Yi Bingshou (1754-1815), character group similar, number Moqing, Mo'an, Fujian Tingzhou Ninghua people. Qianlong 54 years into the soldier, the head of the Punishment Department, the relocation of foreign lang, once served as the prefect of Huizhou, Yangzhou Taishou and other officials. He is a clean and honest official, diligent in government and loves the people. The "Wucheng Nostalgia Record" praised: "Yangzhou Taishoudai has a famous sage, Qing Qianjia, Tingzhou Yimoqing Taishou is the most authored, the style of culture, huizheng and the people, and Ouyang Yongshu and Su Dongpo have been comparable, the townspeople praised the praise, the shrine of the worship of the sage contains the wine hall." ”
Yi Bingshou was born in Shuxiang Mendi Xi painting, gong si body, his behavior has the charm of Yan Zhenqing, eclectic and wide-ranging, concurrently taught hundreds of families, self-expressing his own will, for the attention of the times. His Lishu achievements are the highest, and he is one of the representative figures of Lishu in Qing Dynasty epigraphy. The body of the book is horizontal and vertical, the knot is square, and there is a strong decorative interest; the pen is round, without exaggeration, and the pen stops; at first glance, it is a little, bland, and dull, but with careful consideration, you will perceive that his words are neat and not boardy, neat and not dull, thick and dissatisfied. The atmosphere is vivid, ethereal, the knot body is innovative, very changeable, pay attention to dense changes, and retract properly. The big characters are strong and tall, the bigger and stronger, the small characters are fresh and elegant, dignified and colorful. Yi Bingshou's Lishu absorbed divine reason from the Han tablets and opened his face. With a strong and composed pen, the knot body is full and broad, the momentum is majestic, and the style is elegant. Yi Shi himself summed it up as: "Square, strange, posture, easier, less introspective, virtual, fat and thin, no end changes, out of the wrist ..." The joints and plaques he made, from the line to the knot, are extremely dense and scattered, and they are unique in their posture, distinctive personality, horizontal and vertical. He used the brushwork of the seal book to write the Lishu, so that the strokes were rounded, the thickness was similar, and there was no obvious wave picking. The chapter method is very distinctive, the characters are paved, and the four sides are supported, giving people a neat and rigorous decorative beauty, and Liang Zhangju has a comment on it as "the bigger the stronger". Yi Bingshou's Lishu is very different from the traditional Han Li in strokes, he omits the twists and turns of the Han Li horizontal painting, and replaces it with a straight stroke with little change in thickness; the flat knot of Han Li no longer exists in his hands, leaving only the clumsy shape of the rough wood building, but this is not a trick after the skill is exhausted, but a mutation after deeply grasping the essence of the Han Li. Yi Bingshou understands the simple and sincere nature of art, but is deeply influenced by Confucian aesthetics, if he succeeds with architectural structures, it is similar to Ouyang Yuan's calligraphy; if he achieves miraculous results by reducing the simplicity of lines with pen movements, he coincides with the Bada Shanren. Yi Bingshou's calligraphy integrates the Qin and Han steles, is simple and thick, and "has the atmosphere of a temple", which has a lot of inspiration for the calligraphy innovation of later generations.
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Chinese Calligraphy "Hundred Family Pulpit" Lecture 58: Yi Bingshou
Yi Bingshou, 19th year of Qianlong in the Qing Dynasty - 20 years of Jiaqing (1754-1815), the character Zu Xiang, the number Mo Qing, the late number Mo'an. Fujian Tingzhou people, the late people also known as "Itingzhou". His father, Yi Chaodong, was a thirty-four-year-old scholar of Qianlong, and was the chief of the Punishment Department of the Successive Officials, Yushi, and the secretary of the Guanglu Temple. History says that Yi Bingshou "passed through Zhu Lixue, Young Bingting Training, learned from the yin chengfang, and emphasized the learning of establishing oneself and doing oneself." Later, he was appreciated by the university scholar Zhu Jue and the weight of Ji Xiaolan, who worshiped Ji as a teacher, and also studied calligraphy with Liu Yong, the most famous calligrapher at that time. Yi Bingshou was a 54-year-old soldier of Qianlong, and successively served as the chief of the Punishment Department, and later promoted to foreign lang. Jiaqing served as the prefect of Huizhou for four years, but due to a dispute with his direct subordinate governor and the governor of Liangguang, Ji Qing, he was put on the throne, and was promoted to the prefect of Yangzhou after Zhao Xue. During his tenure, he was known for his "honest and good governance". In the seventh year of Jiaqing (1802), when Yi Bingshou was 54 years old, he died of his father's illness and went to the official coffin to return to his hometown, and tens of thousands of citizens in Yangzhou wept and bid farewell. Yi Bingshou died in 1815 at the age of 62. Later, in order to admire his legacy, yangzhou people revered his legacy and renamed it "Four Sages Ancestral Hall" in the local "Three Sages Ancestral Hall" (ancestral halls of Ouyang Xiu, Su Shi, and Wang Shizhen).
In the forty-ninth year of Qianlong, Yi Bingshou went to Beijing to take the examination, took the Zhongzheng list, stayed in Beijing, and was appreciated and valued by the university scholars Zhu Jue and Ji Xiaolan; and he also studied calligraphy with Liu Yong, the most famous calligrapher at that time.
Yi Bingshou was good at writing before his death, and he also liked painting, seal carving, and poetry. The Biography of the Qing Dynasty says: "Bingshou Gong is eight points subordinate." The "Outline of the First True Affairs of the National Dynasty" said that it was "the bigger the book, the better it is, and it has a high ancient and broad atmosphere." It is called "South Yibei Deng" with Deng Shiru, and is also named the same as Gui fu. For its "super ancient style of lishu, in the Qing Dynasty book circle to shine a brilliant color" has attracted the attention of posterity, high evaluation. The Qing Dynasty's "Small Biography of the Ruler of the Zhao Dynasty" says that "the Moqing book is like Li Xiya, especially the ancient Li, who does not like Zhao Wenmin, and does not cover his book." Jiao Xun's "Collection of Carved Buildings" said that "the public living and laughing, gentlemen and gentlemen are also Confucian." Shi Shu ink is written as a book, such as the old traces of the Han and Wei people. Zhao Guang's "Essay on Retreating from the Nunnery" said: "Yi Moqing and Gui Weigu came out, and began to receive the true biography of Han Li. Mo Qing can get rid of Han and become bigger, the bigger and stronger. Jiang Baoling's "Mo Lin's Present Words" said: "(Yi Bingshou) is especially famous for his contemporary name, XiuJin and ancient beauty, an original family, and the kaishu is also in the room of Yan Pingyuan." He Shaoji's "Dongzhou Caotang Poetry Copy" praises Yi Bingshou: "Zhangren divided the two seals into eight parts, so that the ink was like lacquer and simple." There is no Tang Hou method for walking grass, and the cliffs are slippery and desolate. Do not thin the vulgar books, and break through the innocence of the road. Bao Shichen's "Yizhou Shuangyi" said: "Yu Chu knew Ninghua Yi Moqing Taishou Bingshou in Yuan Pu. Mo Qing, a disciple of Liu Zhucheng, also. Because he once asked the Zhucheng Fa, Tai Shou said: "My master taught the Fa: If you don't die, you can't paint and don't live." Its method is placed on the tip of the big finger and the index finger, slightly with the claw outside the tube, so that the big finger and the index finger are circled, that is, the ancient dragon essence of the law. Those who use their big fingers obliquely against their index fingers form phoenix eyes, and their methods cannot be dead fingers, and they are not true transmissions. Wang Jiaoqi said: "Mo Qing's writing is also like a picture, and he can understand the gods outside the pen and ink." Yang Shoujing's "Xueshu Zhiyan" said: "Mo Qing's eight-point book root is Han Chinese, and the study of calligraphy Li Xiya is particularly wonderful." Xiang Shen said: "Mo Qingkai calligraphy "Cheng Zhe Stele", calligraphy Li Xiya, Li Shu went straight into the Han room." That is, Deng Wanbai is also inferior to his mellow ancient, and he is even more indifferent. Li Xuangongyun: "Tingzhou calligraphy goes in and out of the Qin and Han Dynasties, and the seals made by Wei Shi have unique features." That is to say, although its line originated from the mountains and plains, it is also full of paper. Kang Youwei's "Guangyi Zhou Shuangyi" said: "Tingzhou is proficient in eight points, with its eight points for the true book, the teacher imitates the "Hanging Bi Ganwen", thin and unique." The closeman Ma Zonghuo's "Bi Tan of Xia Yue Lou" said: "The world is called the subordinate of Iting Zhou, and it is also known for its ancient clumsiness." However, there is humility, but Gu has not. He wrote a book with a pen and entered lu gong's room. Sha Menghai said: "Yi Bingshou is the authentic Book of Lishu, and Kang Youwei said that he is very right to say that he has collected the great results of the book." In fact, his works are not in good shape, and when he leaves his pen, he is separated from others in the realm of immortality. ”
His main inkblots are found in the "Collection of Mo'an Collection", in 1971, the Taiwan Popular Book Company published the "Qing Yi Bingshou Works Collection", and in October 1984, the Shanghai Bookstore published the "Selected Inkblots of Yi Bingshou Lishu". Although he has all four abilities, he is the most important in Lishu. Its affiliation is a majestic and simple category of Han stele. Only in the "Selected Inkblots of Lishu" published by Shanghai Bookstore, there are "Pei Cen", "Han Renming", "Yin ZhouBei", "Kong Zhoubei", "Zhang Qianbei", "Hengfang Stele" and so on. Especially thanks to the "HengFang Stele", according to Yi Bingshou's "Liuchun Caotang Poetry Copy", it can be seen that he wrote the "Heng Fang Stele" as many as a hundred times. It integrates the pre-Qin seal, Han and Wei bricks and tiles and Yan ti meteorology in one furnace, and becomes a family of its own.
