Ming Liu Jue Cursive Li Bai "Song Xing"

Ming Liu Jue Cursive Li Bai "Song Xing" Hand scroll on paper

Liu Jue (1410-1472), courtesy name Tingmei, was a native of Changzhou (present-day Suzhou, Jiangsu). Orthodox Three Years (1438) raises people. Officials went to Shanxi according to the inspection of the matter. Old and eager to learn, for the poetry of Qingli can be sung. Shuzheng, Zhao Mengfu, Wang Meng, And Li Yong, each of them is extremely wonderful. Tianshun (1457-1464) and Du Qiong, Xu Youzhen, Ma Yu, Shen Zhenji, Heng Ji and Neng, wrote landscapes, which are unmatched in recent times.

Liu Jue has not only achieved outstanding achievements in painting, but also has great achievements in poetry and calligraphy. He was so angry that he couldn't stop writing. Gong Wuyan poetry his ancient style song line, momentum, rich imagination, forced to resemble Li Bai, and the law poems are absolutely sentenced, but also close to the Tang people. He is also good at calligraphy, small letters are exquisite, the grass is good, and the use of pens is exquisite and unexpected.

Liu Jue likes to write wild grass, and his cursive writing set a precedent for wild grass in the Ming Dynasty. This "Cursive Song Line" book was written two days before the Tanabata Festival of Chenghua Pengzi (1468), when Liu Jue was already in his old age, and reading this work carefully, there are four main characteristics:

First, the strong sense of rhythm makes cursive works produce movement and impact. At this point, Liu Jue successfully applied the force to the change of calligraphy pointillist, so that the pen produced a sudden setback, lean side, strange and abrupt changes in the movement of silk, stranding and paper, so that the personality of the personality was exerted to the extreme. Especially for a book, Liu Jue uses a scale far larger than the works of Zhang Zhi, Wang Xianzhi, Zhang Xu, Huai Su, Huang Tingjian and others, giving the brush a wider writing space, the whole momentum is like a waterfall falling straight down, impacting the stream, and like the breeze willow, Jiong Na is colorful; full of passion, like a Shaolin martial monk, with the power of bending iron, wielding a stick.

The second is the unprecedented orthography of the momentum. Liu Jue is also influenced by the winds of the times, but can stand on the basis of tradition, break the old model, and create a new magnificent and broad schema, so that the viewer can appreciate the shocking power of his art. Momentum is a distinctive feature of Liu Jue's calligraphy, such as the "Cursive Song Scroll", which shows an unpredictable feeling throughout, the character posture left and right song side, the pen is old and spicy, and the chapter method is relaxed. Liu Jue took a step forward at this point, further pursuing the sinister, abrupt, inflated and restrained trend of cursive writing, and we seem to hear the dot painting of the word in motion.

Third, the ink is like a thousand elephants, and it is full of vitality. There is a saying in Chinese painting that ink is divided into five colors, and the use of ink thickness, lightness, dryness and wetness can make the picture produce endless changes and show the vitality of interest. Liu Jue learned the way of using ink from Chinese painting and boldly applied it to calligraphy creation, thus enhancing the visual effect of the work and exerting the method of increasing ink to the extreme. The impact of his works is inseparable from the use of ink, and the flow of his calligraphic dot paintings is also closely related to the use of ink.

The fourth is Liu Jue's unique brushwork. His penmanship was influenced by the Second King in the early years, the gesture was relatively peaceful, the line pen was gentle, and after he learned rice in middle age, the gesture and brushwork underwent more obvious changes. First of all, its brushwork becomes round and changeable. On the basis of the rice stroke method, Liu Jue exaggerated the use, stirred and jumped, and the square folded and stood strong. Secondly, Liu Jue's calligraphy's strokes at the beginning of the pen to exaggerate its falling pen form, one against the two kings, mi fu side edge falling pen, flat paving the inertia, and developed into a pen into a point, turning the millimeter flat auxiliary running method, or dots, or square dots, or side points, and the prominent square folding stiff form at the corner of the fold together constitute Liu Jue's brushwork characteristics, coupled with the straight and straight strokes of the strokes, forming its strong line and the rhythm of the pen that stirs up and down.

From the analysis of the state of creation of this poem, this poem was written in a drunken state. In the poem, "The ink pond flies out of the Beiming fish, and the pen blade kills all the Zhongshan rabbits", which is the expression of the poet's drunken and crazy temperament. The small ink pool was transformed into a vast North Sea in the poet's drunken eyes, and the scene of the bookmaker's crazy book seemed to kill even the Zhongshan rabbit. This kind of fanatical language description is related to Li Bai's state of being drunk all his life, being an alcoholic, and often "fighting wine and poetry" in a drunken state. Therefore, the state of creation of this poem is extremely consistent with Li Bai's poetry style of writing a lot of wine.

The content of this poem complements Liu Jue's calligraphy, and in Liu Jue's pen, it vividly and vividly reproduces the form of Huai Su's pen after drinking, such as a whirlwind of rain, and it is wanton, giving people the artistic enjoyment of dragons leaping and tigers leaping and running snakes and horses.