] Huang Tingjian, "The Slogan of Sending Cao Qiannan", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 754.
[12] Huang Tingjian, "After the Ancient Music House", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 752.
[13] Huang Tingjian, "Two Songs of Bamboo Branches", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 744.
[14] Huang Tingjian, "Answer to Wang Zhouyan", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1108.
[15] For the above biography, see "Chronology of Huang Tingjian", in Zheng Yongxiao, ed., Appendix IV of Huang Tingjian's Complete Works, pp. 1730-1734.
[16] Bian Xiaoxuan and Bian Min, Liu Yuxi's Commentary, pp. 55-118.
[17] Liu Yuxi, "Nine Songs of Bamboo Branches", in Tao Min and Tao Hongyu Proofreading, Liu Yuxi's Complete Works Chronicle Proofreading, Yuelu Books, 2003, p. 317.
[18] Huang Tingjian, "The Song of the Bamboo Branches", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1523.
[19] Huang Tingjian, "Bawei Wang Shengyu's Writing", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1569.
[20] Huang Tingjian, "The Poetry of this Junxuan", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 935.
[21] For the content of Huang Tingjian's collection and appreciation of gold and stone, see Chen Wenbo, "Huang Tingjian and the World of Gold and Stone Collection in the Late Northern Song Dynasty", Journal of Literature and Art, No. 12, 2021, pp. 129-140.
[22] Cong Wenjun, "Some Speculations on Huang Tingjian's Calligraphy", Chinese Calligraphy, No. 5, 2021, p. 93.
[23] Zhao Yixin, "Huang Tingjian's Art of Calligraphy", Calligraphy, No. 1, 1979, p. 21.
[24] Huang Tianbi, "A Brief Discussion on the Unique Style of Huang Tingjian's Calligraphy Art", Journal of Chengdu University (Social Sciences Edition), No. 4, 1986, p. 55.
[25] Wang Yuchi, "A Brief Treatise on Huang Tingjian's Cursive Writing", Chinese Calligraphy, No. 1, 1988, pp. 32-33.
[26] Cao Baolin, The History of Chinese Calligraphy (Song Liao Golden Volume), Jiangsu Phoenix Education Publishing House, 2009, pp. 151-153.
[27] Shui Zhiyou, ed., The Complete Works of Chinese Calligraphy (Song Liao Golden Volume), Rong Bao Zhai Publishing House, 2017, p. 448.
[28] Huang Jun, "Huang Tingjian's Cursive Script and Creative Process", Chinese Calligraphy, No. 2, 2013, p. 47.
[29] Huang Jun, "The First in the History of Calligraphy in the Millennium—The Artistic Achievements of Huang Tingjian's Calligraphy from the Perspective of the Masterpieces", p. 34.
[30] Huang Jun, "The Annual Examination of Huaqi Poems", in Valley Calligraphy Hook and Shen Lu, p. 216. See also Huang Jun, ed., The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 5, p. 1447.
[31] Huang Jun, ed., The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 5, p. 1435.
[32] Xu Yongfu, "Huang Tingjian's Cursive Works in the New Year of the New Examination", Chinese Calligraphy, No. 8, 2016, pp. 64-65.
[33] Huang Tingjian, "The Scholar Lao Du Shihou and Huang Bin Lao", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 958.
[34] Huang Tingjian, "Self-Appraisal of Yuan Youjian Characters", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 736.
[35] Huang Tingjian, "After the Book of Bazhou Yue", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1097.
[36] Huang Tingjian, "The Inscription of the Text", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1554.
[37] Huang Tingjian, "A Thousand Characters of Bazhang Changshi", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1558.
[38] Huang Tingjian, "The Cursive Script of Bazhang Changshi", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1558.
[39] Huang Tingjian, "The Stone Carvings Collected by Bazhai Gongxun", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1562.
[40] Huang Tingjian, "On the Character of the Time in Qianzhou", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 877.
[41] Huang Tingjian, "The Drama of Qin Shaoyou's Good Deeds", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 969.
[42] Huang Tingjian, "The Right Army of the Book of the Right Army", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1224.
[43] Huang Tingjian, "The Compilation of the Daoren of the Batang Dynasty to the Grass Tree", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 972.
[44] Huang Tingjian, "Ode to the Ink Snake", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1401.
[45] Huang Tingjian, "After Li Zhiyao's Begging Book", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 913.
[46] Huang Tingjian, "Shu Wei Shen Dao Zhu Ti", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1153.
[47] Huang Jun, ed., The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 5, p. 1436.