There are many people who have written the lian, such as the three-word lian written by Jiaqing In the third year (1798), "Zhi is in the Tao, and the time is the merit." "Jiaqing Four Years ( 1799) Written Five Words Lian" Qingguang Yi to bamboo, leisurely and elegant to wenqin. "Jiaqing Eight Years (1803) wrote the Five Words Lian" Political Voice Han Official, Jing Yi Dong JiangDu. The "Five-Word Lian" written in the Ninth Year of Jiaqing (1804) has never had many ancient meanings and can give new poems. "Jiaqing Decade (1805) wrote the Four Words Association" to change temperament and cultivate the spirit. (The above is found in "The Great View of Chinese Calligraphy Culture, Yi Bingshou's Calligraphy Art"). He also collected the Five Words Of TheOry of Ancient Chinese Calligraphy and Painting collected by the Capital Museum and published in the "Catalogue of Ancient Chinese Calligraphy and Paintings", "From the Origin of Unity of Intention, Straight to the True Temperament" and the Gift of the Nine Brothers of the Yuan Dynasty, "Reverence for The Distant Traces, Fine Reason and Taoist Heart", and the Seven Words Association published in the Complete Collection of Chinese Calligraphy in Japan, "More than 3,000 Years of Ancient And Ancient Times, Seventeen Writings Strange", etc.
In addition to couplets, his surviving works include the "Jinshu Liu Yi Chuan sentence axis" published in the Japanese "Comprehensive Calligraphy Dictionary", published in the "Wei Shu Chuanyu Axis" of the Japanese "Ming and Qing Calligraphy Illustrations", collected by the Kyoto Museum in Japan, and published in the "Jie Lin Han Heng Square Monument" of the Japanese "Complete Collection of Chinese Calligraphy".
On the sixth night of the first six nights of mid-spring, Song Meisheng listened to the rain in the yibu zhai and inked the album on paper
It can be seen from its various associations that the characteristics of the ancient and modern critics who said that they were good at writing lishu in large characters were "bigger and stronger, and the momentum was magnificent" were more obvious, and most of the works of the commentaries on his various lishu had the characteristics of "fang yan, strange wanton, broad-minded, and indulgent.". Critics also praised his calligraphy: "the center of the pen, the hidden head and tail, the law of Senran", "the stroke thickness is roughly uniform, round and straight, full of ancient fun", "the pen is strong and strong, the show is very clear", "strong and ancient, horizontal and vertical", "the manners are thick, the bone is hole-in-place", "the style is elegant, there is a charm", "the ancient mao is simple, ethereal and elegant", "rich in gold and stone, temple qi" and so on.
His surviving calligraphy works include the twelve lines of the Tang and Song Dynasty Book Screens, a total of 128 characters, collected by the Shanghai Museum, and published in the Japanese "Chinese Ming and Qing Dynasty Calligraphy Masterpieces Atlas". Linliu Gongquan Zhimu Axis, written in the third year of Jiaqing (1798), with a total of eighty-six characters in four lines, was published in the Japanese "Complete Collection of Chinese Calligraphy". "Self-written Poetry Book", six lines with a total of 41 characters, collected by the Liaoning Provincial Museum, published in japan's "Complete Collection of Chinese Calligraphy". "Seven Absolute Poetry Scrolls", six lines with a total of 45 characters, published in Japan's "Ming and Qing Dynasty Calligraphy Diagrams". "Xingshu Laozi Yu Axis", three lines of ten characters, published in Japan's "Complete Collection of Chinese Calligraphy". In addition, the "Chinese Calligraphy And Present Book" was included in the "Nanyuan Mr. Xingshu Du Poetry Album", and in the 20th year of the Republic of China (1931), the Zhenya Book Bureau photocopied the ink according to the owner of the bottle.
Before his death, Yi Bingshou had written about Tang Yu Shinan, Ouyang Qian, Chu Suiliang, Liu Gongquan and others, Such as Xiao Kai, Yan Zhenqing's Da Kai, and the Orchid Pavilion Preface, laying the foundation for his practice. The calligraphy works written in Jiaqing for three years, "No one is everywhere", have begun to see their unique style. The xingkai couplet written in the ten years of Jiaqing, "Standing on the foot afraid of turning with the flow of water, and learning from the heart is difficult for the ancients" has formed his style of writing "ancient clumsiness and elegance, posture and vitality". Critics say that his line can also be "absorbed and absorbed, self-lyrical and new", "the line of writing is based on the law", "the golden stone of the seal overflows between the lines", "the beauty of the strong and beautiful, the indulgence of freedom, very personal", "dodlu Gong's legacy, bone strength contained".
Critics have called his book "the pen is in the center, does not show the angle, contains solemnity, and the line is unsatisfactory." "It is inseparable from his hard work on weekdays." According to Xie Zhangquan's "Words and Sayings of Seeing the Chess Mountain Villa": "Mo Qing learns to draw dozens of hundreds of strokes every dynasty, from childhood to adulthood, to a degree of uniformity. Cover can be, then the book wrist self-health. Commenting on the first screen (Xingkai) of the four articles of the "Festival Lintang and Song Dynasty Book Screen", "steady and neat, dignified and generous", "condensed and broad", "calm and free, broken but not separated, harmonious and not flowing", "seeking common ground in differences, seeking differences in the same". The second screen (cursive writing) of his four screens is a typical masterpiece of the combination of inscriptions and posters, "which can be freely horizontal, soft on the outside and rigid on the inside, but also appears to be elegant and flowing, casual and natural, reflecting his upright and more open-minded character." Commenting on his "Linliu Gongquan Zhimu Axis": "There is both a strong and strong tone, and a flexible and simple interest." The critic also believes: "From the overall point of view, most of his calligraphy is beautiful and physical, and he has the legacy of Yang Ningshi, Lin Hejing, and Dong Xiangguang, and is worthy of being a master of the book world in the middle of the Qing Dynasty." ”
Yi Bingshou, likes to paint and control seals, and has also passed down poetry collections. Gongshu, especially fine seal, exquisite and ancient. His books are super ancient, making the calligraphy of the Qing Dynasty shine. Lishu is particularly indulgent and ethereal, becoming a high and ancient and broad atmosphere, and deng Shiru and calling everyone. Jiang Baoling's "Mo Lin's Present Words" said of it: "Contemporary with the name of the seal, Jinxiu Gumei created an original family." Zhao Guang's "Essay on Retreating from the Temple" said that "Mo Qing remotely received the true transmission of Han Li, and was able to expand han li and become bigger and stronger." He is the author of "Liuchun Caotang Collection". There are many written records. "Lishu Five Words Lian", written in Jiaqing Twenty Years (1815), ink on paper. Letter of Submission. Where the upper and lower body text is 10 words, the paragraph is 16 words, a total of 26 words. Length 178 cm, width 33.3 cm. Collection of the Capital Museum. Yi's Lishu has a distinct personality, the strokes are straight, evenly distributed, the four sides are full, the square is strict and tidy, and there is a strong sense of decorative art, without the habit of "silkworm head swallowtail" in the late Han Li. This Lishu Lian, a strict center-forward line pen, hides the head and tail, and has a Dharma Senran, and its stroke thickness is roughly equal. Round and straightforward, it is clear that it is an authentic seal and a penmanship. The knot body is flattened and evenly weighed on the left and right. His Lishu, making good use of thick ink, soft ink color, dark as lacquer, strokes smooth and fine, this five-word link, its pen strength is strong, the Chinese painting is thick and straight, integrating the advantages of hanli famous monuments such as "Ode to The Pavilion", "Zhang Qianbei", "Hengfang Stele", etc., forming its own strict and not rigid, dignified and charming, exaggerated and reasonable style of Lishu.
Self-created one-grid pottery cast for thousands of years - a brief analysis of Yi Bingshou's calligraphy style
Source: The World of Calligraphy and Painting
Author: Pang Ou
Kang Youwei's "Guangyi Zhou Shuangyi" has clouds: "There are four changes in the calligraphy of the national dynasty: Kang and Yongzhishi, specializing in imitation of incense; Qianlong."
The generation, the competition to speak of Zi Ang; the rate is more noble between Jia and Dao; the north stele sprouts on the occasion of Xian and Tong" (1). Kang's summary of the development and transmutation of calligraphy in the Qing Dynasty is very concise. Before Jiadao, Qing Dynasty calligraphy still inherited the Ming Dynasty Thesis, which was popular for a long time, and Thesis became increasingly weak and flashy. The Epigraphy Primary School, which was revived by the rise of the study of the evidence, stimulated the prosperity of "epigraphy" calligraphy, and some epigraphers and calligraphers with a strong reverential idea reflected on the shortcomings of the thesis, starting from both theory and practice, abandoning the stele, gradually becoming a custom, and greatly improving the study of calligraphy
A pattern of great unity with the creation of the thesis. At the time of Jia and Dao, Lishu entered a climax from revival, which contributed to a change in the style of calligraphy in the Qing Dynasty and brought calligraphy into a new stage. In this new movement of steleology that is extremely endowed with humanistic spirit, with the construction and development of the theory of stele calligraphy, the in-depth and lasting practice of stele practice, some successful people in creative practice have emerged, among which the emergence of Deng Shiru's seal book and Yi Bingshou's lishu as a sign, the Qing Dynasty seal art reached its heyday, so that the creation of epigraphical calligraphy has entered a new realm. Yi Bingshou , in the Qing History Manuscript , Liechuan 265 , Xun Guan III " . The so-called "follower" refers to those who are well versed in the law, follow principles and principles in their implementation, and are moderate and righteous officials who combine principles and flexibility. Yi Bingshou is a clean and honest official, a petitioner, not afraid of power, and pays attention to local construction, and the people on one side do not praise his good governance. Yi Bingshou was close to filial piety, Ding's father was worried about the return of the official, and the villager once opened an autumn water garden to adopt his mother. In addition to calligraphy, he is also good at landscapes and plum bamboo, especially good at poetry, strong and elegant, Yixi collects celebrity calligraphy and paintings, and also studies the study of life, and authors "Liuchun Caotang Collection" and "Listening to Songlu Poetry Banknotes". Yi Bingshou is a man and a person who behaves like this, and if the book is like his person, his book should be of high standard. Before Yi, there were Jin Nong's brush strokes and Zheng Xie's xingshu liffs; at the same time as Yi, there were Deng Shiru's long-shaped lily; later Yi, there were Chen Hongshou's seal li, He Shaoji's Kai li, and so on, each with its own style. Among them, Yi Bingshou's variation method still maintains the horizontal flatness of the lishu characters, with a plain vertical and thick horizontal, and it is not far from the subordinate, although it weakens the brush of the silkworm head and goose tail, but in the penmanship, it is not ignored at all, which makes people read it, and has a sense of subtlety and elegance. Therefore, Kang Youwei youyun: "In the life of Qianlong, I am tired of learning from the past." Winter heart, Itabashi, refer to the pen, but the loss is strange, this desire to change and do not know the change. Ting Zhou is proficient in eight points, with its eight points for the true book, the teacher imitates the "Hanging Bi Ganwen", thin and strong. Elder Huaining (Deng Shiru), shi Yu Sihui, is the great cheng of the set seal, the stele of the six dynasties of the Special Law of the Kai, the ancient Mao Hun Pu, the division of the real and Tingzhou, the rule of the subordinate, and the door of the Qibei Law. Kaishan as the ancestor, allowing the second son to be pushed. That is to say, on calligraphy, qin healing the old man (Weng Fanggang) lifelong Ou, Yu, shallow and weak, what is the evil of heaven and earth? (2) The passage objectively evaluates the important position of Yi Bingshou in the history of Qing Dynasty calligraphy.
