In all the dynasties and dynasties, the literati have paid attention to the system of sex, and the words have returned, and the same is true of calligraphy. However, confined to the ancient law, more inheritance and less pioneering, in the end is easy to stick to the vulgar pen, there are "uniform" abuses, such as the "Taiwan Pavilion Body", "Pavilion Body" in the book world, etc., all with a beautiful and uniform work, a word is the same, it is no different from "Kan redundant skin contour, a few thousand beaks and a tone", the beauty is beautiful, but also the clothes of the ancients.
Especially if there is something good on the top, it will be very bad on the bottom.
For example, the close friend Ma Zonghuo once said in the "Book of Forest Algae", "The emperors of the Ming Dynasty, not only do they attach importance to the study of the thesis, but also the salty heart of the Yishi Doctor, and the thesis is great, so the Ming human beings can practice grass, although they are not well-known, they are also considerable." ”
At the beginning of the Qing Dynasty, Kangxi revered Dong Qichang's book, "the incense began to change, and the national dynasty competed to learn From Dong", while Qianlong especially emphasized Zhao Mengfu's writing, and even used books to take scholars, and people at the time competed for the law. Later generations called it "the world of Kang Yong, specializing in imitation of incense, the generation of Qianlong, bidding for Zi Ang".
Stylized aesthetics, unable to break through the barriers, imply the inevitability of the rise and decline of the thesis and the decline of scale. In the late Ming and early Qing dynasties, Feng Ban's "Blunt Yin Shujiao" said that "painting has a north and south, and the book also has a north and south", while Ruan Yuan's "Theory of the North and South Book School" and "The Theory of the North Stele And the South Thesis" are the correct voice of "the division of the stele and the post", and his words are "calligraphy changes, the genre is confused, not traced back to its source, and it returns to the ancient world." Gai changed from lishu to zhengshu and xingcao, and its transfer was between the late Han, Wei, and Jin dynasties; while the zhengshu and xingcao were divided into two factions, the eastern Jin, Song, Qi, Liang, and Chen were the southern faction, and the Zhao, Yan, Wei, Qi, Zhou, and Sui were also the northern faction. It can be described as "a stone and a thousand layers of waves".
After that, Bao Shichen's "Yizhou Shuangyi" discussed the source of calligraphy since the Han Dynasty, and the flourishing of epigraphy was actually a pioneering achievement. At the same time, Kang Youwei's "Guangyi Zhou Shuangyi" "Honoring Wei Beitang" and the scribe "abandoning his face and entering Wei" cannot be stopped at once.
In the Qing Dynasty book world, the anti-correction and innovation of the accumulated shortcomings of the old style of calligraphy can be called the zhongxing period in the history of calligraphy, in which the thesis of the Jin and Tang dynasties benefited from the study of steles, or the inscription into the post, and finally the post and the post, or the fusion of the stele, learning from the strengths and complementing the weaknesses, perfecting the thesis system, or adhering to the thesis, continuing to grab the charm of the Tang law, and so on.
And the Qin and Hanbei stele style advocated by epigraphy broke through the unification of the world of theology and became a great current, and the wei stele "ten beauty" theory and the thesis study were both in contention with the theory, as Kang Youwei said, "Up to the salty, the same, the stele is broadcast, the three-foot servant, the society of the ten rooms, do not talk about the northern stele, write the Wei body, and cover the customs." ”
Looking at the transmutation of the qing dynasty's calligraphy style, the influence can not be said to be far-reaching, among which in the early Qing Dynasty, the traditional thesis learned to inherit the Ming Dynasty's literary veins tended to be at its peak, and there were many famous scholars of the theory, such as Weng Fanggang, Liu Yong, Liang Tongshu, Wang Wenzhi, etc., and in the middle and late period, there were famous scholars of the Kaizong founding school, such as Deng Shiru, Yi Bingshou, Zhao Zhiqian, Wu Changshuo, etc., and there were also inscriptions and posters that were integrated or both, and most of them sought seals from the northern stele, and they got into the true Kai, how Shaoji, Chen Hongshou, etc.
In addition, the seal, li, cursive style, correcting the "beauty of neutralization" of theology, infiltrating each other, the calligrapher is also a bystander, reform and new, and strive to save the decline of the book world since the Song and Ming Dynasties, and show a multi-dimensional development, which can be described as "a hundred schools of thought, great achievements".
The author has selected the inkblots of many famous artists of the Qing Dynasty, which can also be said to be the epitome of the diversity of methods between the inscriptions and posts of the time. Among them, the giants of theology such as Weng Fanggang, Liu Yong, Liang Tongshu, Wang Wenzhi, Yong Yao, Tie Bao, etc., and the stele scholars such as Ruan Yuan, Bao Shichen, Kang Youwei, Yi Bingshou, etc., representative scholars of all styles or each good at one, such as Chen Hongshou, He Shaoji, Weng Tonggong, Hu Zhen, etc., are magnificent.
Divided into three major sections: "The Way of The Golden Stone, Between the Tablets", "Four Screens of Famous Artists, Huan Cai HuaZhang", "Pavilion Yuxu, Zhao Dong Fengliu", 117 pieces of calligraphy were launched, all of which were released for the first time out of the market, and The Yang Lian, the Middle Hall, the Banner, the Four Screens, the Six Screens, and the Eight Screens, all kinds of shapes and systems are readily available, and the brilliant galaxy is brilliant, each doing its best.
For example, Liu Yong's calligraphy "into the ancients and out of the ancients", it integrates the roundness of Zhao Mengfu, the clumsiness of Dong Qichang, the richness of Su Shi, and the thickness of Yan Zhenqing, which seems to be round and soft on the outside, but in fact, the connotation is strong, the flesh and bones are both flesh and bone, and the veins are clear.
▲ Lot 0551 Liu Yong Xin You (1801) as Lin su shi ruler vertical axis ink silk
Dimensions: 158×70 cm
Seal: Liu Yong seals the letter
Inscription: The Book of the Four Days after the Bathing of the Buddha. Liu Yong.
