Text: Xinglan Shi said
Edited |
Li Yu established the calligraphy aesthetics of the Southern Tang Dynasty, which was "thin and hard and overflowing", and put forward the aesthetic standard of nine-character calligraphy. Among them, Qing Pin continued Li Bai's concept of "halal", laying the foundation for a more clear interpretation of the concept of Qing pin in the Song Dynasty.
The seven-character stirrup method created by Li Yu is not only a summary of the Tang law, but also an expression of meaning, expanding the space for the expression of the book. In addition, the creation of "Golden Wrong Knife" and "Pocket Book" was imitated by contemporaries of calligraphers and painters, and an art group with Li Yu's calligraphy as the aesthetic core was formed in the Southern Tang Dynasty.
In particular, the "Golden Wrong Knife" brushwork has played a great role in the mutual acquisition of calligraphy and painting, and the interaction between painting and writing is the pioneering practice of the Song Dynasty to pursue the beauty of interest, and the calligraphers and painters of all dynasties have benefited from it and formed a variety of styles.
Compared with the flourishing political culture and artistic phenomenon of the Tang Dynasty, as well as the flourishing of literati calligraphy and literati painting in the Song Dynasty, the five dynasties of the troubled era connecting the two dynasties are extremely small.
The economic and cultural foundation and artistic undertakings of the Southern Tang Dynasty far surpassed those of other regimes, and played a leading role in the formation of Song culture. The later lord Li Yu and Wu Yue King Qian Yu are among the five generations of emperors, and the book is the most prosperous.
Li Yu and others continued the legacy of the Eastern Jin Dynasty, emphasizing that the intention was to put the pen first, and it was the first to open the Song Dynasty. Li Yu rebelled against the Tang Dynasty and established the aesthetic of "thin and stiff and overflowing", as well as the innovative inheritance of the "Golden Wrong Knife" brushwork, which set a clear example in the process of transforming Tang Law into Song Yi and influenced generations.
The bumpy life of an emperor
Li Yu (937-978), the last monarch of the Southern Tang Dynasty, his real name was Congjia, the characters were heavy, the tone was rhythmic, the poetry was fine, and he was good at calligraphy and painting. The "Golden Wrong Knife" penmanship and the notebook he created have been imitated by generations of people.
Li Yu has written books on "Book Review" and "Book Commentary", and his penmanship skills and aesthetic concepts have had a profound impact on later generations. Song Zhu Changwen's "Continuation of the Book Break: The Theory of Book Quality" listed Li Yu in the energy product.
Li Yu once ordered Xu Xuan, a scholar of Hanlin, to collect and engrave the ink collected in the Southern Tang Dynasty into the "Shengyuan Post", which was rated as the "ancestor of the Fati" by Song Zhoumi, laying the foundation for the completion of the "Chunhua Pavilion Post" in the Song Dynasty.
Li Yu's life runs through the turbulent era, but he has no intention of being in the imperial government, he is indifferent and idle, self-enjoyed, and immersed in the realm of poetry, calligraphy and painting.
The artistic attitude and calligraphy spirit presented in his works are in essence the spiritual portrayal of that era of decay: the trembling brushwork, the cold line shape, and the graceful tone of words all show the turmoil of the times and the uneasiness of the people's hearts, which is very different from the plump and graceful and majestic aesthetic style of the Tang Dynasty.
Exploring the calligraphy style of the Southern Tang Dynasty from the perspective of Li Yu's calligraphy aesthetics and the inheritance and innovation of penmanship is conducive to a deeper understanding of the historical facts of calligraphy in the Five Dynasties period, especially the choice of the aesthetic aesthetics of the Tang Dynasty by the Southern Tang Dynasty calligraphy group with Li Yu as the core and the important guidance for the formation of the Shangyi calligraphy style in the Song Dynasty.
Regarding Li Yu's calligraphy master, Huang Tingjian said that it was from Pei Xiu, and said that "the pen power is not reduced, Liu Cheng hangs, Lu You said that "after the master learned Liu Gongquan, he got nineteen", and Fengfang said that Li Yu "calligrapher Xue Ji, Liu Cheng hung stirrup method".
Pei Xiu was influenced by Zen Buddhism, and his book style has both the rigor and rigidity of Liu Gongquan and the pursuit of innocence and frankness. Li Yu does not like Yan Kai's thick ink and fat pen by nature, and Liu's thinness and hardness, Ou's Jiantu, and Pei Xiu's spontaneity are in line with his temperament.
Li Yu often said: "The book of Zhenqing has a model but no merits, just like a righteous hand and a foot field." "The grace and magnanimity of Yan Ti are obviously incompatible with the political pattern and humanistic feelings of the Southern Tang Dynasty.
The choice of Tang law and the admiration of Jin Yun made Li Yu's calligraphy style unique, and Zheng Biao praised his calligraphy as "making the world stuffed with its redemption and closing its door". Li Yu realized the aesthetic ideal of calligraphy advocated by Du Fu that "the book is expensive, thin and hard, and the party is spiritual".