1. Teacher Inheritance
Yi Bingshou had asked Liu Yong when he was an official in Beijing in his early years, and Liu Shi, along with Liang Tongshu, Wang Wenzhi, and Weng Fanggang, was called the Four Great Masters of Thesis in the middle of the Qing Dynasty. Yi Bingshou's calligraphy has a deep foundation in theology, and he is good at writing neat and beautiful xiaokai, although he later changed the Lishu and entered the stele from the post, however, he benefited a lot from Liu Yong, and his performance was twofold:
First, in terms of penmanship and penmanship techniques. In the fourth year of Jiaqing, Yi Bingshou had a poem "Drama Presented to Mr. Liu Shi'an" (3), which had a sentence: "Several times I wanted to try the lamp method, but I was still afraid that the book would be criticized and returned." In that year, Yi Bingshou was 45 years old, and there was a noteworthy point in the poem: if you use the "dialing lamp method" to write, it is not welcome to Teacher Liu. Liu Yong did not like the "dialing the lamp method", so he did not use it, so what method did he teach to his students? Bao Shichen's "Yizhou Shuangyu" records: "Zhucheng (Liu Yong) used the dragon eye method to write books for guests, and when writing books behind closed doors, "no matter how big or small, the pen is like a dancing dragon, left and right, the pipe rotates with the fingers, and the pipe turns even more, and the pipe or falls to the ground." And there is: "The neighbor Liu Zhucheng is dedicated to this." First, he used the front to nourish his machine, and the thick ink helped him to collect it, and then wrapped the pen to make his momentum, and showed it with dry ink. So that in one picture, thick fibers are used interchangeably, and the reverses are used interchangeably. "Bao is Liu's post-study, but also a contemporaneous figure, and the description should be based on evidence. It can be seen from the bao theory that Liu Yong wrote a book, with the "Dragon Eye Method" writing, and the writing technique of not showing outsiders was the twist pipe "wrapping pen". In Yi Bingshou's own words: "My teacher taught the Fa: 'If you don't die, you can't paint.'" Its method is placed on the tip of the big finger, index finger, and middle finger, and slightly outside the claw, so that the big finger and the index finger are circled, that is, the ancient eye method. Those who use their big fingers obliquely against their index fingers form phoenix eyes, and their methods cannot be dead fingers, and they are not true transmissions. And Yun "tried to ask my master to write a book in the face, and this method did not mislead people." At the end of the Qing Dynasty, the famous Fujian poet Xie Zhangquan and Wang Zhiyi, a native of Tongcheng, Anhui Province, wrote in the book of poetry and calligraphy: "Mr. Mo Qing (Yi Bingshou) and his grandfather Mr. Ding Zhaoting held up the Spring Official, Su Xiang, and tasted: 'Every time Mo Qing rises, he holds up a pen to draw tens of hundreds of circles, from childhood to a large age, with a very uniform circle, and Gai said that he can write books and wrist strength is self-healthy. Yi Bingshou once left a passage of study tips with his son: "Fangzheng, Strange, Indulgent, Easier, Less Provincial, Virtual, Fat and Thin, No Change, Out of the Wrist." Yi Bingshou attaches great importance to the wrist, if the "dialing method" is used to write, the wrist is folded, which hinders movement, or the amplitude of the wrist is extremely limited. The "Dragon Eye Method" is written, not only the wrist can be liberated, but even the entire arm can be moved without hindrance. Yi Bingshou's books are mostly plaques and couplets, and the characters are quite large, and The Qing Zhao Guang's "Essay on Retirement" is also cloudy: "(Yi Bingshou) is far away from han and is bigger, the bigger and stronger." "Writing in this way, the wrist, elbow, and arm are suspended as large characters, the natural pen hangs on the paper, plus the twisted pipe "wrapped sharp" line pen, just a little attention, you can pen and pen center, when the pen is transported to the self, vertical and horizontal, write a large and thick stroke, and no matter the size of the stroke, there is no disadvantage of being weak and weak.
Second, in terms of calligraphy style. The formation of Yi Bingshou's calligraphy style was deeply influenced by Liu Yong. Let's first look at the evaluation of Liu Yong by some Qing Dynasty scholars: Liu Wenqing (Liu Yong) book, first from Zhao Songxue, after middle age, it is a family of its own, with a rich bone and a strong taste. (4) Liu Shi'an specializes in boldness. (5) Shi'an Shu (石庵書), which has eliminated the state of longitudinal charm since the Song and Yuan dynasties, and the penmanship is high and ancient. Humble in posture, light in the wonderful. (6) (Liu Yong) The beauty of the book is being stored in essence and introverted. (7) (Liu Yong) The ink method is clumsy with thickness, and it is skillful with dryness, and the tendon strength is all in the painting. (8) Liu Shi'an wrapped iron in a pen like cotton. (9) Shi Anli is thick and heavy, and the tendons are shaking and the pulse is gathered. In recent times, cursive writing has been thick all the way, and no one has been able to get out of the scope of the stone temple. (10) These evaluations roughly summarize the style and achievements of Liu Yong's calligraphy, and the words in the passages such as": "Looking rich and strong, the taste is thick and deep", "Focusing on boldness", "High ancient penmanship", "Humble posture", "Essence contains, strength is introverted", "Wrapping iron with a pen like cotton", "Thick thinking, shaking and gathering veins" and other words describe Liu Yong and the title of the book is prominent. Yi Bingshou is a typical scholar and scholar, born in the XiangShidi, who has read the books of the first Confucianism since childhood, worshiped famous scholars as teachers, and emphasized the study of self-determination. In addition to practicing wrist strength diligently and studying various inscriptions from past generations, he also read ancient books diligently to cultivate his mind. In his early years, he had a wide range of interests, including righteousness, chapters, and examinations, but after middle age, he was grateful for his thoughts, befriended monks, liked to talk about Zen, and in his later years he devoted himself to the study of mind. He was a clean and honest official, with outstanding political achievements, and set an immortal example for future scholars. Yi Bingshou's calligraphy realm is integrated with his life realm, and it is precisely because his life realm is high that his books are also high. This is beyond the art of calligraphy, a realm of sublimation to the height of philosophy. "[Yi Bingshou] the content of the text and the form of calligraphy hammered into one, is a moral command sentence, is a stick, as if Moses held out the precepts."
Deng's seal book creation is purely from The Li Si and Li Yang Bing Seal Books, changing the speed of the pen, and endowed with the rhythm of pressing the setbacks, although the knot is strict, the strokes are stretched, the penmanship is vigorous, the simplicity and nature, but his words are nearly "mature", coupled with its limited cultivation, the knot of the characters and the use of the pen have the suspicion of scratching the head, so "familiar" tends to be "vulgar". Looking at Deng's works, I was reminded of Qiu Ying in the "Four Houses of the Ming Dynasty", whose techniques were exquisite, but the style was not as high as the other three, and I eventually fell into the list of "painters". Therefore, Bao Shichen also fairly included Deng Shiru's calligraphy in the "wonderful products" and "noh products". The Yi Bingshou book has a deep artistic conception and rich connotations, and its appearance is sometimes difficult for those who do not have a high level of appreciation to accept, and the evaluation of "books like good wine should not be sweet" is very appropriate. In the history of Chinese calligraphy, it is difficult to find a calligrapher like Yi Bingshou who purposefully selects, absorbs and processes the inherent characteristics of Lishu, and adopts the style of Lishu with his personal spirit, forming a calligraphy style with a strong personal appearance, pure beauty and strong appeal, and has reached such a style and realm. Yi Bingshou's calligraphy should be among the "Yipin".
IV. Conclusion
When Yi Bingshou was the governor of Yangzhou, he was quite particular about food, originally the fried noodles, braised noodles, and fishing noodles in Yifu were similar to the usual preparation methods in Jiangnan, the difference was that the raw noodles were fried in oil first, about half crisp, left for later use, in addition to the smoothness of the mouth, there was a layer of crispness, that is, it became "Yifu noodles". It is inferred that the current instant noodles are derived from this. Jiangnan has more shallot oil egg fried rice, so different, Yifu fried rice with some shrimp and char siu (lean cooked meat) with fried, so it can be delicious and constant, which is now called "Yangzhou fried rice". Noodles and fried rice, ordinary food, Yi Bingshou processed it into a delicacy, exaggerated to say that it "turns decay into magic", just like Han Li has become a way to show personality and sustenance in his pen. Through his writing style, people can feel the personality charm of the Confucian ideal of gentleness, courtesy, frugality, benevolence, righteousness, reason, and faith. Yi Bingshou's Calligraphy is the peak of Qing Dynasty epigraphy, and Yi Bingshou's calligraphy art has an irreplaceable position in the history of Chinese calligraphy.