Jianzang Seal: Sun Yuzhong Treasured Seal
Explanation: Yesterday I gave my resignation, and I was very fond of love. The first thing has been inscribed. Crane, deer, horse three axes, forced to do not have time to ask, I would like to accept the above. Yesterday's trip to the Golden Mountain can be stopped. Take care. There is nothing left to do. Wu Xingfeng, enough to comfort Yahuai. Old age has righteousness, extreme poetry, and public time.
This work is based on The Book Festival, which is thick and thick with ink, plump and vigorous, and is in line with the name of "Thick Ink Prime Minister". In particular, although the edge is thin and weak, there are still ten thousand hairs, and the force penetrates the back of the paper. Liu Yong's calligraphy pays attention to "fat, thick, clear and quiet", "fat" is rich in form, round and fat; "thick" means that the pen gesture is strong and the qi pulse is through; "Qing" has a clear interest, without the disease of turbidity; and "quiet" is quiet, without dry gas and fire. This book may be glimpsed in one or two.
Kang Youwei once praised that "Shi An is from Dong, but the strength is thick and heavy, the tendons are shaking and the pulse is gathered, and in recent times, the cursive writing is thick all the way, and there is no one who can get out of the scope of the Stone Nunnery. Xu Ke, a Qing dynasty, also said, "The beauty of his book is being stored in essence, and his strength is introverted, like a complete tai chi, all-encompassing." ”
In fact, in the four families of "Weng, Liu, Liang, and Wang", in addition to Liu Yong, there was another Liang Tongshu who worked in Kai and Xingshu, and in his later years he was still able to write fly-headed Xiaokai, whose large characters were tightly knotted, and Xiaokai Xiuyi was particularly refined. Wang Wenzhi's calligraphy is extremely graceful, close to Dong Qichang's calligraphy style and more ethereal, while Weng Fanggang advocates the study of thesis, and is also proficient in the golden stone examination, which is beyond the reach of Shi An.
▲Lot 0544 Liang Tongshu Xingshu Eight Words Lian Vertical Axis Ink Sprinkled Gold Letter
Dimensions: 174.5×30.5cm×2
Seal: Shanzhou and Liang Tongshu Seal (see "Chinese Calligraphers and Painters Seal Zhi Zhi Liang Tongshu", 7, 10 prints, 918 pages)
Inscription: Both diligent master genus, Shanzhou Liang was ninety years old when he wrote the same book.
Explanation: The tree enters the bedside flower to the mirror, and the clouds and bamboo move the moon and the water is bright.
Liang Tongshu adheres to the same vein of theology and is a typical traditional calligrapher. The composition is smooth, the line spacing is loose, the pen is also peaceful and natural, the lifting is frustrated, it is very skillful, the view is pleasing to the eye, and it is full of gentle and elegant bookish atmosphere. In the book, "Shan Zhou Liang was ninety years old when he was in the same book", he knew that it was a work of his extreme old age, and it was as vigorous as ever, which was not easy. It is no wonder that history records that he was "more than ninety years old, still a man's book and inscription epitaph, tireless all day long, and no old age"
▲Lot 0587 Wang Wenzhi Jia Yin (1794) wrote a four-screen book mirror heart ink on paper
Size: 132×29.5cm×4
Plutonium Printing: Article Taishou (three times), Tuye Shanfang (four times), Wenzhi Private Seal (second time) (1, 2 prints, see "Chinese Calligraphers and Painters Seal Zhi Zhi Wang Wenzhi" 35, 34 prints, 17 pages)
Title:
(1) Yu's home is on top of The Dream Creek, and it has been planned to build a building for a long time, and it is now built.
(2) Xu Ziren painted a cat, and the lotus nest imitated it in a dangerous day, because of the inscription.
(3) Jiayin traveled to Jiaoshan mountain with Zheng Qiutang in autumn, and was recently recorded in Guiyan Caotang.
(4) Inscription female Sun Tortoise Liang painting daffodil sentences. Dream Lou Wang Wenzhi.
Jianzang Seal: Jingmen Wang Family Collection, Jingmen Jianyang Wang Family, Once Hidden in Jingmen Wang Wenxin, Zi Yiyun, Zhenzhou Bian Wei Ge Treasured Calligraphy and Painting, Jingmen Jianyang Wang Clan Wenxin Calligraphy and Painting Chapter
Interpretation: (Omitted)
illustrate:
1. "Female Sun Tortoise Liang" was Wang Yuyan (王玉燕), also spelled Tortoise Liang, a native of Jiangsu (present-day Zhenjiang), and a female calligrapher and painter in Jiaqingjian in the Qing Dynasty. Granddaughter of Wang Wenzhi. The book has an ancestral style, gongshi painting, often painting orchids with grass juice, graceful and gratifying, good at plum blossom daffodils.
2. Bian Lingchang (1873-1946), formerly known as Lunchang, Zi Jingfu, Wei Ge, Late Yizheng (Zhenzhou) people. He was born in the family of Yangzhou officials and eunuchs, Shuxiang Mendi. Zhang Zhidong's son-in-law. He was a Japanese diplomat in Japan for seven years (1901-1907). After returning to China, he undertook a new type of enterprise, which was the first to be the trend at that time. After the Xinhai Revolution, it is impossible to hide, and you can travel to the forest. Gong Li shu is also good at collecting.
3. Wang Wenxin (1888-1974), Zi Baozhi, Mengquan Bookstore. Born in Jingmen, Hubei Province, his ancestral home is Hangzhou, Zhejiang Province, and he settled in Shanghai in 1928. He studied in France at an early age and was the chairman of Shanghai Watsons Soda Company. Your grandfather Wang Yangdu (Mengquan) was a great collector of Daoguangjian Jingmen, wenxin inherited the ancestral inheritance, fine appreciation, and rich collection. He had contacts with Kang Youwei, Ye Gongqiu, Wu Hufan, Zhang Daqian and other famous scholars, and the collection was mostly Ming and Qing Dynasty calligraphy and paintings.
Wang Wenzhi's calligraphy is especially fond of light ink, in order to express the charm of the portrait of Xiao Shuyi, which was sometimes called "light ink exploration flower". This four-screen book is self-composed poetry, the knot is introverted and the word spacing is wide, the picture is natural and elegant, and the pen is soft, like a windy jade tree, and the posture is exhausted. The "Jiayin Autumn Day" in the book is the fifty-ninth year of Qianlong (1794), when Wang Wenzhi was sixty-five years old, which was the time when the style of writing was great, and it was a rare four screens, well preserved, and even more precious.