A talent for calligraphy
The seven-character stirrup method has always been regarded as only calligraphy and penmanship, and it is not considered to be the case, it should be both penmanship and penmanship. Li Yu from the perspective of the momentum and function of the book of the prime and the old book.
The seven-character method comes from Mrs. Wei, Zhong Xuan, Wang Xizhi, and is passed on to Ouyang Xun, Yan Zhenqing, Chu Suiliang, and Lu Yanyuan, but only Yan Zhenqing has passed on the ink of this seven-character method.
Regarding the method of holding the pen, some famous scholars in the Tang Dynasty have also discussed, for example, Tang Lihua's "Two Character Formula" proposed the use of brushwork of cutting and dragging; Han Fangming's "Giving the Pen to Say" believes that "there are five kinds of pens": execution, clumsy management, pinching, gripping, and pipe.
Lu brought the "Linchi Recipe" to put forward the "four-character method": extension, extension, collection, and rejection; Lin Yun proposed the "stirrup four-character method": push, drag, twist, drag; Lu Xi passed on the "five-character stirrup method": pulling, charging, hooking, checking, and resisting.
Li Yu's seven-character method is not only the inheritance of the penmanship of Mrs. Wei, Zhong and Wang, but also the important conclusion drawn after "studying Qin Si" on the basis of the aesthetics of the Tang Dynasty.
And Li Yu's so-called "these seven characters are still alive today", probably pointed out that the seven-character stirrup method is also used in penmanship. Moreover, Li Yu's purpose was to convey to later generations the experience and performance of a calligraphy technique, especially the newly added words "guide" and "send", which provided operational skills for the Song people's expression of meaning.
"General Examination of Literature" volume 246: "The lyrics of the imperial emperor (Li Yu) were made by the emperor, and the rest of them were seen on wheat light paper as stirrup books. "The stirrup method was practiced by Li Yu as a specific stirrup book, and it is obvious that stirrups are also a pen technique.
The transition from law to book is a kind of self-consciousness drive for things, and it shows the artistic expression with personal emotions and puts pen and ink into pen and ink, completing the establishment of imagery.
Huang Tingjian said: "The calligrapher has ten words in the right army's penmanship, and Jiangnan Li has seven of them, and the rest of the view, it is true, but the use of the word is too profound, it is like Zhang Tang, Du Zhou, how can it be if Zhang Shizhi, Xu Yougong's grace has the meaning of the law, there are even and there are grabbing, all of them are comfortable with the hearts of the people." "Xi Zhi's ten words and strokes, Li Yu only got seven, and lost his grace.
Grace is a typical aesthetic of the Tang Dynasty, and it is the appearance that Li Yu resists. If you lose your grace, you will be thin or hard, which is in line with Li Yu's aesthetic of "thin and hard and overflowing", as well as the Song people's free-spirited style of writing.
It can be said that Li Yu directly passed on the abandonment of the Tang method and the excavation of interest to the Song people, and provided the pen skills of the seven-character stirrup method, becoming a typical pioneer of advocating the beauty of interest.
Li Yu's concept of writing was inherited and developed by Liang Wei in the Qing Dynasty, and Liang Wei's direct marking of the writing method determined the style of the "thin and hard" calligraphy, such as commenting on "Cheng Weihua's writing method, learning the valley, ethereal and thin and hard", "Wang Huigu has the writing method, the book is absolutely thin and hard", and so on.
It can be seen that the concept of brushwork has gone through the style of brushwork in the Jin and Tang dynasties, to Li Yu's concept of brushwork, and then to Liang Wei's style theory, indicating that the deeper meaning of traditional brushwork has been expanded.
Huang Bosi's "Dongguan Yu Treatise: After Bajiang Nanzang Zhen Shu" recounts that he once saw Li Yu inscribe Huaisu's "Cursive Thousand Character Text" with the title of "Golden Wrong Book", and "Xuanhe Painting Spectrum" also described that he used "Golden Wrong Knife" to paint ink and bamboo, and the calligraphy and painting were prepared by each other, and the painting "Wind Tiger Cloud Dragon Picture" was different from ordinary paintings.
It can be seen that the "golden wrong knife" is not only a calligraphy brushwork, but also a painting brushwork. "Valley Collection" contains: "Jiangnan Li master bamboo, from the root to the tip, the smallest one by one outlined, called the 'iron hook lock', since Yun Wei Liu Gongquan has this brushwork. ”
The painting method of "iron hook lock" is derived from Liu Gongquan's brushwork, which shows that Li Yu used calligraphy to paint, practicing the theory of the homology of calligraphy and painting. "Imperial Pei Wenzhai Calligraphy and Painting Spectrum" recorded two paintings by Li Yu, one of which is a painting outlining bamboo, and the other is a golden wrong knife painting.