[48] The inscription reads: "In May of the third year of Shaosheng, Xiaoxuan was newly opened, and the birds were whispering, and it was very happy." The play was grass, and then the book was written through Li Bai's "Qiupu Song" fifteen articles. Shi Xiaoyu Qingrun...... See Huang Jun, ed., The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 5, pp. 1435-1436.
[49] Huang Jun, "An Analysis of the 'Lian Po Lin Xiangru Chuan Cao Shu Scroll'", in Huang Jun (ed.), The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 5, p. 1442.
[50] Chu Mo, "Huang Tingjian Zhu Shangzai Appreciation Commentary", Chinese Calligraphy, No. 2, 2013, p. 39.
[51] Chen Zhiping, "Huang Tingjian's Calligraphy Research", Shanghai Painting and Calligraphy Publishing House, 2020, pp. 183-188.
[52] Ibid., pp. 186-187.
[53] Huang Jun believes that it was made in Yizhou around 1104, Chen Zhiping believes that it was made in Yizhou after 1102, and Xu Yongfu believes that it was made as late as March 1105.
[54] Wang Yuchi, "A Brief Treatise on Huang Tingjian's Cursive Script," Chinese Calligraphy, No. 1, 1988, pp. 33-34.
[55] Huang Tingjian, "A Discussion with Dai Jingxian", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1028.
[56] Huang Tingjian, "A Reply to Dai Chunren", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1040.
[57] The volume of "Wax Plum Poems" in silk cursive script is now in the Capital Museum, and it is a newly discovered ink blot of Huang Tingjian. The volume of Ayamoto's "Huayan Shu" is now in the Shanghai Museum. See Huang Jun, The Complete Works of Huang Tingjian's Calligraphy (Revised Edition), vol. 1, pp. 68, 288.
[58] The Tianyi Pavilion roll is 30 centimeters long, and there are cuts when framing, so it is speculated that it should be about 32 centimeters. An average of seven or eight characters is written in a line. The volume of "Lian Po" is 32.5 centimeters long, and an average of five or six characters are written in one line. "Li Bai's Reminiscences of the Old Tour" is 37 centimeters long, and an average of seven or eight characters are written in a line. The volume of the "Zhusuzada Post" is 33 centimeters long, and an average of six or seven characters are written in one line. It can be seen from this that the Tianyi Pavilion scroll font is the smallest.
[59] Huang Tingjian, "The Scholar's Brother Young An After Grass", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1576.
[60] Huang Tingjian, "On the Character of the Time in Qianzhou", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 877.
[61] Huang Tingjian, "With Yang Jingshan Shu Gu Yuefu Yin Ba Later", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 926.
[62] Huang Tingjian, "The Writing of the Book of Qi Ying", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1520.
[63] Huang Tingjian, "Pen Sayings", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1615.
[64] Huang Tingjian, "Xie Sent Xuancheng Pen", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 530.
[65] Huang Tingjian, "Written Sayings", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, pp. 1630-1631.
[66] Huang Tingjian said in "Brief with People": "Cursive writing is written on Lianzhou paper, I don't know if it is okay or not. When Wuchang was sent yesterday, it was a plan to go to Yizhou lightly, and all heavy objects would not be done, so the paper and ink were extremely que, and Dagui went to take the ears of the future. There is accompanying paper, which has been exhausted in Bagui yesterday, and Lianzhou paper is to buy ears. It must be written in cursive, but it must be read by itself, and it does not have to be hard paper, and it will take about 20 years to read it. See Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1473.
[67] Huang Tingjian, "The Seventh Post with the Dang Bo Zhou", in Zheng Yongxiao, ed., Huang Tingjian's Complete Works Edited and Edited Chronicles, p. 1292.
[68] Huang Tingjian, "The Title from Behind the Scroll", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1265.
[69] Huang Tingjian, "The End of the Book of Bazhang Xizai", in Zheng Yongxiao, ed., The Complete Works of Huang Tingjian, p. 1271.
[70] Chen Zhiping, A Study of Huang Tingjian's Calligraphy, pp. 192-194.
[71] Zhu Xi, "The Inscription of the Hidden An", vol. 3 "Yizhou Post in the Bagu Valley", in Wang Yunwu, ed., The Commercial Press, 1936, vol. 1656, p. 63.
(Chen Feirong, Research Librarian, Ningbo Tianyi Pavilion Museum.) ）
This article was originally published on pages 60~69 of the 12th issue of Fine Arts Grand View in 2023.