According to the collection seal, it can be known that it was once the old collection of Bian Lingchang and Wang Wenxin, the owner of Mengquan Bookstore, and both of them were rich in collection.
▲Lot 0553 Wang Wenzhi Ji You (1789) wrote the book "Mr. Huai Lotte of Guojiangzhou" Vertical scroll Ink on paper
Size: 63×52.54cm
Seals: Wang WenzhiYin, Zeng Canghai, Persimmon Leaf Mountain House (see Chinese Calligraphers and Painters Seals, Wang Wenzhi, 12, 23, 34, 17 pages)
Title: 己酉闰夏, Bunji.
Jianzang seal: Shao'an appreciates, and a seal is incomplete
Description: Wang Wenzhi's "Mr. Huaibai Lotte of Jiangzhou" is included in the "Collected Poems of Wang Menglou".
Interpretation (Omitted)
Wang Wenzhi's calligraphy is due to his long-term study of fa ti, and his "Fast Rain Hall Inscription" once said that Zhao Ziang's book is "almost the same as a thousand, it is inevitable that it is too similar", while the book of Zheng Zhongguang and Dong Qichang is "not exhaustive of the ancients" and "out of the ancient path", and there are "stealing that although the ancient post is good, it will be multiplied by the spirit of the famous family, and it is a big entry between its similarity and dissimilarity." ...... Therefore, Wen Min claimed to have studied books for thirty years to understand this matter, and he was eager to bear witness to wen Min. It can be seen that he has a deep understanding of whether the calligraphy is similar or not. Liang Tongshu praised him for his "broad chest and wide sea and sky, and a huge pen with a proud and arrogant".
Weng Fanggang's calligraphy is based on the study of thesis, Xingkai first learned Yan Zhenqing, and later learned Yu Shinan and Ouyang Qing, the style of writing is rigorous, and he prides himself on writing with a history. "Dream Garden Cong Shuo" contains that "Mr. Weng Qinxi can write the four words 'World Peace' on a sesame seed", see his pen and ink attainments, and his heart is deep.
▲Lot 0555 Weng Fang Gang Xingshu Festival Linmi Fu "Coral Thesis" Vertical Scroll Ink on Paper
Size: 159.5 ×63cm
Seals: Weng Fang GangYin, Qin Xi, Fu Chu Zhai
Title: Mi Lao's post is all about learning jinren, which is actually the meaning of Huai Ren Ji's holy teachings. Weng Fanggang.
Interpretation: Three branches of vermilion grass come out of the golden sand, from the Tianzhi Festival Xiangjia. On that day, I accepted the pre-name watch, and I was ashamed of the five-colored pen head flower.
According to the inscription of this work, "Mi Lao's whole study of jinren is actually the meaning of Huai Ren Ji's holy teachings", "Mi Lao" is Mi Fu, "Huai Ren Ji Holy Sect" is Wang Xizhi's "Holy Religious Order", and the book is thick in pen and ink, and the pen is round and gentle, and it is known that he generally admires the style of the thesis.
However, at the beginning of the study of jinshi and the reform of calligraphy, Weng Fanggang also wrote a calligraphy, which belonged to the calligraphy "Shi Chen" and "Han Shu" stele, and strived to "keep the right and the original in the six books", "the origin has its own origins, and there is no trace of harmony", "advocating simplicity and thickness", "taking the square as the right vein" and other purposes.
▲Lot 0523 Weng Fanggang Lishu Eight Words Lian Vertical Axis Ink Sprinkled Gold Letter
Size: 223×49.5cm×2
Seal: Qin Xi, Weng Fang Gang Yin
Title: Weng Fanggang.
Interpretation: The six pleasures should be prepared for the five rites, and the four spirits are divided into all kinds of groups.
Weng Fanggang's calligraphic thought, especially the Jinshi Examination, is also the precedent of epigraphy, Qian Yong once said: "In present-day Beiping, there is Weng Qinxi Pavilion, on the left side of the mountain there is Guiweigu Daling, Wumen has Qianzhu Tinggong Zhan, Yangzhou has Jiang Qiu Epic Yu, Fujian has Yi Moqing Taishou, Tiandu has Ba Juntang Zhonghan, Zhejiang has Huang Xiaosong Sima and Jiang Zhaoxiang Xiaolian, all of them can pretend to be Han Law, and scholars have become increasingly prosperous since then." ”
Its small seal is also rare.
▲Lot 0522 Weng Fanggang Seal Book Five Words Mirror Heart Ink Sprinkled With Gold Notes
Size: 126×31cm×2
Seal: Qin Xi, Three Guangdong Xuezheng, Graphite Library
Interpretation: Flowers and bamboo are beautiful and wild, and the article is older and more successful.
This joint work is a small seal, round and beautiful, soft and rigid, both the penmanship is vigorous, and the knot gives the decoration interesting, and there is a lively mood in the calm, which should be the yi product in his book.
And Yong Yao and Tie Bao, Weng Fanggang, Liu Yong ranked alongside the "Four Houses of Qianlong", its calligraphy Zhao Mengfu, Ouyang Inquiry, Xiao Kai in and out of the Jin, Tang, calligraphy with handsome pen, loose knots, elegant style, cursive writing is also longitudinal and profound, quite stylish, can be described as a wide range of families, part-time work.
▲Lot 0539 Yong Yao Kai Shu Eight Words Lian Vertical Axis Ink Drawing Gold Letter
Size: 186×41cm×2
Seal of Qi: Prince Cheng, Seal of The Prince of Jin
Title: Prince Cheng.
Interpretation: Within five hundred miles of the Gathering of The Stars, the Great Tsubaki is eight thousand years old.
Tie Bao said that his calligraphy "and out of the flow of pine snow, so as to create a great friendship", Jiaqing also has the saying "Brother Cheng, since childhood specialized in calligraphy, deeply rooted in the meaning of the ancients with the pen, involved in all kinds of families, part-time work, decades of linchi, recently courtiers of the work of the book, rare to its right." ”
Subsequently, the theory gradually declined, the book world was full of genres, and the sound of change became more and more abundant. Or the Shifa Tang Stele, with the stele to learn into Europe, Yan Xingcao; or the Zhishi Han Stele, li, the seal gradually to the peak; or the Chongbei Dynasty steleology, with the "golden stone science" as the key; there are also stele fusions, less theatrical learning of the soft show, see the ancient Jian Qi.