Notes: (1) Guangyi Zhou Shuangyi, Volume II, "Body Transformation Fourth". (2) "Guangyi Zhou Shuangyi" Volume 1, "Honorable Monument No. 2". (3) Yi Bingshou's "Liuchun Caotang Poetry Copy". (4) QingZhang bit screen "Songxuan Essay". (5) Qing Liang Shaoren's "Essays on the Two Autumn Rain Temples". (6) Qing Wang Wenzhi's "Fast Rain Hall Inscription" Volume VI, "Zhang Detian, Liu Shi'an Combined Volumes", "Liu Shi'an Scrolls". (7) Qing Xuke's "Qing Dynasty Banknotes and Art Categories". (8) Qing Bao Shichen's "Twelve Absolute Sentences of the Book of Art Boats". (9) Qing Yang Shoujing's "Studying Books and Commentaries". (10) Qing Kang Youwei "Guangyi Zhou Shuangyi", Vol. VI, "Xingcao No. 25". The points in the Stroke of the Yi body have directional properties, there is a movement trend in the direction of upward, downward and other directions, especially when several points appear at the same time, this sense of movement is particularly obvious, manifested as the square circle of the starting pen and the suppression of the pen, although this movement trend can be seen in any other stroke, but in the point painting is expressed as a trend of development from point to line, hence the name. Sha Menghai's "Nearly Three Hundred Years of Calligraphy". Geng Renjian, Yi Bingshou: Space Magician. Xiong Bingming, "The Body of Chinese Calligraphy Theory". The author is a researcher at the Nanjing Museum
<h1>Extended reading: Yi Bingshou's book style is formed by a glimpse of the causes
<h1>Yi Bingshou: Space magician</h1>
Author: Geng Renjian
Yi Bingshou (1754-1815), Moqing, Mo'an, Guanhuizhou. A native of Qingtingzhou (present-day Ninghua, Fujian). Governor of Yangzhou. Gong calligraphy and painting. Good at books, ancient clumsy atmosphere, open a generation of wind. He is the author of "Liuchun Caotang Collection". 〗
The person who really wrote the original ancient Mu qi of the Han Wei stele was Yi Bingshou of Tingzhou (present-day Ninghua, Fujian), which seems to be more than that of Han Li, and it is very pertinent to summarize Yi Bingshou Lishu with great wisdom and foolishness and great cleverness. Kang Youwei said that he was the greatest master of the Qing Dynasty's collected (li) books, and the evaluation of the later generations was also similar, Yi can be called the highest peak of the Lishu in the Qing Dynasty until today, and it seems that he and Deng Shiru were the founders of the Qing Dynasty and the ancestors of the Qing Dynasty, and judging by Tingzhou's achievements, Deng Shiru is indeed far behind. The Baishan people looked at Han Wei with the vision of the times, and Yi Bingshou was integrated into that era, so it can be said that in the practice of learning Han Beibei and advocating simplicity, Yi did more pure and went further.
Yi Bingshou's letter is indeed stupid, and clumsy can be. The first is to simplify the lines, eliminate the rich rhythm of the Hanli lines, and make its mature "Huaqiao" action (sudden setbacks and wave picks) back to the simple and thick single mid-peak line segment, which visually conveys the simplicity, thickness, stupidity, like a silly elephant. Second, in the structure of time and space, the characteristics of rich temporal rhythm and dynamics are erased, and only spells are blindly cast on the spatial framework - the painstaking planning of the space inside the word and the space outside the word. In his works, according to the rich, rhythmic mature Lishu brushwork has become a single action of the center of the pen, in order to avoid the monotony and uniformity caused by this penmanship, Itingzhou uses the parallel way of changing the length of the line and jagged to reveal a fusion of rationality and nature; at the same time, the typical Lishu glyphs of equal size and neatness are replaced by the size, long and flat staggered nature, and the main stroke of the stretched word is used to expand the external space, so that the space (volume) occupied by each word varies, Typical traditional characters that are very different from the spatial (volume) equality of each word. This makes him superior in the treatment of space: parallel line segments with varying lengths enhance the readability and interest of the space within the word, and the changes reflected in the external space of staggered sizes make up for the temporal rhythm of a single line segment. Then, when he loses the structural ability of time, there is only one kind of boldness expressed--a quiet courage, like a sculptural galloping bull.
Deng Shiru's innovation in seal writing is just the opposite, in the Li Si and Li Yang Bing seal books that only use a single center line to frame the space, add a temporal rhythm: that is, change the posture of the line, give the rhythm of pressing the setback, and make the seal book run on two lines of time and space. Thus, achieve its greatness.
Different innovation paths, the same innovative effect, often surprise people Yi and Deng's wisdom and agility: Deng Shiru transformed the ancients with the aesthetic ideas of the recent world, but Yi Bingshou transformed the times with the ideas of the ancients. The results of the two different approaches are of course different. Deng Guanbai turned Gu Mu into Liumei, during which due to the incomplete transformation (for example, the later disciples Wu Xizai and Zhao Zhiqian's seal books were more fluent), they also had some thick and simple, ancient Mu temperament; Yi Bingshou adopted the ancient Mu, thick, and atmospheric Wei Han posture to transform the liumei trend of the recent world, and more was solemn and thick. With the frenzy of the MonumentAlign Movement after the Qing Dynasty, the aesthetic trend of thought pointed to the quaint and clumsy natural state, and Yi Tingzhou's works have increasingly shown their epochality, and to this day - we continue to follow the path pioneered by the Qing people, and it is only natural that Yi Bingshou's achievements are far greater than Deng Shiru. Mr. Sha Menghai said in his "Calligraphy of the Past Three Hundred Years": His works are in poor shape, and as soon as he drops his pen, he is separated from other people's families; except for the seal book, which he often writes, the rest of the colors are higher than Deng Shiru's realm. Qing Zhao Guang's "Essay on Retreating" Yiyun: (Yi Bingshou) is far away from Han and is bigger, and the bigger it is, the stronger it is. In terms of boldness, Itingzhou is much larger than the Kang Youwei and modern ShuTong characters of the late Qing Dynasty, and in terms of style, it can be equally divided with the modern Hongyi Master, who reveals the quiet mind of the Buddhas, and Yi Bingshou shows the boundless mana of the Buddha.
In this way, the realm and boldness are transferred to the truth and the book, that is, the one who has nothing to do with the clouds of Sha Menghai. It moves into the book in the shape of the knot of the book, dilutes the rich pen, writes by hand, is natural, unconventional, ancient and clumsy atmosphere, and the so-called "entering the room of the Lu Gong (near the Ma Zonghuo language)". Throughout the Qing Dynasty's Lishu, Gui Fu and Zhu Yizun were like "Tai Ge", Jin Nong and He Shaoji's "stealing chickens and drilling camps" were made of special pen methods, and posterity also had many micro-words. Chen Hongshou, who took the same innovative approach as Yi Bingshou, was fragmented (the space within his words was chaotic), and only Tingzhou's direct tradition, keen innovation, and new posture were used as the highest peak of lishu in the Qing Dynasty so far.
To cling to one end of tradition and polarize it is great wisdom.
A brief discussion of Yi Bingshou Lishu's space beauty pipe peep
Author: Zhou Jing
Keywords: Yi Bingshou Lishu Space Beauty
Abstract: The unique style of Yi Bingshou Lishu is mainly based on its unique spatial structure. Yi Shi's deliberate treatment of the "inner space" and "external space" of the Lishu shows his art of calligraphy
The conscious pursuit of spatial beauty, its artistic achievements have reached a height beyond nature. Yi's calligraphy art plays a pivotal role in the history of Chinese calligraphy, and also has an important and far-reaching influence on the development of Chinese calligraphy.
Yi Bingshou was a famous calligrapher of the Qing Dynasty in the history of Chinese calligraphy, and in his early years, Lishu was deeply influenced by Gui Fu and was good at small characters. During the Years of Qianlong and Jiaqing, the study of epigraphy flourished, the study of golden stone examination was extremely popular, and a large number of Han and Wei stone carvings were unearthed one after another, which was valued by epigraphers, who drew rich nutrition from them. Yi Bingshou's calligraphy is based on the Han Dynasty, and he has in-depth research on various monuments such as "Ode to the Western Narrow", "Zhang Qianbei", "Pei Cen Ji Gong Monument", "Fenglongshan Ode" and other monuments, but he does not blindly mud the ancient, but deliberately transforms and changes its posture and structure, and integrates the brushwork of the seal book into it, and finally forms its broad, simple and majestic style. We usually say: "Calligraphy is the art of line", which is not wrong, but with lines, there will be space for line division, so the beauty of space composition is also an indispensable and important factor in the beauty of calligraphy art. The unique style of Yi's Lishu mainly comes from its unique spatial structure, as Mr. Chen Zhenlian said: "Discovering the mystery of space shelf building is a golden key to Yi Bingshou's success." ”
In order to facilitate the discussion, we call the inner space of the word formed by the interlacing of strokes as the internal space, the blank space between the words and the words, the blank space between the lines and the surrounding blank space as the outer space or the outer space, the space outside the edge of the work as the extra-frame space, and the corresponding word and the word space can be collectively referred to as the space within the frame. Looking at the Inscriptions of the Six Dynasties of Qin, Han, Wei and Jin, we can find that its spatial composition has the following characteristics:
1． The internal space is tight, and the external space is sparse, forming a contrasting relationship between the inner and outer spaces. The internal space is relatively closed, separated from the external space, and has little connection, and cannot constitute a unified, flowing whole.
2． The spacing is uniform, the line spacing is equal, and there is no obvious change in space size and staggering.
