The Treasure of Calligraphy of the Ming Dynasty Writer Mao Kun: An In-depth Appreciation of Three Classics
Through the corridor of time, we caress the calligraphy treasures of Mao Kun, a literary giant of the Ming Dynasty. The three classics are not only a feast of pen and ink, but also a dialogue of the heart. Between the ink fragrance and paper rhyme, feel Mao Kun's talent and style, and appreciate the unique charm of his calligraphy art.
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The Ming Dynasty (1368-1644) lasted for 12 and 16 emperors, and the state of Zuo lasted 276 years, and in order to consolidate its rule, it strengthened centralized power and ideological control. In the Ming Dynasty, calligraphy was the mainstream, and seal carving was prevalent. Influenced by the culture of scholars and doctors, the calligraphy of the Ming Dynasty was mainly based on the line and pursued the beauty of delicate and beautiful. At the beginning of the Ming Dynasty, calligraphy inherited the style of the Yuan Dynasty, and after Chengzu moved the capital to Beijing, the style of Taige calligraphy rose. Ming Chengzu attached great importance to culture, recruited calligraphers and granted official positions, and promoted the practice of calligraphy.
Let's share the calligraphy works of Mao Kun, a famous calligrapher in the Ming Dynasty.
Mao Kun (1512-1601), a native of Gui'an in the Ming Dynasty, the word Shunfu, the name Lumen, the seventeenth year of Jiajing, the official to Guangxi military preparation. He is not only a scholar but also known for his calligraphy, especially calligraphy. His works are like the poems of the West Lake, with smooth brushstrokes and far-reaching artistic conception, highlighting the outstanding achievements of his calligraphy art. Mao Kun, a master of the Ming Dynasty who was eclectic in literature and calligraphy.
Mao Kun's calligraphy, just like his people, contains the charm of nature in simplicity, and every stroke reveals the unique elegance and profundity of the literati. His calligraphy style is unique, not confined to the traditional framework, but freewheeling, spontaneous, but can show a profound calligraphy foundation and unique artistic charm in the free swing. Mao Kun's calligraphy is a perfect fusion of literati feelings and natural beauty, and is a rare treasure in the history of calligraphy. His work, like his person, is timeless and evocative.
Ming Dynasty calligrapher Mao Kun "Xingcao Lu You Jiannan Poetry Scroll" appreciation
The Ming Dynasty calligrapher Mao Kun "Xingcao Lu You Jiannan Poem Volume" Lumen Yihan, Mao Kun "Xingcao Lu You Jiannan Poetry Volume" Huang Binhong seal book title. 29.1 cm long, 265.7 cm wide, collection of Shanghai Museum.
Ming Dynasty calligrapher Mao Kun "Xingcao Lu You Jiannan Poetry Scroll" appreciation
Ming Dynasty calligrapher Mao Kun "Xingcao Lu You Jiannan Poetry Scroll", a precious cursive work on paper, 29.1 cm longitudinal and 265.7 cm horizontal, created in the Wanli Renwu year (1582), is now treasured in the Shanghai Museum. This work not only witnesses the peak of Mao Kun's art at the age of 71, but also shows the charm and style of calligraphy in the Ming Dynasty with its unique "literati" style.
One of Mao Kun's "Walking Grass and Land Traveling to Jiannan Poems".
On the volume, Mao Kun wrote five poems of Lu You's "Jiannan Poems" with flowing brushstrokes, the font is chic and smooth, and the lines are tactful and graceful, revealing the unique freedom and elegance of literati and ink writers. The signature "Wanli Renwu Xia Mao Kun Book", with Zhu Wen "Mao Kun" and Bai Wen "Mo Xiang Pavilion" two seals, more simple and elegant.
Mao Kun's "Walking Grass and Land Traveling to Jiannan Poem Volume" II
What is particularly rare is that this volume is not only superb in calligraphy, but also in the content of the book is eleven poems written by Mao Kun himself, which are combined and complement each other. Among the few surviving Mao Kun calligraphy works, this volume is particularly valuable, which was generously donated by Mr. Shang Chengzuo, a famous paleographer and former professor of Sun Yat-sen University, adding to its historical and cultural value.