The text said: "The paintings of Li Yu, the queen of the south of the Yangtze River, tremble the shape of the brush, as strong as the cold pine frost bamboo, called the golden wrong knife, the painting is also refreshing and extraordinary, and the other is a grid method, calligraphy and painting are the same." "Qinghe Calligraphy and Painting Boat" describes that someone has accumulated six "Plum Blossom Pheasant Pictures": "The gesture is as clear as the 'golden wrong book', and the flowers and bamboos made are transcendent, and the non-master can not. ”
From "Jun Qing", it can be seen that the golden book is halal and natural, which is consistent with Li Yu's concept of pure quality. Li Yu uses the "Golden Wrong Knife" to integrate calligraphy and painting brushwork, so that the art environment is naturally lofty and has a unique style. In addition to the "Golden Wrong Knife" penmanship, Li Yu also created a unique style of placket, which is free and easy.
Song Shaobo's "After Hearing and Seeing" recorded: "I tasted the Southern Tang Dynasty Li Hou's 'Pocket Book' in the palace people Qingnu fan, and the clouds: 'The style is getting old and seeing the spring shame, and the soul is lost everywhere. Thank you for the long strip that seems to be acquainted, and the strong hanging smoke blows people's heads. 'I want to see its romance too. ”
The book is written in a scroll, which is a manifestation of Li Yu's superb calligraphy skills. The romantic characteristics it presents are Li Yu's emotional expression of his rebellion against Tang Law and his recklessness. In the process of aesthetic transformation in the Tang and Song dynasties, this attempt cannot but be said to have a leading role.
The inheritance of penmanship
At the same time, the use of "iron hook lock" and "golden wrong knife" in Li Yu's calligraphy and painting, as well as the creative idea of the same body of calligraphy and painting, show that Li Yu was a pioneer in painting with calligraphy, and provided a model for calligraphers and painters in the Southern Tang Dynasty and later generations.
Contemporaneous Zhou Wenju, Tang Xiya, Xue Cungui and others, and later Mi Fu, Zhang Jizhi, Zhang Ti, Zhao Danlin, Yu Qian, Zhao Meng and others, all from all aspects of different degrees of reproduction of Li Yu's creation of penmanship skills in the expression of calligraphy and painting presented in different styles.
The seven-character stirrup method is Li Yu's summary of the calligraphy method or penmanship of the Jin and Tang dynasties, adding two methods of guiding and sending, creating the stirrup book, expanding the use and meaning of the stirrup method, and transforming the aesthetic core dominated by the law in the Tang Dynasty into a specific image (stirrup book).
Southern Song Dynasty Lou Keyba's "Li Shaoling Repair Poem Preface" cloud: "Emperor Wen of the Tang Dynasty gave the King of Han, there is the title of Cui Runfu, if Li Chongguang dials the stirrup book, there is no ineffective one." This aesthetic transformation from law to meaning provides a reference for the Song people to tend to be interested in beauty.
If the seven-character stirrup method as a pen method to interpret, the Song Dynasty Shangyi view of the representative Mi Fu used one of the single hook pen method, Huang Tingjian chose a double hook, indicating that the seven-character stirrup method as a calligraphy technique provides infinite possibilities for the expression of aesthetic ideals.
Li Yu's "Golden Wrong Knife" brushwork was inherited and propagated in the same era, and provided skills for calligraphy and painting to learn from each other. At that time, the great masters of the painting world, such as Dong Yuan and Ju Ran, often used the method of "golden wrong knife" to express the branches and leaves, and the pen was strong, indicating that the technique of painting with books had appeared as early as the Southern Tang Dynasty.
Tang Zhang Yanyuan in the "Records of Famous Paintings of the Past Dynasties" with the use of the pen repeatedly emphasized the same method of calligraphy and painting, he believes that Lu Tanwei because of Wang Xianzhi's "one stroke" and created a "one-stroke painting", Zhang Seng Miao according to Mrs. Wei's "Pen Array" and make a little bit of painting, Wu Daozi by the penmanship to Zhang Xu became a "painting saint".
Zhang Yanyuan's theory of the same method of painting and calligraphy has been well practiced in Li Yu's art, especially the "Golden Wrong Knife" brushwork perfectly practiced the theory of the same body of calligraphy and painting.
Tang Xiya, a contemporary, benefited the most from the "Golden Wrong Knife" brushwork, and was also a loyal follower of Li Yu's brushwork. In Yuan Tang's "Painting Guide", it is recorded that Tang Xiya "mostly made trembling brushes and needles, which was to imitate the calligraphy of his master Li Chongguang"
epilogue
As an emperor in troubled times, Li Yu has a profound understanding and experience of life, and for him, art is the sustenance of people's souls. He believed in Buddhism, believing that all things originate from the heart.
Therefore, he opposed the rigidity of loyalty to the law, and advocated the aesthetic concept of indulgence and sloppiness, "thin and stiff and overflowing". The style of Shangyi calligraphy in the Song Dynasty was not only due to the guidance of Yang Ningshi, but also Li Yu was one of the advocates.