3． Some inscriptions have equal spacing and line spacing, and some inscription spacing is greater than the line spacing, resulting in a horizontal dense and vertical loose layout, but the dense contrast is not too strong.
While inheriting the spatial form of the Han Monument, Yi Bingshou created many new creations. His calligraphy is square and his strokes are thicker, so his internal space is more compact than that of Han Li, such as the couplet works "Zhengsheng Han Official...", "Changing Temperament...", the horizontal phi "Yuta Wen Zhai", "Gargan", "No Disrespect Can Be Yue God", "Long Growth Zhai Residence", "Sanyi Pan Ming" and the work "Lin", "Pei Cen Ji Gong Monument", etc., the tight internal space has produced a thick, dense and majestic style. The interior space of the Yishi Lishu strives to change on the basis of equilibrium and symmetry. Due to the reduction of silkworm heads and geese tails, the horizontal paintings of Yi Shi Lishu are basically straight lines of uniform thickness, arranged in parallel, and the spacing between the horizontal paintings is quite symmetrical. When the horizontal and vertical paintings are crossed, the vertical paintings are divided equally into horizontal paintings, forming a symmetry between the left and right strokes and the space. However, on the basis of symmetrical equilibrium, strong emphasis is placed on contrast and change. For example, in the couplet work "Qing Shi zong Wei Liu..." in the couplet work "Qing Shi Zong Wei Liu...", the six "Qing" are arranged horizontally and in parallel. The upper right center vertical is divided into three horizontals, forming four equal spaces. The height of the three spaces in the lower part is equal to the height of the four spaces in the upper part, but because the left and right vertical paintings are intentionally converging in the middle, the width of these three spaces is in stark contrast to the upper part. The three spatial heights of the upper part of the "mouth" next to the left side of the "莳" word are equal and evenly arranged, but the blank space of the "mouth" word is significantly increased, resulting in a contrast, and the three horizontal sides on the right side are also arranged in parallel, and the spacing is uniform, but the height is slightly greater than the left side, and there is a difference in the same scale. The seven horizontal paintings of the word "Jia" divide into six spaces, and from top to bottom, the first, second, fourth, and fifth spaces are equal in height, the third is larger, and the sixth is twice as high as the others. The word "set" is divided into four spaces horizontally, the middle two spaces are sparse, and the upper and lower two are tight. With the vertical painting as the axis, the left and right spaces are symmetrical. The internal space of the remaining words has rich variations in square circles and sizes in uniform symmetry.
In the treatment of external space, Yi Shi Lishu is more innovative. Most of Yi Bingshou's couplet works have a large word spacing, so that the wide external space and the tight internal space form a dense, virtual, black and white strong contrast. Under the background of large blank spaces, the main body of the text appears thicker, more substantial and stronger. This treatment of internal and external space originates from the Han monument, but Yi Shi's special feature is that: First, he strengthens the contrast of internal space. Second, he deliberately filled the strokes horizontally, and some strokes even exceeded the edges, such as the couplet works "The Old History of the Family...", "Jiangshan LiZiFu...", which enhanced the outward tension of the words. (Figures 2 and 3) As Mr. Xiong Bingming puts it, the Yishi Lishu is "magnificent and thick, and the strokes often go beyond the grid, invading the edges and leaving blanks, emitting a kind of arrogance that threatens the viewer and deters the viewer."
The landing of the Yishi couplet is very distinctive. The words that fall are usually small, both close to the main content and close to the edges. The small and close to the main body is to avoid the noise and strengthen the sense of the whole; the purpose of sticking close to the edge is to enhance the overall outward tension, so that the whole word seems to squeeze through the shackles of the border line, to the vast world outside the width, the space outside the width and the space inside the width are integrated, it seems to be full of vitality and momentum. This is a major creation of the Yi Shi Lishu in the spatial composition. In works with banners and wide banners, the "fullness" of the chapter is its main feature. In the work "Title Wang Yuanzhang Painting Plum Blossoms", the size and writing of the inscription are completely consistent with the writing of the main content, connected into one, forming a standard rectangle throughout the text, coupled with less white space around, it seems that the entire inner space is completely filled, resulting in a strong visual feeling of the overall block surface. For example, although there is a blank space in the last line of the two main contents of the work "Shang Shu Kao Ling Yao Ri" and "Hewen Ji Wenda", the former is filled with a drop money, and the latter is filled with a seal, so on the whole it is still full. The square in the chapter is full of consistency with the square of the glyph, which forms the aesthetic characteristics of the enrichment, growth and breadth of the Yishi Lishu. However, if you blindly seek fangzheng to enrich, it is easy to cause dullness. In order to avoid this drawback, Yi Shi spent a lot of time dealing with the internal space. The work "Shang Shu Kao Ling Yao Ri" tightens the line spacing and increases the word spacing, and the line spacing 4 and N are equivalent to the internal space, thus connecting the internal space and the external space horizontally, and enhancing the horizontal coherence. The increase in the spacing of the words has caused a large blank space between the upper and lower levels, and the whole work shows a contrast between virtual and real, which is both rich and ethereal. At the same time, due to the obvious changes in the size and length of the glyphs, the horizontal space is staggered and extremely vivid. The work "Title Wang Yuanzhang Painting Plum Blossoms" is different from the treatment of the work "Shang Shu Kao Ling Yao Ri", and the word spacing and line spacing are tightened. The size of the glyphs is staggered, up and down, left and right to avoid, a natural, completely breaking the characteristics of the Han monument boundary square strict glyph regularity, changing the regular white into "scattered white", so that the internal and external space is completely integrated, ethereal flow, changeable. The extremely square of the format and the extreme change of space form an interesting contrast, reflecting Yi's aesthetic pursuit in strictness. This spatial treatment can be said to be another originality of Yishi. Contrary to the chapters and squares of the above works, Yi Shi uses large blank spaces on the horizontal and fan surfaces to set off the main body of the text. For example, the horizontal phi works "Garnet Temple", "Yuta Wen Zhai", "Zhen Lie", etc., are horizontally close, and have a strong sense of unity, leaving a large blank space up and down, forming a virtual and real contrast, which not only highlights the main content, but also strengthens the overall dynamics, and the external space is seen in the unevenness and changes in the regularity.
If it is said that the large blank space is a common feature of works such as Yi's horizontal clothing and fan surface, then each work has its own unique spatial treatment according to the characteristics of the text content, which is by no means similar, which shows Yi's unique ingenuity. For example, the four characters of the work "Sui Sex Caotang" press against the upper edge, accounting for one-half of the entire width. The four-character spacing is extremely small, forming a left-right through whole, the lower tribal model as a whole is rectangular, but the weight is lighter than the upper part, and there is more white space between the main content and the falling paragraph, which is loose and loose. In the point of leaving a large blank space, this type of work is consistent with the aforementioned couplet, the difference is that the couplet is independent, and the single word contrasts with the background space, while this kind of work is connected word by word, and as a whole it is dependent on the background space. The six characters of the work "Long And Happy Residence" break the conventional "two, two, two" style equal arrangement, as a "two-one-two-one" arrangement, so that the second line and the fourth line leave a large blank space, the first line and the third line eliminate the word spacing, the first column eliminates the spacing horizontally, fully embodies the white cloth principle of "sparse places can make horses go, and secret places do not make airtight". (Figure 4) The fan-faced work "Golden Peach Blossom" is forced to go up, the word spacing is very wide, the line spacing is tight, and a large blank space is left under the second line, making the space extremely stretched and ethereal. The first and third rows of the falling paragraph are pulled down, showing a vertical trend, contrasting with the horizontal trend on the right, and breaking the blank space in the lower part. The two and four lines of tightening cause staggering, which contrasts with the regularity on the right. It is amazing that a small fan surface can have such a rich spatial variation. Similar to the horizontal and fan-shaped treatment, the single-line banner is also a tight spacing, leaving a large space left on the left and right, so that the main body of the text becomes a whole and looks down. Within this whole, due to the interspersed avoidance of lines and the change of square curvature, the density of space and the change of form are caused. For example, the internal space of the "big" character and the "zigzag" character in the work "The Tomb of Wang Jun of the Great Qing Ru Lin" is larger, and the lower left space of the "Qing" character and the middle space of the "Lin" character are also larger, which contrasts with the narrow composition of other spaces. There is also a class of works in yishi lishu, and the spatial treatment is extremely unique, obviously influenced by the Han printing cloth white. The two works of "Song Tuo's Only Remaining" and "Sanyi Panming" can be described as typical. The work "Song Tuo Only Remains" is a flat square composition, horizontal and vertical, the thickness and thickness are basically the same, the four characters each account for a quarter of the whole width, and the leading lines are connected with the internal space. The uniformity, symmetry, density and square circle treatment of the space are the same as those of the Chinese seal. The word "deposit" is shrunk very short on the left vertically, and the space in the lower left is supplemented by the falling paragraph and the name chapter, while the horizontal of the word "son" extends to the right to make up for the void of the word "expansion". The apostrophe of "Song" becomes two points, making the space of the Song characters sparse and ethereal. These treatments have created unexpected amusements. Although the work "Sanyi Panming" is rectangular as a whole, this four-character arrangement is still a flattened square composition, the "scatter" word is left wide and narrow, the square is wide, the "mouth" of "Yi" is left, the width is compressed, aligned with the "moon" part of the "scatter", the two vertical pairs of "mouth" of the "moon" are inclusive, and the "15" word is raised, which is connected with the space inside the word. The stroke of the "Yi" to the end is elongated to the right, showing the trend of wrapping up, forming a large space. The word "Sanyi" is not only connected in general, but also closely connected in parts, which is very wonderful. The word "panming" is square, the word "disk" is slightly longer, slightly invading the lower space, and the word "ming" is close to the word "disk", and the space is sparse in compactness. (Figure 5) This kind of spatial composition similar to the Han seal, if Zhao Zhiqian found a lot of supplies outside the Han seal, it is called "outside the indian printing", then Yi Shi can also be said to be "outside the book", which is another feature of the Yi Shi Lishu, and it is also an important reason why the art of Yi Shi Lishu can reach such an unprecedented height.
