Introduction: Song Ke, good at calligraphy and cursive writing, especially Seiko Zhangcao, was the first at that time. His chapter grass is integrated into the writing style of imakusa and xingshu, flowing smoothly, swinging freely, like a flying sword dancing wildly, dashing and horizontal. Although it is one of the "Three Song and Two Shen", its achievements are not comparable to several other people.
Song Ke, a man of the late Yuan and early Ming dynasties, was a righteous man, a good fight and uneven, and had the style of a ranger. Born in the chaotic era at the end of the Yuan Dynasty, in the era of the division of the masses, it is also a heroic nature. Li Bai's sword went to the end of the world, and he did not delay writing poetry, and Song Ke was good at learning swords and horses, and it did not hinder writing.
Song Ke's position in the history of calligraphy can certainly not be compared with wang xizhi, Yan Zhenqing, Zhao Ziang, Dong Qichang and other first-class celebrities. But if you want to talk about the calligraphy of the last century of the Yuan Dynasty and the beginning of the Ming Dynasty, you can't help but mention Song Ke.
As one of the "Three Song Dynasties" famous calligraphers in the early Ming Dynasty, Song Ke's best skill was Zhang Cao. His chapter grass, strong and straight brushwork, and well-proportioned knotted characters, concentrate on the artistic characteristics of his calligraphy.
<h1 class="pgc-h-arrow-right" data-track="6" > retreated to practice words because of the unsuccessful uprising</h1>
Song Ke, the character Zhongwen, called himself Nangong Sheng, also known as Eastern Wu Sheng. A native of Changzhou, Gangnam. Brilliant since childhood, born in a wealthy family, although he studied hard, he only became a nine-pin sesame official. When he was young, the times were turbulent, and he wanted to raise the banner of righteousness and participate in the world, but without success, he retreated to learning and art.
When Song Ke was a teenager, he read a lot of books, was proficient in literature and history, and because of his large stature, he liked to ride horses, swordplay, archery, etc., which can be described as both literature and martial arts. At the same time, he also has a wealthy family, has a lot of guests in his home, often drinks and gambles together, spends money like dirt, and is now a rich and handsome man.
In the prime of life, it is catching up with the chaos in the world. So he decided to learn martial arts well, study the art of war, and then pulled a team north to the Central Plains, hoping to make meritorious achievements. However, while serving in the shogunate of the chief of the border, he was helpless to find that he could not find a like-minded person.
After Zhang Shicheng rebelled against the Yuan, Song Ke privately predicted Zhang Shicheng's military results many times, and it turned out that most of his predictions were accurate. Zhang Shicheng wanted to recruit Song Ke as his guest, which was already used, but Song Ke began to be arrogant, resigned, and was so angry that Zhang Shicheng wanted to kill him. Song Ke's soldier's book was not read in vain, and he cleverly escaped and escaped the disaster.
After these twists and turns, Song Ke became bored with the world, began to close the door, and opened a separate room in his home, containing calligraphy inscriptions from previous dynasties, Zhou Yi Han Yan, who indulged in it every day and waved at the window. With such a practice, it is necessary to train a person who writes chapter grass and cannot get around the chapter grass.
Mr. Song Ke is good at a variety of calligraphy styles, the most refined is cursive, especially Zhangcao. Taking Huang Xiang's "Anxious Chapter" as a template, while learning Suojing, he wrote the inkblots of Zhao Ziang and Deng Wenyuan into his own Urgent Chapter, entering the ancient and creating a new style of writing.
<h1 class="pgc-h-arrow-right" data-track="63" > three "Urgent Chapters", creating a cursive hybrid</h1>
Yuan Dynasty calligraphers opened up the situation in which calligraphers wrote "Anxious Chapters" since the Tang and Song Dynasties, and if Zhao Ziang's book "Anxious Chapters" was to revive Zhangcao, Song Ke's book Zhangcao made this revival more in-depth.
Zhangcao, originally a popular book style in the Han Dynasty, is simply put, it is a cursive lishu, and the posture is between today's cursive and lishu.
In the official writing of the Han Dynasty, in order to ensure the speed of writing, it was necessary to write the Lishu faster, so the effect of the strokes of the Lishu was connected, and some structures also changed, and Zhang Cao developed in this actual writing demand.
Since it is the cursive writing of Han Li, why is it called "Zhang Cao" instead of Han Cao, or Li Cao? There are several reasons. One of them is because the most famous calligraphy work written in the style of Han li cursive is called "Anxious Zhang", so it is called "Zhang Cao".
In the Wei and Jin dynasties, the "Urgent Chapter" was mostly written by calligraphers in chapter cursive, but only the imperial elephant was handed down. In the Northern Song Dynasty, Ye Mengde once carved this stone in Yingchang, and later carved stone and Songjiang in the Ming Dynasty, which is generally known as songjiang ben "urgent chapter".
Yang Zheng re-carved the stone in Songjiang based on the already mutilated leaf carved Tuoben, and the defects of the Tuoben were supplemented by the Song Ke manuscript, which is the richest and most systematic chapter and draft material we can see now.
Wang Shizhen said:
Occasionally take Ye Shaoyun carved the imperial elephant stone ben read it, the size of the line mold and the lack of front and back are one, but the wave skimmed the small ear.
No wonder he said that Song Ke was the only one to inherit the ancient law in the eight hundred years after Xiao Ziyun of the Southern Dynasty.