Among them, Ruan Yuan advocated Pu Xue, who divided the north and south with books, and said in the "Treatise on the North and South Schools" that "the southern school is the left wind of the river, sparse and mysterious, longer than the ruler, and reduced to the point of unrecognizable." As for the Seal Relic Law, the Eastern Jin Dynasty has changed a lot, whether it is Song or Qi. The Northern Sect is the ancient law of the Central Plains, which is restrained and clumsy, and is longer than the list of monuments. Cai Yong, Wei Shi, Handan Chun, Wei Qian, Zhang Zhi, Du Du Zhuli, Bafen, cursive testament, to the end of the Sui Dynasty and the beginning of the Tang Dynasty, there are still survivors. The two factions judged that the north and the south were in a common world. ”
▲ Lot 0567 Nguyen Yuan Ji Unitary (1849) As a Lishu Wuyan LianLian Scroll Ink Sprinkled With Gold Notes
Size: 123×28cm×2
Plutonium seal: Nguyen Yuan private seal, Bo Yuan
Title: Self-unitary Spring Day Collection Tang Sentences. Nguyen Yuan.
Interpretation: Famous incense sowing Orchid Hui, carved algae Mai Qiongju.
Its retro truth-seeking, tracing the origin of calligraphy, such as pointing out that dong Qichang's calligraphy backbone, actually benefited from Ouyang Inquiry, Zhang Zhao's calligraphy was due to Yan Zhenqing, all with the Northern School of Kung Fu as the bone, so it stood on its own, and eventually became everyone.
▲Lot 0549 Photography Book Pro Post Mirror Heart Ink Ayamoto
Size: 120.5 ×28cm
Inscription: The dark clouds in the sky contain heavy rain, and the red sun shines in front of the building. Where is the Songyang resident now, and the green eyes see people's love. Cai Zhonghui's official letter. Seal: Home in the clouds of the sun of the clouds, the private seal of the subject
This Cai Junmo dream poem also, the real handwriting in Ji Ming's house, the pen is vigorous. February 4, 1955. Su Shi question. Seal of the Three Dynasties
I didn't do anything at the beginning of my life, and after I was born, Han Zuo declined. Han Cai Yan Book. shine.
Seal: Illuminate, get the sky
Ma Yuanjie zi knows, Ru Cao smells people's faults, such as hearing the name of his parents, the ear can hear it, and the mouth cannot get it. Xu Mian said that my family was originally clean and honest, so I tried to live in poverty. As for the matter of industry, it is not often said that it is not directly operated. The ancients said that the innocent descendants are not also thick. Ming Che Da Jing Shu. Plutonium Seal: Detian Clan, Hengyun Master
Zhang Zhao is the representative figure of the "pavilion style", and in the early qianlong years, he wrote the "Royal Book" plaque and calligraphy and painting inscription, and his calligraphy began with Dong Qichang at the beginning, and in and out of Yan and rice in middle age, and the heavenly bones were open, and the spirit was thick.
Ruan Yuan took Zhang Zhaoxi's post as an example, pointing out that he was also influenced by the northern school of calligraphy in his subtlety, and was very insightful. Moreover, he also practiced it personally, and many literati were influenced by it, and they abandoned the post and followed the stele, and the style of writing changed, such as Zhang Tingji, Qian Yong, Xu Tongbai and so on. Voyeurism knows the leopard, so Ruan Yuan can mark the literary world for decades, and hainei scholars regard it as a mountain bucket.
▲ Lot 0568 Nguyen Yuan Ot Mi (1845) as a book of seven words and a vertical axis ink sprinkled with gold notes
Size: 137×31cm×2
Seal: 癸卯年整八十、 Lake Light Mountain Color Ruan Gonglou, Yi Sex Trilling (1, 2 prints see "Chinese Calligraphers and Painters Seal Zhi Zhi Ruan Yuan" 61, 54 prints, 564 pages)
Inscription: Otomi Chun is the book of Tieqin Xian's nephew. Elderly people.
Signature: Nguyen Van Ta Seven Words. Wu Tieqin's old collection.
Interpretation: Lu Lianshi, a calligrapher and painter Zhao Oubo.
Description: Wu Tieqin, Ming Gongjin, Zi Xiumei, Zhejiang Qiantang people. In the first year of Daoguang (1821), Yin Sheng, the official Guangxi, zhizhou zhizhou, the prefect of Nanning Province, was demoted to the post of official with a rigorous examination. The building was built on The Moon Wheel Mountain, and the two volumes of the "Moon Wheel Mountain Shouzang Tu Zhi Ti" were engraved.
In the book "Otomi Chun is the nephew of Tieqin Xian. Yi Sex Old Man", known as Ruan Yuan's son-in-law Wu Tieqin. Xiang Zijing, a famous collector of the Ming Dynasty, once collected a tieqin named "Tianlai", and it is rumored that "Tianlai Pavilion" was named after it. This "Tianlai" Tieqin Jiaqingjian is owned by Wu Gongjin, or has the name of Tieqin because of it.
As a Ruan Yuanmen person, He Shaoji was deeply valued and advocated the "North Monument" of the industry master. It is said that "Yu Xueshu started from the seal division, so there was no habit in the northern stele, while the southerner Jianzha was not very attentive." ”
▲Lot 0529 He Shaoji Seven Words of the Book of Conduct Vertical Axis Ink Sprinkled with Gold Notes
Size: 131×29cm×2
Seals: He Shaojiyin and Zizhen (see "Chinese Calligraphers and Painters Seal Knowledge, He Shaoji", 9th and 10th printings, pp. 474-475)
Title: Zi Shan Shi Ren Brother Genus. Zizhen He Shaoji.
Explanation: I can't make a book, this poem has a taste and should not be passed on.
However, "advocating epigraphy" and "practicing it" cannot be generalized.