In summary, on the basis of comprehensively inheriting the Han monument, Yi Shi Lishu has integrated and rationally traded off, forming its own unique artistic style, with rich and changeable, wonderful and infinite spatial beauty. As Mr. Xu Liming pointed out, "the dialectics in the composition of Yi's deep-rooted form, which is deliberately arranged through conscious pursuit", but "it has taken off the carving and ornamentation and reached an unexpected height". It is in this sense that I think that the spatial meaning of Yi Shi Lishu is closely connected to the Qin and Han traditions at one end, and the modern art concept at the other end, and the deep study of the spatial beauty of Yi Shi Lishu will undoubtedly have a very far-reaching impact on the development of Chinese calligraphy art.
<h1>Great coincidence - look at the three stages of the evolution of Yi Bingshou Lishu</h1>
Blade
Yi Bingshou (1754-1815), similar in character group, number Moqing, and in his later years also known as Mo'an. Since childhood, Congmin has been fond of learning, adhering to the origin of family learning, and later attacking Song Lixue with the name of Confucianism. Yi Bingshou knew that Huizhou and Yangzhou had the voice of Dehui and was a famous official of the Qing Dynasty. A life of incorruptibility, a simple and simple life, not relying on the portal, screen thanks, "every food must have vegetables", and in this way "to clear my heart and ears". It is often said: "Life is also the nature of heaven and earth, there is no less evil, and the behavior is correct." "The style of the book is strong and strong, simple and majestic, and it can be described as a book like its own person." He has a wide range of hobbies in his life, poetry, gold stones, calligraphy and painting are all valued by the world, and Lishu is on a par with Deng Shiru, and sometimes has the reputation of "Southern Yibei Deng".
The evolution of Yi Bingshou Lishu is roughly divided into three periods: Jiaqing three years ago (1798) before the work, the strokes are very beautiful, the pen is fat, the knot is slightly loose, for the accumulation period; Jiaqing seven to ten years of works, the wave gradually harvested, with the beginning of the square, for the initial period; Jiaqing ten years to death, unique face, free and wanton, reached the realm of pure fire, for the maturity period. From the brushwork to the knot, straight into the Lu Gong Tang Ao, dignified and thick, wide and stretched, alluding to clumsiness. Yi's use of thick ink, the ink color is soft and bright as lacquer, thick and thick, do not see the dry mallet, there is "such as lacquer like Jane" magic. Yi's success lies in the importance attached to Yan Zhenqing. Yan Zhenqing's calligraphy has a majestic and profound temperament, which is essentially a real book written by the method of Lishu, that is, what Mi Fu said was "there is a seal qi". The majestic atmosphere contained in Yan Shu is the most suitable for making a list book. Yi Bingshou learned the Yan body and the Lishu, especially good at doing the Great Li, is a great skill that is difficult for others to reach, using the Li Fa to write Yan Characters, getting rid of all kinds of vulgar vices when ordinary people learn Yan, and finally making new ideas. Writing Yan characters in the method of affiliation can be described as the teacher of Yan. Lishu and Calligraphy are mixed, the most prone to breed habits, Yi Shi with his own extraordinary talent, the Yanshu seal factor and his own Han Wei pen intentions are mixed, smelting into a furnace.
Yi Bingshou mature period of the book does not take the contrarian trend, the long horizontal wave out, the short horizontal is slightly closed, the horizontal stretch is the intention, the pen flow is the seal meaning, the break is not separated, and the harmony does not flow, and the solemnity appears to be free. The strokes are horizontal and vertical, the thickness is roughly equal, the pen is round and close to the Miao seal, and the waves that are often found in the book disappear, even if they are occasional, they also mean that they stop, and there is no habit of "silkworm head swallowtail" in the late Han Dynasty. Skimming into Xu Xing, the center is straight down, and the closing pen is slightly stopped and waved, integrating the advantages of Han li famous monuments such as "Ode to the Pavilion", "Zhang Qianbei", "Hengfang Stele", etc., and is an authentic seal writing. The strokes in the knot are straight, evenly distributed, the four sides are full, the square is strict and tidy, there is a strong sense of decorative art, the changes are very ingenious and can be new, retracted decently, long and short squares, dare to suppress, and the square is cleverly made of dense and scattered changes, so the cloth is white and broad, the atmosphere is vivid, elegant and elegant, and unique. It is the bold movement of the knot and the clever concession of the cloth white, which is solemn and not rigid, dignified and charming, exaggerated and emotional, and finally sublimated from the "flat and positive plate stagnation" to the realm of "idleness and loftiness". At first glance, it looks bland and dull, and with careful scrutiny, you will perceive that his words are neat and not rigid, thick and dissatisfied, thick and straight, and vivid and ethereal. In Yi's own words: "Fangzheng, strange, indulgent, easier, less introspective, virtual, fat and thin, no change, out of the wrist." Should be and concentrate on the intention, do not forget. "There are similarities between art and modern constitutive art. Jiang Baoling's "Mo Lin's Present Words" said that "the name of the seal is contemporary, and The Jinxiu Ancient Beauty is an original family". The plaque and the yanglian are more powerful and powerful, the weather is thousands, and the hanging wall is extremely spectacular, Liang Zhanghua said that it "can expand the Han and the bigger it is, the bigger and stronger", which is not inferior to the cliff stone carving.
Compared with Yi Bingshou's "Zhang QianBei", it can be seen that it is no longer the face of the original stele, and the lines are evenly distributed, but it is more atmospheric and thicker than the original stele. Yi Bingshou's treatment of lines seems simple, with only three forms: straight lines, arcs and points. But the simpler something is, the harder it is to reflect change. In Yi's pen, it is extraordinary, thanks to the change of spatial division. There are no rows in the rules, and the changes are extremely subtle and subtle. For example, the first column of "two" characters and the third column of "ran" characters are very flat, and the "month" word line in the first column is narrow. In the penultimate line, from right to left, the three characters of "Ji Old Sound", the "old" glyph is approximately symmetrical to the left and right, and the two-character shape is higher than the two sides of the two words, and the left and right are symmetrical, which is unique. Another example is that in the first line of the penultimate number, the word "day" is level with the word "jun", and there are staggered changes below. Compared with his creative works, there is a deeper understanding of the ingenuity and ingenuity. For example, the "Wei" character "female" is processed into a geometric line, the "E" character "mountain" is on the side and the "Song" character "mountain" part is the seal law, and the horizontal drawing of the words "E" and "Pull" is slightly raised. The "song" character "gao" part is turned into a kaifa, and the "Hua" character is treated with a pen for "seal law kaihua", and the horizontal drawing is closed and then restarted, which is the authentic "Yan method". There are many dot paintings in the lower link, which are extremely arbitrary, such as the word "Xiao Shan". Not only that, the long dot paintings in the glyphs have a strong sense of movement, such as the clever use of the three words "in, qin, and zun", which produces a shocking beauty and is not tired of viewing.
Yi Bingshou Lishu seems to be a simple line, eliminating the rich rhythm of Han Li lines, abandoning mature Huaqiao movements, and finally returning to The single center of Park Hou, conveying the characteristics of Simple Dun Hou in a visual sense. In order to avoid the monotonous stereotypes caused by a single stroke method, Yi Shi uses a parallel method with variable length and jagged lines to add changes. The typical Lishu glyphs of equal size and uniformity are replaced by natural forms such as size, long flatness, and staggering, and occasionally the main strokes of the characters are stretched to expand the external space, so that the space occupied by each word is uneven - thus highlighting that Yi Bingshou's ability in spatial processing is indeed superior. Kang Youwei admired Yi Shi as the greatest master of the Qing Dynasty's sub-lishu, and the character evaluation of later generations was also similar, which can be called the highest peak of lishu in the Qing Dynasty until today. Xiong Bingming's "Theoretical System of Chinese Calligraphy" said: "(Yishu) is magnificent and thick, and the strokes often go beyond the grid and invade the edge blanks, emitting a kind of style that threatens the viewer and frightens the viewer." ”
Yi Bingshou's calligraphy style in the Qing Dynasty is a person with strong visual impact, which is due to the simplification of the pen meaning of the Han monument and the use of pen "simple" or "pure", "silkworm head goose tail", "wave and three folds" hidden in the pen, its use of the pen is more accustomed to using seals, the meaning of the center of the straight vertical transport, the overall large square, but there are subtle changes in the middle, the size of the font is the main text and the side section is bipolar, the main part of the force with ink is rich and broad, deep in the Majesty and Tranquility of the Han Monument, the bone force cave, the extraordinary courage also covers the " Fenglong Mountain", the side of the multi-faceted body penmanship is full of plump Tang Rhyme. The opening of the posture is not weakened into nuance or solemnity, Yi Bingshou's lines look like a stiff iron bar, the general horizontal and vertical does not reduce the subtle waves, the square contains liveliness and vividness, due to the straight to the (general) operation method, it seems to be like the imagery and space of the frame on the space, more in line with the appreciation habits of modern calligraphy, can be hung in the exhibition hall rather than a small living room, the visual gravity is extremely strong, or more in line with the psychological tension of modern people, in a sense is a transcendence of calligraphy art, At the same time, it is unconscious. The characters of the Qing Dynasty implicitly contain the precursors of modern calligraphy art, Yi Bingshou, Jin Nong, Deng Shiru, Zheng Banqiao, and so on, each of which is heroic, foreseeing the advent of an era of ink calligraphy.