Song Kelin wrote the inkblot of "Urgent Chapter", and there are three extant copies:
The Palace Museum collects this volume, which he wrote when he was 44 years old, and the whole text is full of chapters and grass, the pen is vigorous, the structure is changeable, the end is concerned, the pen has obvious wavering feet, and the strokes are strong, although each word is independent, there is already a clear sense of "reflection" between the words. In his fluent and skillful writing, he expresses the structure and waves of zhangcao, elongates the flat square glyphs in the works of the emperor, changes his round and thick and clumsy pen into a straight and thin pen, and shows the style characteristics of Junxiu Xiongjian.
The volume of the Tianjin Art Museum is his 61-year-old masterpiece, which is more old and spicy than the "Urgent Chapter" written at 44. The characters are dense, the meaning is quaint, the glyphs are mostly flat and square, and the whole work shows the characteristics of "dignified and flowing". Although it does not show the penmanship of the Right Army Xinyan, it has the remains of the Han people, which is full of ancient meaning.
The Beijing Municipal Bureau of Cultural Relics no one knows the writing time, although it is also Zhang Cao, but duojin Tang Kaiyi, this method of writing breaks the whole zhang cao wave to indicate the "subordinate intention" method, refers to the method of kaixing, in fact, it lays the foundation for the "hybrid" of its cursive creation.
<h1 class="pgc-h-arrow-right" data-track="82" > the only inheritor of ancient law in the eight hundred years after Xiao Ziyun</h1>
Song Ke's chapter grass has a prominent position in history. Wu Kuan commented, "Right Suojing's Cursive Writing Posture, Song Zhongwen's Book. Be good, and be worthy of the Jing. ”
Art history is very cruel. The waves are sandy, countless artists are gone, and those who stay have a reason to stay.
Since the Wei and Jin Dynasties, they can write chapter grass, and there are not many people who can write well. Chapter Grass, along with the Lishu, was gradually forgotten and withdrew from the practical category. But it did not die, but gradually became the style of the literati to show off. Because, Chapter Grass, it's really hard to write.
During the Tang and Song dynasties, almost no one was good at zhangcao, but this situation changed in the Yuan Dynasty due to foreign invasions. The Han literati began to seek retro under the leadership of Zhao Ziang, so several calligraphers who were good at chapter grass appeared. Such as Zhao Ziang, Deng Wenyuan, Yu He, Song Ke...
"Only after losing do you know how to cherish", the things of the old ancestors, only when the foreign invasion, only to think of practicing and playing, this mentality is ancient.
Song Ke's cursive calligraphers, the Second King and Wang Hui, and thanks to the wild grass of Xu and Su, coupled with his diligence, formed a creative "cursive hybrid", making it both a continuous trend and a wave of "Dun", increasing the ornamentality of the chapter.
Tang and Song Dynasty Poetry Volumes
Song Ke's work at the age of 34 is now in the Shanghai Museum. With the pen method of the second king and mi fu, and with the obvious characteristics of yuanren cursive writing, the whole volume is flying vigorously, the knot is rigorous, the ups and downs are caused, the whole volume is dominated by the present grass, occasionally there are chapters and grasses, the first half is more rigid, and the second half is more indulgent, showing the beauty of qingjin. In terms of overall style, it can still be regarded as an extension of Zhao Ziang's vein.
"Du Fu Zhuangyou Poetry Volume"
The dot painting is vigorous and smooth, and the momentum is continuous, with both the boldness of wild grass and the wave of chapter grass, which adds to the meaning of high ancient and spicy. Compared with the "Tang and Song Poetry Scrolls", there are more Huai Su's continuous posture and the strange fortitude of Kanglizi Mountain, which strengthens the change of glyphs, makes the transformation more rapid, the dot painting more vigorous and neat, the use of the pen to blend the chapter cursive brush method into the wild grass is more natural, and the grass method in the "vertical posture" is inserted into the "horizontal posture" without a trace, and it is more majestic.
"The Second Biography of Zhong Xuan Wang Xi"
The style is between the "Tang and Song Poetry Scrolls" and the "Du Fu Zhuangyou Poetry Volumes", and more chapter cursive brushwork is blended in the "Tang and Song Poetry Scrolls" in the present grass, showing the atmosphere of Qingjun, which has both the continuous strokes of the present grass and the wave picking strokes of the chapter grass, but it is obviously not as magnificent as the magnificent momentum of the "Du Fu Zhuangyou Poetry Scroll". But he also expressed his heroic and elegant style with a thin gesture, forming his own unique style.
epilogue:
Song Ke's Zhang Cao Xue Huang Xiang's "Anxious Chapter", the pen strength is clear and strong, the pen is mellow and free, especially his small grass and chapter grass, the crown of a generation.
Wu Kuan commented on his book:
A gram of books out of Wei Jin, deeply rooted in the law of king Zhong, so the pen is exquisite, and the personable and lovely... Zhongwen Shu Suo Jing cursive writing posture, covered up wonderfully and worthy of the Jing also.
His book is from Wei jin, and he is deeply rooted in the law of Zhong and Wang. He was good at calligraphy and cursive writing, especially Seiko Chapter Grass, which was the first at that time. His chapter grass, continuing the style of Zhao Ziang and Deng Wenyuan, has developed, incorporating the writing style of imakusa and xingshu, and is more fluent and healthy.
Of course, the significance of Song Ke is not how well zhangcao itself is written, he breaks through the shackles of zhangcao's body and combines with Imakusa to open up a unique face. When many people encountered bottlenecks in inheriting traditions, he opened a big brain hole.
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