In fact, He Shaoji went through the four dynasties of Jiaqing, Daoguang, Xianfeng and Tongzhi, and was in a period of rapid change in the style of writing. However, its decades of work, taking the Fa Yan Book, has long done the "Yan Shu" Dun Hou Charm, has the posture of covering the mountain yin on the Langya, and the brushwork is softer and more changeable than the Yan body, and the knot body is more soft and changeable, and it is a style of its own. Therefore, his calligraphy not only has the majestic meaning of epigraphy, but also has the ups and downs of the "Yan Shu" and the abundance of vigor.
▲Lot 0530 He Shaoji Seven Words Of Writing, Vertical Axis, Ink on Paper
Size: 128.5×32cm×2
Title: He Shaoji.
Seal: He Shaojiyin, Zizhen (2 prints see "Chinese Calligraphers and Painters Seal Zhi He Shaoji" 11 prints, 475 pages)
Interpretation: Lan Color Lonely High Letter Day Quiet, Floral Fragrance Thin with Cloud Cloak.
This seven-word combination is like a falling stone where the pen falls, and the light is like a flying flower; the slow one is like a stagnant cloud, the fast one is like a drifting wind, the delay reflects the belt, the vertical and horizontal are free and the mood is transcendent. Judging from the degree of damage to its knots, pens and seals, it should be written late after the maturity of its style.
Xu Ke, a Qing dynasty, commented that his book "is especially in the midst of wantonness, often in one line, suddenly like a strong warrior fighting force, muscles and bones emerge, suddenly like a cup of horse, the mood is detached, not exquisite four-body, familiar with the eight laws, unable to understand its magic." It is also known that the collection of his books is complete, so it is praised by Houjin as one of the generations of masters of the "Kaiguang and XuanziShu School".
▲Lot 0583 He Shaoji Lishu four screen vertical axis ink on paper
Size: 123.5×33cm×4
Title: Viper.
Interpretation: Wei ChenLiu Handan Alcohol Special Shan "Cang", "Ya", Xu's character refers to, eight bodies and six books, exquisite and leisurely, with books to teach the princes, the construction of three characters of the stone in Yu Taixue West, its Wen Wei Bing, three body fuxuan, compared to the text is the same and less different.
He Shaoji once said, "Stealing is the law of the two public books, both of which are rooted in seals and points, and have a source in Hebei, and will never rely on Shanyin." And its "back to the wrist method", although the ancient law has it, but with this line of writing, it has become a unique appearance, the dot painting lines are calm and vigorous, the wind and bones are overbearing and the flesh and blood are plump, and the meaning is high and ancient.
Yi Bingshou also had Ruan Yuan's guidance and asked for the Fa in the stele. Its inscription is all over the golden stone, and finally it is famous for its unique seal and subordinate. His work is vigorous and beautiful, the momentum is magnificent, and the golden stone of the seal overflows between the lines, and Kang Youwei praises him as "the greatest master of the collection and division of the book." ”
▲ Lot 0565 Yi Bingshou Yi Hai (1815) as a five-word joint scroll ink on paper
Size: 128×30.5cm×2
Seal: Mo Qing, West Lake Chang (see "Chinese Calligraphers and Painters Seal Zhi Zhi Yi Bingshou", 4, 12 prints, pp. 312-313)
Title: Yi Hai Mid-Autumn Festival, Yi Bingshou.
Seal of Jianzang: Seal of Zhu Tao, True Seal of Zhu Shi Jiu, And Cong Bi Yi
Interpretation: Taiwan reads a thousand flowers and scatters, and the spring comes from Wanjing.
Description: In 1935, the Commercial Press published the "Fushan Xiaokai Diamond Sutra" as Fu Shan's famous jingkai works, and like Yi Bingshou, it was once the collection of the Qing Dynasty bibliophile Zhu Tao,Chinese New Year's Eve who signed the seal head "Yangqu Fu Qingzhu Mr. Fu Qingzhu Xiaokai Book Diamond Sutra Twelve Chapters of the Diamond Sutra" and covered with multiple Tibetan seals. Zhu Taozhi (1859-1911), also known as Zhu Taozhi (1859-1911), was a Member of the Yongqing Dynasty in Hebei Province. Rich collection, the collection of books called Cong Biyi, mainly in the collection of manuscripts, including calligraphy and painting, gold and stone rubbings, for the late Qing Dynasty famous collectors. Charitable and charitable, he once founded Zhimeng School in Yongqing.
Yi Bingshou's heirloom works can be found in the "Collection of Mo'an", and its characteristics such as straight strokes, rounded center, and force in the middle, and the original flat shape of Han Li on the knot body, there is a sense of "the bigger and stronger, the greater the Han Li" can be expanded" feeling, and the breath has an awe-inspiring "temple atmosphere", which must not be detected.
▲Lot 0566 Yi Bingshou Xingshu inscription painting poem Vertical axis ink on paper
Size: 124.5 ×35.5cm
Seal: Mo Qing, surname Yue Yi, Garhu (see "Chinese Calligraphers and Painters Seal Zhi Yi Bingshou", 9, 33, 18 prints, pp. 312-313)
Inscription: Mian Ji Xiandi genus book inscription painting close sentence. Bingshou.
Jianzang seal: Jade Heng treasure, Jade Heng approval, a seal is not discernible
Commentary:
The stone is higher than the horse to send the conscription, and the first line is diverted as a bitan.
The four or three houses outside the bamboo are near the water, and the remaining strength is half like Jiangnan.
1. In the Commercial Press's Republic of China Colo Edition of the "Collection of Mo'an", Yi Bingshou's "Lishu Five Words Lian" "tells the ancient people's ruts, and the heart will be quiet", which is the same as the "MianJi" paragraph on this page.
2. Sa Yuheng (1758-1822), also spelled Onion Ru and Tanhe, was a Poet and Bibliophile of the Qing Dynasty. In the fifty-first year of the Qianlong Dynasty (1786), he was a prominent official in Xunyang Zhi County, Suide Zhizhou, and Yulin Prefecture in Shaanxi Province. Sa Yuheng Gong poem, for the Qing Min school of poets "enough to shock a generation" of people. There are 4 volumes of "Baihualou Poetry Notes", 1 volume of "Baihualou Burning Manuscripts", and his nephew Salong Guanghe's "Yanmen Collection" of Sadhu. The "Qing History Manuscript • Wenyuan" has been passed down. Sa Yuheng's family has a lot of books, takes pleasure in buying books, and has spare time, prompting knee-to-knee conversation, which is quite lonely. The collection of books is printed with "Yuheng" and so on.