Mao Kun's "Walking Grass and Land Traveling in Jiannan Poem Volume" No. 3
Looking closely at this work, Mao Kun's pen is like a knife, and the strokes reveal a strong and thin wind, as if not writing on paper, but using the pen as a sword, swaying freely, showing a kind of "martial arts" beauty beyond calligraphy, which is breathtaking.
Mao Kun's "Walking Grass and Land Traveling to Jiannan Poems" No. 4
Mao Kun's "Walking Grass and Land Traveling in Jiannan Poems" No. 5
Mao Kun's "Walking Grass and Land Traveling to Jiannan Poem Volume" No. 6
Commentary: "Cursive Song pours 3,000 stones of wine, and the wine is invincible." Today, the drunken eyes are rotten cliffs, and the pen is narrow. Suddenly, I swept away unconsciously, and the wind and clouds entered the sky to borrow strength. The dragon field battle is foggy and bloody, and the strange ghosts destroy the mountains too dark. At this time, he drove away the sorrow of the night, grabbed the bed and screamed to get rid of his anger. Wu Mushu was not happy, and he paid three walls with Gaotang.
Listen to the piano, the curtains are curtained, the wind is cool, and the beauty with a thin waist is dressed in lotus silk. The green rattan water pattern wears a low bed, and the jade fingers are slender and elastic. The high forest warbler is long, and the secluded spring is singing at night. Grief is not complaining and solemn, and there is a lady's etiquette for self-defense. The people of the world are grateful for the advocacy of Qinglou, and the pipa is mixed with Huqiang. Listen to a song to wake up your madness, Wen Ji fingering passed on Zhonglang.
Fanghualou appreciates plum Su'e steals medicine and does not go to the moon, turning into Jiang Mei and sending it to the end. Tiangong Dan powder dare not apply, and the snow washes the wind to see the true color. Out of the fence and the dock is fragrant, and the water is separated from the smoke. A spring flower letter twenty-four, even if there is no such fragrance as this. Let Weng be lazy for many years, only to see the plum blossoms sad. The golden pot is lined up in the spring full house, and the treasure bun sits in the light. Hundreds of jade flies, and thousands of people have saddled silver. is not only proud to press the clear, but to talk about the poet's cold and hunger.
In the boat, a hundred pots of wine travel to Lingyun, and wave their sleeves to say goodbye to the old people when they are drunk. I can't bear to say goodbye to Yiyi, who knows that Emei is half a moon. The moon peeps into the cold, and I want to say goodbye to Yuzhou wine and wake up. The river is in the sky and fishing for the silk wind, and the people are quietly dancing with the shadow of the scarf. Oh, the poem does not sleep, the moon is full of boats, and the cold is in the bones, and I want to be immortal. The world is even smaller everywhere, and sometimes there are sandfowl carrying boats.
The fisherman Jiangtou fisherman's family is thatched, and the green mountains are not as good as the door painting. The river smoke is faint and the rain is squirming, and the old man breaks the waves to fish. Hate Qu was born without reading, and there is nothing in the country. I am also ashamed of my pen power, and I sigh for the rivers and mountains three times."
Ming Dynasty calligrapher Mao Kun "Cursive Hundred Flowers Song Book" appreciation
One of Mao Kun's "Cursive Hundred Flowers Song Book".
Ming Dynasty calligrapher Mao Kun "Cursive Hundred Flowers Song Book", cursive on paper, six panels, each 32.5 cm long, 50 cm wide, now in the Palace Museum in Beijing. On the album, Mao Kun waved in the autumn of Wanli Bingxu (1586), describing that his wrist was weak after his illness, but at the request of the servant, he forced the inscription, revealing the difficulty and self-deprecation of recovering after illness. In the summer of the following year, on the occasion of the new autumn, he picked up this book again, and in the Yuzhi Mountain House, he ordered the boy to study ink, and then continued the book, when he was 77 years old, and signed himself "Bearded Weng Kun". The momentum of the work is coherent, the pen is full of natural and vivid state, and it is really a masterpiece of Mao Kun's heart and hand and emotional expression. The seal "Mao Kun Private Seal" (Baiwen) and "Lumen Mountain People" (Zhu Wen) add to its artistic value and collection significance.
