Zheng Gukou (Zheng Gukou)
The practice of calligraphy that arose in the Qing Dynasty epigraphy began with the admiration and shifa Han stele, and Zheng Mo was the first successful lishu of the early Qing Dynasty. He was the first to integrate the creation of lishu inscriptions in artistic practice, and was an innovator who made major breakthroughs among the fa han stele in the early Qing Dynasty, so he was highly rated and was known as the "first lishu" in the Qing Dynasty.
At the end of the Eastern Han Dynasty and the Wei and Jin Dynasties, a new style was derived, and the main body of the Lishu gradually gave way to the grass, line, and calligraphy, and after the Tang, Song, Yuan, and Ming dynasties, due to the fact that most of the practitioners taught the "Xiping Stone Classic" and the Tang Li, the style of the Lishu was the same and gradually became dull.
Kang Yong's world, advocating Dong Qichang's law, the world's people study books, and the book people dye ink, all praise Dong Shu as a guideline. Qianlong book altar, Zhao body popular. At that time, the style of writing faded away from the ancient and elegant style, and gradually became a mature and charming state, the thesis gradually declined, and the epigraphy rose.
At the beginning of the Qing Dynasty, Zheng Mo sought development in the Han Monument at the beginning of the study of steleology, and he devoted his family resources to the expansion of the Han Monument for decades, making friends and studying the Monument. Zheng Zhishi Han Stele, mainly "Xia Cheng", "Cao Quan", "Shi Chen", etc., refers to the cursive method, its calligraphy with a pen calmly flying, the pen vertical posture, dot painting waves have their own posture, undulating and flowing, grass is full of meaning; the structure takes the flat square horizontal potential as the main framework, slightly refers to the seal structure to show the ancient, the square is round, the knot is loose, the odd is jagged, the skillful complement, the method of cursive reflection, the left stretch and the right, the style is flying.
Lishu inherits the seal and the grass down, up and down, and has the advantage of "integration", and Zheng Mo is well versed in its reasoning. He took "Cao Quan" and "Xia Cheng" as the artistic tone of his calligraphy, integrated it into the cursive writing, and made a new creation on the basis of the Han stele, that is, the grass meaning into the lily. Zheng Zhili is not limited to Han Li, does not agree with the people of the time, has his own book style, and is superhuman in art.
Part of Zheng Gui's "Lishu Xie Lingyun Shimushan Poetry Volume"
As soon as Zheng Li came out, he swept away the rigid and rigid subordinate law since the Tang and Song Dynasties, showing his artistic boldness to dare to jump out of the fence of his predecessors and establish new ideas on his own. Zheng Mo was composed when he was 67 years old, and is now in the "Lishu Xie Lingyun Shimushan Poetry Scroll" of the Anhui Provincial Museum, the brushwork is based on the "Xia Cheng" seal pen, referring to the grass intention luck, the wave painting is twisted and turned, the ups and downs are ethereal, the paragraphs are full of emotions, such as the "boat" skimming painting, the "far" painting, etc.; the knot according to the "Cao Quan", the random cloth characters, the dignified and graceful, such as "Suo" and "Gao" and other words; the layout is sparse, the characters are consistent, the static movement is appropriate, and it is all in one go.
The personality of this volume of Zheng Mo is obvious, first, the strokes contain grass meaning, such as the first word "Qing" of "氵", the word "suburb" skimming point and stroke stroke, are random and random, willful, dot painting with no restraint. The second is that the knot body contains the meaning of the seal, some of the seal structure such as the "Rong" character, the whole word seal structure such as the "township" word, and so on. Third, the ink method is dry and moist and extremely natural, such as the "Lan" character withering and lining each other, and the "contempt" word ending from the run to dry, etc., all of which are the finishing touches.
For the creation of Lishu, Zheng Mo's grass and intentions have greatly enhanced the writing of TheLi, and at the same time, it has also expanded the artistic aesthetic scope and technical play territory of the Stele, and created a new situation and new situation in the artistic expression of the Lishu.
Examining it from the perspective of the entire history of the development of Lishu, it further highlights the significance and status of Zheng Gui as the first practitioner of "inscription and post integration" in the tide of Honorable Monuments in the Qing Dynasty, although it has been more than two hundred years since Zheng Mou's death.
Among the calligraphers who were compatible with the practice of the Qing Dynasty inscriptions, the Jinnong Decay and Change Method, known as the "Lacquer Book", achieved remarkable achievements, and people called it "no ancients before". However, the title of "lacquer book" was first proposed by the late Qing Dynasty scholar Yang Dan, who was born in the late Jinnong in 132. In other words, Jin Nong did not know that the name of the Lishu style he created was "Lacquer Book".
Deng Shiru, as a lishu in the trend of qing dynasty epigraphy, embarked on a path of artistic practice of "blending seals and liffisms" and "books and seals are related to each other", but did not rise to the theoretical level to expound. The distillation of Deng Shiru's innovative practice of calligraphy and seal engraving into an incisive artistic concept and its promotion was put forward by the printing scholar Wei Xi 59 years after Deng Shiru's death.
In art history, artists such as Zheng Mo, Jin Nong, Deng Shiru and so on, all of them are obsessed with art and have no intention of planting willows, but the green has become shady.
There is no denying that Zheng Qi's Lishu also has shortcomings, that is, in some of his works, there are slightly more strokes in the shape of "nailed head and rat tail", but the final flaws are not hidden, which should be an exploratory behavior in the process of Zheng Qi's Lishu changing out of the new process, and can also provide a reference for later scholars to learn from their strengths and weaknesses and continuous improvement.
It should be said that Zheng Mo is a successful person, and his new courage and artistic creation, as an artist's precious character and experience, have been passed down to this day, which is proof of this.