Introduction: Liu Jiu'an commented in the article "Zhao Meng Calligraphy Congkao" that Yu He used his pen to stand up strongly, and bones were better than meat; Zhao Ziang was rigid and moderate, fat and thin. As Zhang Guangbin said, although Yu Heshu was from Zhao Ziang, after his heyday, he was already able to stand out and have another weather mark. Whether it is a seal or a grass, it is very different from Zhao Ziang, and it is not difficult to be enlightened as long as you concentrate your mind and examine it in detail.
The Song Shu is still intentional, likes to emphasize subjective performance, and prevails in the atmosphere of taking the scribes of this dynasty as the law, and does not teach the ancient law. At the end of the Southern Song Dynasty, the book world was even more sluggish, resulting in the later scholars' low capital and bad penmanship. Until the Yuan Dynasty, the calligraphers led by Zhao Ziang advocated direct teaching of the Fa Jin and Tang Dynasties, and thus expanded into the study of the entire ancient calligraphy tradition, he copied a wide range of calligraphy styles, re-created the art of calligraphy on the basis of absorbing the achievements of his predecessors, and created a new look of "Zhao Style".
Zhao Ziang's all-round genius and outstanding artistic achievements made the entire Yuan Dynasty shrouded in its influence, Yu He is one of them, Liu Jiu'an commented: "Yu He shu and the magic of the multitude, and the circulation of seal lizhang cursive calligraphy seems to be more than Zhao's, following Zhao Ziang's calligraphy multi-body, when Yu He is the first." ”
"Yun Jin Ti"
<h1 class="pgc-h-decimal" data-index="01" data-track="32" > wrote the Book of Zhao, true and false</h1>
Yu He, zizhong, the number Of Zizhi, late known as Zizhi Old Man, ancestral home of Tonglu, Zhejiang, living in Huanggang for many years, although he can poetry and good books, but his temperament is diluted, he is low-key, does not like to show, and does not like to be an official. All its cynicism is reflected in the changes in calligraphy, so the calligraphy has achieved great success.
In the history of calligraphy, most people are respected by the world for a certain calligraphy, and there are very few practitioners of the five bodies of the seal and the grass, and Zhao Ziang's disciple Yu He, when he was young, was taught by Zhao Ziang himself, always practicing the teacher Zhao Ziang's "retro" proposition, and diligently approaching the Jin and Tang Dynasties.
Its calligraphy and writing are especially good, with a pen square folding strong, strong more than feminine, different from the Zhao Shu's plump elegance, soft with rigidity.
All bodies of the seal grass have reached a high level. Its seal book knot is fine, the strokes are fine, the knots are simple and casual and unsarted; its book is close to the square, the lines are strong and simple, and it looks more primitive.
The chapter cursive writing method is changeable, and it also reveals the meaning of calligraphy, which is beautiful and smooth without losing Fang Gang. Its cursive writing gestures are vigorous, the font is flowing, if the snake enters the grass, the birds fly out of the forest.
As the successor of Zhao Ziang, Yu He studied Zhao Ziang's calligraphy, not only the form and meaning are similar, but also "the retro color is kind", and the imitation of Zhao Shu's works was already difficult to distinguish between true and false at that time, which shows the profundity of Yu He's imitation skills. Zhao Ziang was a very important figure in the calligraphy and painting market at that time, and his calligraphy and painting works were of considerable price and were highly sought after by calligraphy and painting merchants and collectors. Under the temptation of interests, Zhao Ziang's forgeries in the calligraphy and painting market also grew in large quantities.
Yu He was known at that time in the name of noh book, and it was widely known that his writings of Zhao Shu were almost chaotic, so some of the Zhao Zi'ang calligraphy circulating in the market was either processed by people with hearts using Yu He's lin written works, or due to lack of careful consideration, Yu He's calligraphy was mistaken for Zhao Zi'ang's book, and some people even referred to Yu He as a "master of counterfeiting".
Scrolls of Poetry
<h1 class="pgc-h-decimal" data-index="02" data-track="43" > although similar to the Zhao body, it has another weathervane</h1>
Yu and Seal Li Kai Xingcao have written traces in the world, although it resembles the Zhao body but also has a unique personal style, Linti is not pure copying but with their own intentions, with the pen natural and straightforward, the form of the foot changes a lot, it can be seen that there are many changes in brushwork, there are its creativity.