Mao Kun's "Cursive Hundred Flowers Song Book" II
Mao Kun's "Cursive Hundred Flowers Song Book" No. 3
Commentary: A song of a hundred flowers written by Li Wenzhong
"Li □□ wrote about a hundred flowers, and the coral □□ is slanted by the wind. Yingying wanted to hold the cactus dew, and they all reflected Fusang Xia. Zhao Chang painted flowers and flowers, and Jun painted flowers to convey the god of flowers. Spring, summer, autumn and winter follow the wrist, rain or shine is suitable for innocence. In the famous garden of undressing plate bricks, a hundred flowers are like a bright eyebrow. Xinglai dyeing pen sprinkled plain, pink color wind forward. The guests in the hall were relieved, and they all clapped their hands and praised Xu Xi. Suddenly provoke the swimming bees and wild butterflies, and compete to peep at the flower branches. But the seventy-bearded man laughed. It seems that the sketch is like a portrayal, and the Shijia Jingu is prosperous. The name is different and wonderful, and the wind plays with it a few times. Looking up to the sky and floating white but golden □, drunk is not to blame for the decline of Yushan. Why should he carry it on the grass hall like drinking three hundred cups of butter slaves."
Ming Dynasty calligrapher Mao Kun "Cursive Poetry Fan Pages" appreciation
The Ming Dynasty calligrapher Mao Kun's "Cursive Poetry Fan Page", presented in gold paper cursive, 16.5 cm long, 51 cm wide, is now treasured in the Tianjin Museum. This fan is the masterpiece of Mao Kun when he was eighty-eight years old in his later years, signed "Eighty-eight Weng Mao Kun Book", and the handwriting reveals the precipitation of the years and the old spicy pen power. The seal "Mao Kun Private Seal" (Baiwen) and "Lumenzhi*" (Zhu Wen) are simple and elegant.
The cursive writing on the fan page is soft and rigid, like silk, like a storm, undulating and changeable, and full of rhythmic beauty. Each stroke and stroke contains Mao Kun's profound calligraphy skills and unique artistic style, which is one of the representative works of his calligraphy in his later years. This fan is extremely precious, not only showing Mao Kun's calligraphy attainments, but also carrying the memory of history and the inheritance of culture.
Commentary: "Yang Yun served Ganquan in his early years, and Shuangpei was a fairy in the early autumn. For the time being, Mingguang painted the grass and said that the water balance money in the south of the country. Looking for mountains and lakes and recruiting hidden, scattered officials seem to learn Zen before flowers. In the years of recovery, he has been sick many times, and he has written a mockery behind closed doors. The right gift of Yang Diet Department stops".
Ming Dynasty calligrapher Mao Kun "Writing the Eight Great Texts of the Tang and Song Dynasties" appreciation
Mao Kun is one of the "Writing Eight Great Texts of the Tang and Song Dynasties".
Ming Dynasty calligrapher Mao Kun "Writing the Eight Great Texts of the Tang and Song Dynasty" The Ming Dynasty writer Mao Kun not only has profound calligraphy attainments, but is also famous for compiling the "Eight Great Texts of the Tang and Song Dynasties". This book subverts the stereotype of "literature must be Qin and Han, and poetry must be prosperous in the Tang Dynasty", advocating a concise and practical style, which is in line with the trend of the times and has a good reputation. Mao Kun's literary innovation and theoretical contributions have made him famous all over the world, and the "Biography of · Mao Kun" praised his book as "prevalent in the sea" and even "the little students in the countryside all know Maolumen", which shows its far-reaching influence and injected new vitality and direction into the development of literature in later generations.
Mao Kun's "Writing the Eight Great Texts of the Tang and Song Dynasties" II
Mao Kun's "Writing the Eight Great Texts of the Tang and Song Dynasties" No. 3
Looking at the three works of the Ming Dynasty calligrapher Mao Kun, I deeply felt that his calligraphy style is unique and his skills are exquisite. Its cursive lines are smooth, rigid and soft, revealing a bold and uninhibited literati temperament; The regular script has a rigorous structure and strong strokes, showing a profound calligraphy foundation. Every stroke contains emotion, and every stroke expresses personality and is breathtaking.
Appreciating the calligraphy of famous artists, enjoying a calm life. Readers, what do you think of the above works of Mao Kun shared by Tingyue for you? Welcome to leave a message in the comment area~