The person in the upper paragraph of this work, "Mian Ji", and Yi Bingshou's "Lishu Five Words Lian" in the Commercial Press Republic of China's Republic of China Edition of the "Collection of Silent Temples" "speak out the ruts of the ancients, and the heart will be quiet" for the same paragraph.
The "Eight Houses of Xiling" can also be said to be the calligraphers who undertook the "Broken Thesis School" Yu Xu, such as Chen Hongshou and Shan Lishu and Xingshu, whose Xingshu traveled all the way to the "Erwang" Thesis, and the Lishu took Han Li as the sect, and the Bo collection was taken as the covenant, and it was clean and elegant.
▲Lot 0534 Chen Hongshou Xingshu Seven Words Lian Vertical Axis Ink on Paper
Size: 163×34cm×2
Seal: Man Sheng, Chen Hongshou Yin (see "Chinese Calligraphers and Painters Seal Zhi Zhi Chen Hongshou", 80, 81 prints, 1090 pages)
Title: The second brother of the Xiao Family is Masayuki. Brother Chen Hongshou.
Explanation: The bottom of the eye can really have nothing to me, and the chest must have its own meridian.
Description: The above paragraph "Xiaoxi pro-family" or Chen Hongshou's cousin Lin Xiaoxi, the character Ji Xu, a native of Yangzhou, Jiangsu. In the nineteenth year of Jiaqing, the official to Wukang County Order, Gong Shi Shan painting. Jiaqing died of illness in October of the 23rd year. Ruan Yuanxu Lin Hong's "Seal Of Little Bi Lang Guan" Yun: "... The protégé Chen Mansheng has the most engravers in the Yu curtain, and Man Sheng and his cousin Lin Xiaoxi are in the same scene, so it is advisable that he has more Man Shiyi..." Ruan Yuan said that Chen Hongshou carved the most for Lin Xiaoxi, and the "Thirty Trees Around the Plum Blossom Tree" seal seen today is one of them. According to reports, Chen Hongshou also cooperated with Chen Wenshu and Gao Que to give Lin Xiaoxi a fan.
Chen Hongshou was involved in a wide range of art, and he was in the Qianjia period when his scholarship was at its peak, and his involvement in calligraphy and painting, pot making, printing, and engraving books was accomplished, which can be described as a generalist. People call the pot that cooperated with Yang Pengnian and Yang Fengnian and inscribed it as "Mansheng Kettle". Moreover, its calligraphic inscription into the purple sand is also a precedent for the purple sand to be passed down in the form of literati participation.
▲Lot 0537 Chen Hongshou Five poems of the book "Pear Blossom Poems" Vertical Scroll Ink on Paper
Dimensions: 95.5 ×26.3cm
Stamp: Oman
Inscription: Five Poems of Pear Blossom. Chen Hongshou.
In the special session, Chen Hongshou's handwriting includes banners, yanglian, four screens, six screens and other forms, and the grand view of the ocean, and from the various books, it can be seen that his books pay attention to taking the law, if the "two kings" are beautiful and elegant, if the "stele school" is clumsy, in order to teach the heart of the ancients. In his epitaph, his friend Guo Hu also said that "his book is mainly based on the "Holy Order" and "Contention for the Seat", and then he puts his pen in a decadent manner, and then he puts his pen in the pen and ink, and now people may have a discussion, and the collection of precious things is the same. ”
Zhao Zhichen and Jiang Ren are listed in the "Eight Houses of Xiling", of which Zhao Zhichen works in the book, seal, and subordinate, and Jiang Ren is by no means vulgar, and Peng Shao is promoted to the first of the contemporary era.
▲Lot 0513 Zhao Zhichen Lishu Five Words Lian Vertical Axis Ink Sprinkled Gold Letter
Size: 127×31.5cm×2
Seal: Zhao Zhichen Seal, Fentori Flower (see "Chinese Calligraphers and Painters Seal Zhizhi Zhizhi Zhao Zhichen", 27, 29 prints, 1334 pages)
Title: Book of Zhao Zhichen.
Jianzang Seal: Haichang Qianjing Tang Collection
Interpretation: Can know the light taste, elegant called bamboo inter-residence.
Publication: The Collection of Famous Artists (Part 1), p. 203, Oriental Publishing Center, China Publishing Group, 2010.
This work is known as the old collection of Qianjingtang, which is known as the old collection of Qianjingtang, and its collection is very rich, including Xu Xi's "Snow Bamboo Map", Dong Yuan's "Landscape Map", Fan Kuan's "Snow Mountain Map" and so on. Since 1956, he has donated more than 3,900 pieces of calligraphy and paintings and gold stones to shanghai, Zhejiang, Guangdong, Jiangsu and Zhejiang Haining, Jiaxing and other provincial and municipal museums and Xiling Printing Society, and is known as "Xiang Molin, An Yi Zhou, Pang Laichen".
And Jiang Ren's calligraphy has poetry clouds "sometimes like splashing ink, and the next pen is steamed." See the ink without seeing the pen, and the air is full of life. The predecessors also had their calligraphy "When the excitement comes, if the paper is poured with ink, the words cannot be distinguished, and the people benefit from it." "Comments.
▲Lot 0558 Jiang Ren Xingshu excerpt Dong Qichang painting theory Vertical axis ink sprinkled gold note
Size: 91.5 ×27cm
Seal: Renyin, Shantang
Title: Giro Jushiren.
Interpretation: Poetry does not seek workmanship is not strange, naïve is my teacher. Mr. Tokai also speaks, and it is appropriate to call him Gao I. Painting with candles, just like looking at the moon through the curtain, looking at the flowers across the water, is intended to be between near and far, and also the article is also a wonderful method.
Jiang Ren's calligraphy is rare, but he refuses to write more books, although the family has no reserves, but does not meet confidants, never uses pen, and the character of books is rare for a while.
Like the "Eight Houses of Xiling", Xu Sangeng is also exquisitely carved, and the calligraphy is the most outstanding. Its seal patriarchal law "Tianfa Divine Monument" has changed the whole thing into a flowing, leisurely pen, feminine posture, strong contrast between line thickness and thinness, and the closure is more exposed and changeable.