<h1>Yi Bingshou and "Liuchun Caotang Poetry Banknote"</h1>
Zhang Zujin
Yi Bingshou (1754~1815 AD), similar in character group, moqing, late mo'an, Ninghua Chengguan people. In the fifty-fourth year of the Qing Dynasty (1789), he served as a jinshi in Huizhou, Guangdong and Yangzhou, Jiangsu, and had a good political reputation, and was a famous official of the Qing Dynasty. At the same time, it is also a famous calligraphy character, the four bodies of the calligraphy, especially the good lishu, the bigger and stronger. Mr. Ma Guoquan of Hong Kong has studied it very deeply, saying that his lishu is: "The knot is in the square, the clever is dense and scattered, the length is short and round, dare to promote and suppress, and the skillful hand is suppressed, so the cloth is white and broad, the atmosphere is vivid, the grace is elegant, the pain is natural, and it opens up a new face for the lishu." It is known as "Southern Yibei Deng" (Deng Shiru). Mo Bao has "Yi Bingshou Lishu Ink Selection" and "Mo An Collection" up and down the collection of the world. He was not only a prominent calligrapher, but also an excellent poet, with the Liuchun Caotang Poetry Banknote passed down.
Yi Bingshou's Liuchun Caotang Poetry Banknote was published in Guangzhou in the nineteenth year of Jiaqing (1814) when Yi Bingshou was 61 years old, that is, the year before his death, when he traveled to Guangdong again. He inscribed his own title page with a seal, and his handwriting was beautiful and vigorous, and he was quite powerful. The Mongolian French style is good for its order, wu xianxiang is its order, and the Nancheng Zeng Bingu, Ren and Wei Chengxian Chunsong are inscriptions. Hanlin Academy edited Changsha Yu Zhenghuan as the post-prologue, panyu Chen Tan inscription. Yi Bingshou's grandson, Qing A Guangxu Sixth Year (1880), is also recorded in the poem.
The "Liuchun Caotang Poetry Notes" that I have read so far is two volumes, counting seven volumes and 731 poems, of which Volume 1 has 41 ancient and modern poems, Volume 2 147, Volume 3 81, Volume 4 99, Volume 5 124, Volume 6 187, Volume 75 52. According to the data of Mr. Ma Guoquan's research on Yi Bingshou in Hong Kong, the Liuchun Caotang Poetry Banknote collects Yi Bingshou's poems that lasted for 33 years from the forty-seventh year of Qianlong (1782), that is, one year after his citation, and ended in the nineteenth year of Jiaqing (1814), the year before his death. But that's not all of his life's poetry. According to Yi Bingshou's grandson, in july of the sixth year of the Qing Dynasty, In the autumn of Gengchen, he wrote in the untitled record published again: "The first eldest father, senior government, and the government, with the master's study, wrote the voice of Qianjiajian, the Jinshi Cihan was disseminated for the famous public of Hainei, and the poetry collection totaled more than 100 volumes, and in the fifteenth year of Jiaqing (1810), the carving was carried out, and the heirs were difficult to rise, although they did not pay a torch, and the zero pears were left with dates, and they were difficult, and they planned to supplement the publication for a long time, and they stopped frugally..." This shows that Yi Bingshou's poetry and writings in his lifetime were very rich and fruitful. Worthy of being a political and artistic person. The "Draft History of the Qing Dynasty" and the "Chronicle of Ninghua County" have his biography.
"Liuchun Caotang Poetry Banknote" poured most of his life's efforts, and he himself cherished it very much. In order to publish the "Liuchun Caotang Poetry Banknote", Yi Bingshou can be described as painstaking, exhausted, never forgotten, and struggled all his life before his death. In the eunuchs, although the ups and downs, setbacks and hardships, tossing and turning north and south, but always pay great attention to the accumulation of his poems, preservation of poetry manuscripts, the body of the manuscript is inseparable, the shadow is with each other. This is supported by the following.
In the fourth year of Jiaqing (1799), at the age of 46, he became the prefect of Huizhou, Guangdong, where he established education, revitalized local undertakings, and founded Fenghu Academy; he suppressed bandits, maintained local law and order, made the people live and work in peace and contentment, won the hearts of the people, was loved by the local scholars, and was once enshrined by the Huiren Shrine. However, in order to eliminate the bandit plague, he always invited soldiers to be stronger, angering the governor Ji Qing, and was falsely accused of "neglecting to teach bandits". The people of Huizhou were punished for their innocence, wept and complained, and ran to seek revenge, and finally the Jiaqing Emperor was exonerated and rehabilitated. In the adversity of his dismissal and return to Beijing, he did not forget to bring with him the draft of the "Liuchun Caotang Poetry Banknote", and also specially asked the Mongolian French to write a preface to his "Liuchun Caotang Poetry Banknote". Later, on the recommendation of Tie Baoli, the governor of Liangjiang, he became the prefect of Yangzhou in the tenth year of Jiaqing (1805). In the event of years of flooding in Yangzhou, in order to relieve the relief of the people, he sharply rebuked the stereotype: "The front ship carries the horse, and the rear ship carries the flag." The post road set up an account, and the state was fighting for supplies. It is full of money and full of money. The vice of riding a flat boat, the three or two of them "are hungry for corn and thirsty for muddy water." "Thirty thousand disaster victims poured into the capital city, closed the city with all their might, opened the city gates, and set up sheds in temples to resettle the victims. Because of the seriousness of the disaster, many of the victims cultivated cattle for food, and in addition to setting up a porridge factory for relief, Bingshou used the valuation of the cattle sold as a pledge coupon, hired special people to graze, and allowed for ransom. In the following year, the people got the cattle to cultivate, the wind was smooth, the farmers achieved a good harvest, and the folk songs praised virtue. A feudal official who loves the people in this way is really precious. Therefore, the people of Yangzhou enshrined the Yizhifu they admired at the "Three Sages Ancestral Hall", and were worshipped together with the three famous sages in Yangzhou history, Ouyang Xiu, Su Dongpo, and Wang Yuyang. Just when his political voice was in the sky, he was suddenly killed by his father, so he collected poems, drafted them with people, and returned to his hometown to keep filial piety for eight years. In spite of his grief, he continued to prepare for the publication of liuchun caotang poetry banknotes.
In March of the twelfth year of Jiaqing (1807), Yi Bingshou asked the township sage Wu Xianxiang to write a preface to the Liuchun Caotang Poetry Banknote. It can only be seen from the prefaces, inscriptions, and inscriptions that have been invited several times to be written by people, and the time of its publication began in the ninth year of Jiaqing to the official publication and printing in the nineteenth year of Jiaqing, a total of 11 years. The long accumulation of poems and the arduous process of publication show that the "Liuchun Caotang Poetry Banknote" is really not easy to come by.
Ancients Cloud: Poetry. "Liuchun Caotang Poetry Banknote" is a garden for Yi Bingshou to express his chest, which is a concentrated reflection of the joys and sorrows in his life, and it is also a true portrayal and trajectory of his life experience. The Mongolian French style shan wrote in the preface to the "Liuchun Caotang Poetry Notes": "Mo Qing's poems are more or less, and there are many and clean chapters, guan xi cao, many graceful shi, and many steep words in Yue, which trace back to gentleness and thickness, and even in loyalty and filial piety, the situation has changed many times, the poetry has also changed repeatedly, and there are those who do not change with each other, the so-called Tao ye." "Yi Bingshou is an official who is clean and honest, and serves as an official for one term, benefiting one party." No matter where you go, you always want to create a pure land for the people to live and work in peace and contentment, do as many useful things as you can, and be an excellent and good official. However, the harsh reality was against him everywhere, so Wu Xianxiang commented in the preface to the Liuchun Caotang Poetry Notes: "Mo Qingzhalai said: 'Life deliberately learned eunuchs, and now so, life is also' (referring to Huizhou's request for soldiers to suppress bandits, Yangzhou's three consecutive years of floods and the death of his father). Yu Fu said: "Yi Yi uses fierce auspicious deeds, words and disasters are fixed, and the evil of Gong Ji is the same as the patient, kuang saves the mishap, so the sage, the life of the people of the time, the so-called Mo Yi or Yi Ye." Ran Moqing finally grieved and blamed, wrote a poem to mourn, and now concentrated, the words are the most worried. Yi Bingshou was full of enthusiasm and wanted to achieve a great cause, but he was always hindered, with great ambitions and full of economy, but he did not show it, so he poured out his anger into calligraphy and poetry, which created the achievement of his poetry and calligraphy. His excellence and leadership have made him enjoy a high reputation at home and abroad.
His poems are many and workmanlike, so Changsha Yu Zhenghuan, the editor of the Hanlin Academy, praised in the preface to the "Liuchun Caotang Poetry Notes": "The poems of Mr. Biaojun are aimed at the wind and turmoil, Qi Yi track is in Bao, Xie, Involving Li and Du Zhitang, Fuou, Gong zhigen, Yunxia contains its heart, and Danqing shows its true color." In order to comfort the sages and inspire the latter, several well-known character poems in the Liuchun Caotang Poetry Banknote were written later to get a glimpse of them.
Attached: Volume V
Wuxiang Wenyuan has few ancestors and casualties to make four sentences
Mr. Cheng Chung Yin (Wen Bao)
Jiang GuanXiao ser thought of the old King, and it was difficult to act righteously and should be delayed.
There are still fangs and love for my generation, the sentence of the mountain and the stele of the mountain.
* Mr. Yan Yuan's poems carved yan yuan were said to be supported by divine objects, and he also passed on the study of Erxu, and carved the stone Xi'an with the yishan stele he taught.
Mr. Li Yuanzhong (Shi Xiong)
Cao Huang looked at each other and bullied Tan, and the grass drifted with zero green ink residue.
The stone wanted to be deficient, and so far the cloud had a nest of cold.
* Shi Chao is Mr. Reading Place.
Mr. Huang Yong scoop (caution)
Tang County's futu is a great cause, and it has been robbed several times and is as sharp as a cone.
That can hold the Lingyun pen and illusion the old painter of the gall scoop.
* Tower, Ci'en Ancient Pagoda, through thunder and fire, there is an old tower that splits the ballad of the pen of decay
Zhang Da Mengzi (Tengjiao)
Lu Yangge was angry, and the wind and rain were compiled into a short stream.
Shao Ri befriended the Corporal of the World, and Mo Qing's name was accompanied by a word Qing.