Later generations' evaluation of Yu He's calligraphy can be basically divided into two types, one is that Yu He's calligraphy on the one hand reveals the meaning of Zhao Meng's brushwork in his later years. On the other hand, even Yu He's works are not all one-sided, and you can see the unique rhythm of brushwork, especially his late works, which have the tendency to be self-indulgent. Many of his works, the name of the temporary works, are familiar with the brushwork, and his ability to control is enough to make them enter the free state of forgetting both hearts and hands, so between the swings, such as entering the realm of nobody, often the size of the words is larger than the original, the rules and regulations have changed, but there is still a sense of chaos, a smile, and a call, which is very human.
Take Yu Xiaokai's twenty-year "Treatise on Linle Yi" as an example, its pen is tight, the pen is sharp and steady, the posture is gentle and relaxed, the temperament is open, and the beginning and end are the same. Although it is a small kai linzuo, it can explain the dot painting clearly with a pen, slowly buckle, and the rhythm of the ups and downs is smooth, and the turning point is used both at the beginning and end. The knot is tight and loose, on the basis of steady end and finish, the size varies from word to word, staggered disposal, and the layout of the row is also in a row column and horizontal disorderly format. It leaves a greater flexibility in the swing and pursues a casual, rustic, flexible and free style.
Yu He was fifty-three or four years old at the time, moving from his prime to old age, which was when his calligraphy art gradually entered a better state. This book is bound with a pen, more like Zhao Meng's small letters in his later years, "Tao Te Ching", "Miaofa Lotus Hua Jing" and so on. Zhao Shu Xiaokai has a strict structure of the Tang people, and is also decorated with a dot painting posture of the Jin people, which looks strong and graceful. Yu and Duo Linjin and Tang Dynasty books also took this road, and their secrecy was solid, which was indeed difficult for other students to achieve.
Judging from the book, the more famous one in Yu He's book is the "Preface to the Wulan Pavilion of Linding", whose dot paintings are deliberately meticulous, the pen strength is solid and strong, and the implicated twists and turns are not inconsistent, but in the end it is really rigid, probably because of the temporary writing. The cursive writings such as "Jinsu Temple Poems", "Zishu Poems", and "Seven Poems" are written in a flying and free posture, although from the brushwork and structure can be seen that they are the books of Zhao Meng's later years, but they are natural and smooth, and there is no sense of rigidity that follows the trend. Compared with Zhao Shu, Yu He has his more distinct pen characteristics: Zhao Xuan and Posture, Yu Gangjian and Changlang. Zhao Shudian is graceful and graceful, and Yu Shu is indulgent and free. Zhao Shu's strokes are light and clear, and Yu Shu's pen is ups and downs.
The most basic difference between Zhao Shu and Yu He is that whether Zhao Shu is point, horizontal, straight, sprinkled, or twisted, the pen is more reversed and returned to the front and then run, and the pen will be introverted, so its dot painting flesh and bones are evenly balanced, round and strong. Beautiful and mellow, graceful and gorgeous, with a handsome atmosphere, and the paper and pen are excellent, and the pen is rigid and soft. In particular, the degree of learning and cultivation is magnificent and broad, which is manifested between the lines of the words, and there is no image of coldness or ridge carving.
Yu Shu, dot painting operation, straight to straight, starting to cut in, lack of changes, closing the pen suddenly folded, when the gui angle. Good at imitation, simulating the shape, and the temperament is radiant, it is difficult to seek everyone's demeanor. The paper and pencil used are not sophisticated, and they are used to be strong and sharp. Whether it is imitation or self-transportation, although it is from the pine snow relic, the wind instrument is quite different.
Pro "On Le Yi"
epilogue:
Although Yu He is the heir of the Zhao body, he not only adheres to the retro calligraphy proposition, but also has the display of his own mentality. The pen strength is solid, the pen is sharp and steady, not like Zhao Shu's vain and charming. The structure is exquisite, the knot is tight inside and loose, and the indulgence is free, which is different from the classic grace of Zhao Shu and forms a distinct personal style. Compared with his master Zhao Ziang's Linti, Yu He's glyph grasp is better than Zhao Ziang's, the structure is relatively uniform, there are more hidden edges with pens and less exposed fronts, the tension is weaker, the breath is insufficient, and the writing style, structure concentration, and line tension are not as good as Zhao Ziang, so the brilliance is slightly inferior to Zhao Ziang, and it is even less than Wang Xizhi.
——END
Wandering in the words, hesitating in front of the painting, knowing the metaphor, implying its reasoning. Yushu Yushu Painting Thank you for your attention, more wonderful, stay tuned.