▲Lot 0576 Xu Sangeng Seal LiShu Four Screens Vertical Scroll Ink on Paper
Size: 146×39cm×4
publication:
1. "Jin Yunyeyi: Xu Sangeng Calligraphy and Seal Engraving Collection", pp. 112-113, edited by Zhejiang Provincial Museum and Xiling Printing Society, published by Shanghai Calligraphy and Painting Publishing House, 2016.
2. Chinese Calligraphy, No. 343, pp. 58-59, December 2018.
Plutonium seal: In the sleeve there is the East Sea, the sleeve sea, Xu Sangeng Wei Shen Zhi, Su Yue Gu Heng
(i) The sentence of Shayyer.
(2) Slightly change the method of the seal.
(3) Sleeve Seaman Shanghai Book.
(4) Resemble the owner of the fish room.
Exhibition: Exhibition of Calligraphy and Seal Engraving of Jin Yunyeyi Xu Sangeng, Zhejiang Provincial Museum, 2016.
(1) Ziwei Province, new writing, Rurunze is like Lichun. The heart is clean, the face is dustless, and the style is ugly.
(2) It is to collect many collections of QiZheng and qi Yantai; to descend the Qianzhi and send down Kunzhen; to qi Guan Qi, and to have the four spirits perfect.
(3) Good farmers do not cultivate for water and drought, good farmers do not fold or market, and gentlemen do not slack off for poverty.
(4) The Tao has been mourned for a thousand years, and the holy words have been annihilated. If you don't have foresight, why should you open me? The book is not exhaustive, the picture is not satisfactory. The wind and moon are boundless, and the garden and grass are green.
These four-screen calligraphy is divided into three kinds of calligraphy, namely seal, li, and kai, which is particularly rare. Among them, the two screens of the seal book are written with a pen by Zhongfeng, slightly participating in the meaning, graceful and beautiful and "fluent", which is in line with the small seal calligraphy style of Deng Shiru and Wu Rangzhi. Moreover, the strokes in this work are horizontal and thick, thick and thin, which are obviously influenced by the writing style.
The effect of the horizontal painting of the knife cut at both ends and the shape of the "inverted leaf" at the end of the vertical painting are directly imitating the brushwork of "Tianfa Shenzhi". A screen of calligraphy, the knot body is slightly longer, near Europe, the golden stone is interesting into pen and ink rhyme, yan but not charming, quite thick, but also rare.
Being able to use three different styles of calligraphy at the same time, each with its own aesthetic essentials, shows that Xu Sangeng's excellent calligraphy has mastered the achievements. This work was exhibited and published in the "Exhibition of Calligraphy and Seal Engraving of Jin YanyeYi Xu Sangeng" held by the Zhejiang Provincial Museum in 2016, which is even more rare.
▲ Lot 0581 Wu Xizai 1869 Seal Book Excerpt "Wenxin Carved Dragon • Shensi" Eight Screen Vertical Axis Ink On Paper
Size: 145×39.5cm×8
Seal: Wu Xi ZaiYin, Let It
Inscription: In June of the eighth year of Tongzhi, let Wu Xizai.
Wu Xizai was deeply impressed by The Secret of Tang's Use of Lishu's Penmanship as a Seal Book, and the knots he composed were stable, the calligraphy was skilled, and the lines were smooth. In addition, in addition to the ethereal arc of the seal book, there are also many rotary pens and folding pens, and the turning points are often slightly penned, and then turned inwards, slightly lifting the pen. Moreover, the lines of the book are compact, and the words are relatively loose, with a sense of horizontal arrangement. This is the case with the writing style, and it can also be seen that there is a slight outward tilt at the end of the pen, making the lines more rhythmic and coordinated.
▲Lot 0582 Wu Xizai Lishu four-screen vertical scroll ink on paper
Size: 129×32cm×4
Seals: Seal of Xi Zai (three times), Wu Shi Jean Zhi (four times)
Title: (1) Eight, six, four, of which the body is subtle, each is wonderful, heterogeneous and identical. Let it go.
(2) Two days after the spring equinox in the sixth year of Tongzhi (1867), the Tong'an Temple of Hailing was at that time. Zhenzhou Wu Rangzhi.
(3) Shen Xueshi Yuelong chapter, let Wu Xizai.
(4) Mr. An Wu entered the divine product with mountain people's cursive writing, and the eight points of the mountain people cannot be said to be non-divine products, and their intellectual strength is superb. Let it be remembered.
Its lishu knot, the center is tight and the limbs are stretched, it is also rich in ancient meaning, and is known as one of the innovators of the seal calligraphy since the beginning of the Qing Dynasty. The most admired one, that is, he took Deng Shiru's Han seal calligraphy as the basis for the return, so that the Lishu pen method was used to refer to the seal, and the seal was introduced into the seal, and the book was referenced, and it was a giant of the printing altar, wu Changshuo once said, "After learning white, it is better to take the path of Jean Weng."
"Asking Questions - The Road to Zhongxing in Qing Dynasty Calligraphy" special session, there are many other masterpieces, limited in space, and not all of them. The evolution of calligraphy in the Qing Dynasty, breaking through the shackles of the theory, the great prosperity of epigraphy, the two are both brilliant, and since then, hundreds of schools of thought have competed, each with its own beauty, which can echo with the book world of the Sheng Tang Dynasty.
▲Lot 0577 Yang Yisun Tongzhi Xin Wei (1871) Made an excerpt from the Seal Li xingshu "Tao Te Ching" Four screens Vertical scroll Ink on paper
Size: 131.5×30.5cm×4
Seal: auspicious stop room (five times), history of the unmoved (two times), son and (two times), size two seals born eight points
(1) Yisun.
(2) Yisun.
(3) Tongzhi Xin Wei Zheng Yue 28th, Yisun Shu.
(4) Yun Sun's third brother, Lord Zheng, Yu Jiao Yang Yi Sun Shu.
Description: "Yunsun Third Brother" or For Lu Maozong, the character Yunsun, Xingsan, a native of Changshu County, Jiangsu Province, a calligrapher of the late Qing Dynasty. In the Xianfeng Decade (1860), Gengshen Enke Jinshi, Xuanshu Jishi, Liguan Hanlin Academy, Wuyingdian, and Guoshiguan.