"Yangzhou fried rice" and "Yi noodles"
Yangcheng Evening News reported on November 15 that Yi noodles and fried rice are famous foods in Guangzhou, created by Yi Bingshou, a jinshi during the Qianlong period of the Qing Dynasty. Yi Bingshou Moqing, a native of Tingzhou, Fujian Province, served as the prefect of Yangzhou and the Taishou of Huizhou, and his poetry and calligraphy are famous.
He mu Su Dongpo as a person, believing that Dongpo had created Dongpo meat delicacies in the West Lake and was famous, so he created Tingzhou Yi noodles with his own ideas. In order to make the noodles have a crispy flavor, when beating the noodles, the eggs are infiltrated, beaten into thin strips, fried in a frying pan, and simmered with soup. He was once the prefect, so the small food was called Yifu noodles.
Later, Yi Bingshou was transferred to Huizhou Taishou, and between Guangzhou and Huizhou, he created fried rice. After studying the Eight Treasure Rice Mixed Rice, he dried the rice cooked every day, added eggs, char siu grains, shrimp, ham, etc., and fried into fragrant rice, he had served in Yangzhou, so it was called Yangzhou Fried Rice, and then gradually spread in Guangzhou, and some people renamed it Guangzhou Fried Rice.
In this report on "Yangzhou fried rice", there are several common sense errors that need to be corrected:
1. The earliest history of "Yangzhou fried rice" can be traced back to the Sui Dynasty, and it is said that the Sui Dynasty Yue Guo Gong Yang Su loved to eat crushed golden rice, that is, egg fried rice. When the Sui Emperor inspected Jiangdu (present-day Yangzhou), he also introduced egg fried rice to Yangzhou. The fame of "Yangzhou Fried Rice" is the continuous innovation and development of chefs of many dynasties, and at the same time, it is organically combined with the characteristics of "Huaiyang Cuisine", and finally forms the "Yangzhou Fried Rice" with strong local characteristics.
2. The development history of "Yangzhou fried rice" does have the merits of Yi Bingshou, who is deeply respected by Yangzhou, who refined and improved the practice of Yangzhou fried rice and determined the molding, and its specific practices were recorded in his collection of essays "Liuchun Caotang Collection", so that the production method of "Yangzhou fried rice" could be passed on. However, the mistake of the Yangcheng Evening News was that Yi Bingshou was the Taishou of Huizhou in the fourth year of Jiaqing (1799), and was soon deposed for offending the governor of Liangguang. It was not until the tenth year of Jiaqing (1805) that Tie Baoli, the governor of Liangjiang, recommended him to Yangzhou as the prefect, and he served in Huizhou first, and Yangzhou served later, so it was impossible to create "Yangzhou fried rice" first and then spread it in Huizhou.
3. The spread of "Yangzhou fried rice" is largely due to the hard work of the "Yangzhou Three Knives" practitioners in the country and even the world. During the Guangxu years, Huaiyang restaurants were already opened in Guangzhou, the most famous of which was "Juchun Garden". One of the dishes is called "Yangzhou Pot Ba", which is very famous for its rice charred rice made of shrimp, char siu and sea cucumber. Guangzhou chefs listened to also want to go to learn, the chef of the big three yuan tasted, feel that Cantonese cuisine does not have a pot, it is better to change the pot to rice, or use char siu and shrimp, a try is really good, and more in line with the taste of Guangzhou people, after the market is very popular, until now, the chefs of the Guangbang will be "Yangzhou fried rice" related ingredients collectively referred to as "Yangzhou". Similarly, in various places, "Yangzhou fried rice" has been integrated with local eating habits, which is also the reason why "Yangzhou fried rice" has been prosperous for a long time.
□ Liang looked like a beam
Yi noodles and fried rice are famous foods in Guangzhou, created by Yi Bingshou, a jinshi during the Qianlong period of the Qing Dynasty. Yi Bingshou Moqing, a native of Tingzhou, Fujian Province, served as the prefect of Yangzhou and the Taishou of Huizhou, and his poetry and calligraphy are famous.
(Authorized reprints must indicate the source "Jinyang Network -- Yangcheng Evening News")
As a descendant of Yi Yin, the ancestor of the culinary world, Yi Bingshou, a famous calligrapher in the Qing Dynasty, also has a great relationship with eating.
Most of the two foods that Chinese have eaten instant noodles and Yangzhou fried rice are related to him.
According to some books during the Qing Dynasty and the Republic of China, the predecessor of instant noodles, "Yi fu mian" ("Yi Mian") was created by Yi Bingshou. Yangzhou fried rice can be carried forward in the world, and he has also played an important role.
Henan Business Daily reporter Ding Yafei
Ifu noodles
The predecessor of instant noodles was created by the Yi family
Yi Yin, the ancestor of the Yi clan, has always been revered as the grandfather of the culinary world.
Perhaps it is a genetic factor, Yi Bingshou, a great calligrapher of the Qing Dynasty who is also a member of the Yi family, also has a lot of research on eating.
At that time, it coincided with the "prosperous era of Kangqian", and the officials at that time advocated food, so much so that family banquets became popular.
Although Yi Bingshou has always been simple, he has not been spared. He studied under Ji Xiaolan and Liu Yong, and there was an endless stream of visitors to his home. When it comes to the meal, but you can't drive people away, it becomes a trouble to keep the food.
After repeated discussions between Yi Bingshou, who likes to eat noodles, and the cook, he finally invented a new kind of noodles: fine flour was added to fresh eggs, mixed to make noodles, boiled with water, taken out to dry, and then fried in a pot, put into a porcelain jar and stored. When a guest comes, the fried noodles are served with chicken broth and seasonings, and they will soon be eaten.
This fast food, not only delicious, but also economical and decent, is deeply appreciated by the guests of Yifu. Song Xiang, a talented son of Lingnan, also gave it a special name called "Yi Fu Mian" ("Yi Mian").
At that time, people could not imagine that they would apply for a patent for an invention, so much so that the practice of Yifu noodles spread. Because it can be instantly eaten, the upper class of Yangzhou once raised a trend of eating Yifu noodles.
Later, Yi Bingshou told his hometown to return to his hometown in Fujian, and this delicacy also followed him to Fujian. As a result, the reputation of "Yifu Noodles" has spread more and more widely.
After the continuous improvement of successive generations of famous chefs, the production process of Ifu noodles has become more and more exquisite, and it has become the prototype of instant noodles that have swept the world. There are some well-known brands of products that still have "instant noodles" written on the packaging today.
In the early Republic of China, books such as "Yangzhou Continuing Dreams , Yangzhou Noodles" and "Old Food And Gossip Yifu Noodles" have been recorded in Yifu noodles. To this day, Yifu noodles are still a famous noodle dish, spread all over China.
Yangzhou fried rice
His innovation and dissemination helped Yangzhou fried rice to the world
The "fast food" related to Yi Bingshou, in addition to Yi noodles, there is also Yangzhou fried rice.
Regarding the origin of Yangzhou fried rice, some people say that it is related to the Sui Dynasty royal family, and some people say that it is a folk production after the Qing Dynasty.
No matter when Yangzhou fried rice originated, the reason why it can go to the world, the legend plays a role as a bridge is Yi Bingshou.
Shi Zhitang, deputy secretary general of the Yangzhou Culinary Association, said that at the poetry cocktail party held in Yibingshou, Yangzhou fried rice was a very fashionable dish. Yi Bingshou and his chef, on the basis of fried rice with scallion oil and eggs, added shrimp, diced meat and so on.
The improved Yangzhou fried rice has been introduced to local officials and merchants in Yangzhou, and famous restaurants and restaurants also have this dish.
After Yi Bingshou resigned from the government and returned to his hometown, he brought the recipe of this dish back to his hometown and gave a detailed description in his book "Liuchun Caotang Collection".
Later, Yangzhou fried rice became famous all over the world with Hakka and Yangzhou chefs.
Nowadays, yangzhou fried rice with different flavors can be found in most provinces and cities in China and many countries around the world, such as the United States, Japan, Australia, Thailand and so on.
Zhengzhou and Yifu noodles
The Changchun Hotel in old Zhengzhou has a snack department that specializes in Yifu noodles.
Today, in a shop near Zijing Mountain, you can also eat a variety of flavors of Ifu noodles.
In Zhengzhou, there is also a version of the origin of Yifu Noodles:
In the Tang Dynasty, there was a general surnamed Yi in Yicheng (present-day Anyang, Henan) who returned home victoriously against foreign enemies, but who knew that on the first night of his home, he received a holy decree and asked him to lead the army again. At this time, it was already three o'clock, and it was too late to cook, so the chef had to hastily mix the leftovers and leftovers together and braised a pot. Who knew that after General Yi ate it, he was particularly satisfied. After returning home victorious again, he was very concerned about this "cauldron stew" and often ordered this meal when he ate at home. The home kitchen is constantly updated on the basis of the original, forming a famous dish.
Teach you to make Ifu noodles
1. Two eggs, beat, pour 250 grams of flour to mix well, then pour 30 to 40 grams of warm water, knead the dough into a smooth dough.
2. Divide into two small doughs, roll out into 0.1 to 0.2 cm thick slices, and cut into 0.3 to 0.4 cm wide noodles.
3. Put the noodles into a pot of boiling water, and when the water in the pot is boiling again, fish out the noodles and let it cool.
4. Drain the noodles, place in a seven-minute hot pan of oil and fry until hard. Do not fry too much at a time, otherwise it will not be fried thoroughly, affecting the taste. After the fried noodles are drained and cooled, they can be stored in a plastic bag.
5. Add broth to cook for a while, add sautéed meat, bamboo shoots, mushrooms, fish, chives, etc.
Modern instant noodles
The inventor of modern instant noodles was the Chinese-Japanese entrepreneur Momofuku Ando, whose original name was Wu Baifuku.
After World War II, Japan was so hungry that it was so hungry that people ate potato stalks. Once, Momofuku Ando passed by a ramen stall and saw people lining up twenty or thirty meters in the cold wind. This led him to take a great interest in ramen and decided to shift the focus of his career to "food". In 1958, the world's first package of instant noodles ——— "chicken ramen" was successfully invented.