▲Lot 0578 Yang Da Nang Lishu Festival Pro "Han School Official Monument" four screens Vertical axis ink on paper
Size: 97×34cm×4
Seal of Plutonium: Chen Xiandali and Gong Gong (1 print, see "Chinese Calligraphers and Painters Seal Zhi Zhi Yang Dian", 6 prints, 1279 pages)
Inscription: Official Monument of the Han School. Defying Yang Da.
Description: The only complete Han stele in Jiangsu Province, the "Monument of the School Official", is called "Han Liyang Chang Pan Qian School Official Monument", also known as "School Officer Pan Qian Monument" and "School Official Monument". It is now in the Nanjing Museum.
Lonely and old, filial piety. Heavy righteousness and light profit, the system of six hundred households. The province has no right and does not blame itself. The surname is happy, and the official is not untrue. So the distant people listened to the sound and enjoyed it.
▲ Lot 0517 Gui Fu Gengshen (1800) as Lishu Eight Words Lian Vertical Axis Ink on Paper
Size: 136.5×22.5cm×2
Publication: The Collection of Famous Artists (Part 1), p. 94, Oriental Publishing Center, China Publishing Group, 2010.
Seal: Wei Gu (see "Chinese Calligraphers and Painters Seal Zhi Zhi Gui Fu", 9 prints, 735 pages)
Title: Gengshen Dongyu, Guifu.
Jianzang Seal: Xi Guangxu E Mingfu, XiaoDonghua'an
Chu Deyi (1871-1942) inscription: Autumn water for the god jasper for bone. Gui Fu.
Zhilan smells ice and snow smart. Elu. Pine windows.
Description: Once Xi Guangxu (1880-1919) collection. Also known as Xu, the character Eming, Calyx, Zhai name Elu, Xiaodonghua, Wen Yixuan. At the end of the Qing Dynasty and the beginning of the Ming Dynasty, the paint merchants in Shanghai were close friends with Chu Deyi, and most of the calligraphy and paintings in their collection were written by Chu's bookmarks.
Autumn water for the god jasper for bone, Zhilan smell ice and snow smart.
▲ Lot 0588 Hu Zhen Ji Wei (1859) Four screens of the book Vertical scroll Ink on paper
Size: 61×31cm×4
Seal: Hu Zhenbo, Ding Ugly Nose Mountain
Inscription: Late May, Hu Nose Mountain People Book.
Interpretation: The beauty of all things, the bamboo shoots in the same vegetables, the lychees in the fruits, the crabs in the aquarium, the wine in the diet, the moon in astronomy, the West Lake in the landscape, the lyrics in the text, all of them are special things, and they can all empathize. Shadow of the Moon In the Mountains, Geography in Astronomy also. The image of the stars and the moon in the water, and the astronomical in the rational earth.
▲Lot 0579 Yu Yu Lishu Wang Ji "Chungui Q&A Two Songs" four screens Vertical axis ink on paper
Size: 135×32cm×4
Seal: Yu Fan longevity, QuYuan resident, the former emperor of the Heavenly Language writing is excellent (2 prints see "Chinese Calligraphers and Painters Seal Zhi Zhi Yu Fan" 7 prints, 678 pages)
Inscription: This poem is written in five words and three sentences, Andakawa Q&A Zhu Shizu this. QuYuan Yu Fan.
Interpretation: Wang Wugong asked Chun Gui, Tao Li Zheng Fanghua, the years are full everywhere, what is unique and flowerless? Chun Gui answered, spring flowers can be long, when the wind and frost shake down, does Duxiu Jun know?
▲Lot 0594 Zeng Guofan Xingshu Seven Words Lian Vertical Axis Ink Sprinkled With Gold Notes
Seal: Zeng GuofanYin, Di Sheng
Title: Brother Ofs and Gentlemen. Di Sheng Zeng Guofan.
Jianzang Seal: Yang Shoujingyin, Xingwu approved the calligraphy and painting seal
Description: Yang Shoujing, zi yiwu, xingwu, neighbor Su, Hubei Yidu people. Tongzhi raised a man in the first year. Guangxu accompanied Li Shuchang on an envoy to Japan for six to ten years, serving as an attaché for four years. Gong calligraphy, all four bodies can be, good Danqing, also good at historical geography and identification of evidence. During his time in Japan, he devoted himself to collecting ancient japanese books that were circulating in Japan, and taught the Japanese the study of the Northern Tablets of the Seal, and was revered as the "father of the modernization of Japanese calligraphy". The collection of calligraphy and paintings is very rich, and the name of the library building is "Guanhai Hall".
The lacquer pupils have shone on the heavens, and the sideburns are strong in the tea smoke.
▲Lot 0506 Chen Jieqi Seal Book Seven Words Lian Vertical Axis Ink Sprinkled Gold Letter
Size: 114.5×26cm×2
Publication: "The Collection of Famous Artists (Part 1)", p. 41, Oriental Publishing Center, China Publishing Group, 2010.
Seals: History of Haibin, Qizhai and Gengchen (1 and 2 prints, see "Chinese Calligraphers and Painters Seal Zhi Zhi Chen Jieqi", 2, 5 prints, 1038 pages)
Title: Song Que Table Nguyen Genus Book. Chen Jieqi.
Interpretation: The square bed stone is high and far away, and the drizzle tea smoke is late in the day.
▲Lot 0503 Hu Shu Seal Book Seven Words Lian Vertical Scroll Ink on Paper
Size: 134×31.5cm×2
Publication: The Collection of Famous Artists (Part 1), p. 56, Oriental Publishing Center, China Publishing Group, 2010.
Plutonium Seal: Hu Shu, Gamble
Title: Brother Yazheng. Li Qinglian's "Rao School Book Shuyun" sentence, Li Yishan's "Burning Incense Song". Tsuen Fu Hu Shu.
Interpretation: Penglai article Jian'an bone, peacock wing tail dragon whiskers.
<h1 class="pgc-h-arrow-right" data-track="333" > reference:</h1>
Li Danying: "Posthumous Recognition" and "Empowerment" in the Transmutation of Qing Dynasty Calligraphy Style