Kang Youwei (1858-1927), also known as Zu Yi, the character Guangsha, the number Changsu, also known as the Xiqiao Shanren, etc., Guangdong Nanhai people, known as "Kang Nanhai". In the twenty-first year of qing guangxu (1895), he entered the priesthood and was the chief of the ministry of official work. In modern times, he was a famous politician, thinker, social reformer, calligrapher and scholar, a representative of reformism, and later a leader of the royalists. The calligraphy is taken from "Shi Men Ming" and "Long Yan", referred to as "Jing Shi Yu", "Diamond Sutra", "Yunfeng Mountain Stone Carving" and so on. The treatise advocates the doctrine of "honoring Wei And Beitang" and "honoring the stele and suppressing the post", and the "Guangyi Zhou Shuangyu" is a work that comprehensively and systematically summarizes the epigraphy from the theory after Ruan Yuan and Bao Shichen, and vigorously promotes the steleology of the Six Dynasties of Han and Wei, which has a profound impact on the prosperity of the stele school of calligraphy.
Kang Youwei's epigraphic creations
Kang Youwei takes retro as innovation, and respects Wei Bei and innovates his own personality. If deng Shiru, He Shaoji, Zhao Zhiqian and other stele calligraphy are the pursuit of the "ancient meaning" of the Qin and Han Dynasties, Kang Youwei is a master who seeks individual style through the ancient reform of the Northern Wei Dynasty. His artistic achievement lies in the original "recreation". "Recreation" is broad and profound, new and different, with the spiritual connotation of the beauty of liturgy, and the portrayal of its personality. Regarding the formation of "Kang Body", the Haizang Calligraphy Decision Wei wei said that "the book of the South China Sea, the Chen Bo". Shang Chengzuo believes that it is due to the "Records of the Thousand Autumn Pavilions of the Tang Tablets". "The Nanhai Shujie wanted to be transformed into one face in the Six Dynasties, mostly in the "Shimen Ming" and "Jing Shiyu", "Sixty Artificial Statues" and "Yunfeng Mountain Stone Carvings". Sha Menghai believes that because of the "Shimen Ming", "Jing Shiyu", "Sixty Artificial Statues" and the stone species of Yunfeng Mountain, Shi Shiru, Zhang Yuzhao, and Yi Bingshou were taken from the families. Ye Chang Blazing Cloud, the size of the two seals born eight points, divided into books, the so-called Book of Letters, the ancients called the Book of Li also. Two Jin And Six Dynasties, from the time of division to subordination. The North of Gu Xiu, the South of Gu Lang, the Wave of The Waves, has been sent into the subordinate room. The northern dynasty stele is full of calligraphy, all of which have a sub-book writing method, and the cover is not exhausted. "Kang Youwei's method of taking the inscription of the Six Dynasties is the same as that of the master of YuanduLu: I love the ancient stele, such as "Gu Lang", "Gao Xiu", "Cuan Baozi", "Yuyang Fujun", "Lingmiao Stele", "Ju Yanyun", with its change from subordinate to Kai, and the source of the examination. The Monument of Ai Jingli, Mo Ruo's "Dragon Yan", "Lingmiao Stele Yin", "Huifu Temple", "Shimen Ming", "Zheng Wengong", "Zhang Ronglong", with it as the pole of The Kai. Kang's emphasis is on the use of pens by the change of the source of the kankao stream, and the above stele, Bo Wei back still retains the Han testament, which can be verified by the ancient people's pen rules. A careful examination of Kang's handwriting will often reveal traces of the various stele of its origin. His "Inscription on the Mirror of The Reprinted Book" said: "Either praise my book class to promote the wind, or call my book longer than history." The self-immortal is self-righteous, and it is similar for a scattered monk to become holy. Shen Zi Pei Shangshu is written in Zhang Changshi, and Song Zhidong is said to be like Yang Shaoshi." From this, we can see the evaluation of Kang's by the people of the time and Kang's self-approval. Kang's interpretation of "Kang Ti" is: to set the great achievements of the Southern Thep and Northern Monuments, and to combine the seals with Zhong Ding and smelt it. Xiao Xian said that her books have the three beauty of "heavy, clumsy, and large", and appreciated his books such as climbing the Nanjing Linggu Pagoda" Ten miles deep pine in front of him, the sound of the sea is vast: green mountains are like walls, horizontally inserted in mid-air: everywhere there are relics of the Six Dynasties, and there is a kind of tiger and dragon disk atmosphere. (Xiao Xian's "Kang Youwei's Calligraphy and Treatise on Calligraphy") Ma Guoquan said in the "Kang Youwei Calligraphy Trial Review" that his calligraphy successfully removed the writing was basically based on his calligraphy theory to explore, and his poem North Stele Nan Ti who also had it, but also cast the Zhou Qin Pregnant Han Monument. Ignorant of qianqiu who is the author, Xiaosheng is interested in Si. "Not only can we see that he uses the essence of the macro and the origins from which he comes from, but also inspires us to demand the changes and innovations of calligraphy." (Ma Guoquan's "Kang Youwei Calligraphy Trial Commentary)) "Kang Body" cuts the ancient and modern, creates a unity, new theory and different state, can move people's feelings, is the perfect embodiment of the spirit of his subject's personality.
1. Calligraphy periodization
Kang Youwei began to receive an education in traditional calligraphy in the context of the prosperity of epigraphy. From the seventh year of Tongzhi (1868) when his grandfather Kang Zanxiu taught his calligraphy daily lessons, until guangxu wrote the "Guangyi Zhou Shuangyi" in the fourteenth year of Guangxu (1888), it was the enlightenment period of Kang Youwei's calligraphy.
His grandfather, KangZanxiu, was his calligraphy initiation teacher. Kang Youwei lost his father at the age of ten, but his grandfather, who was teaching at any time, studied at Lianzhou Guanhan, fearing the jujube and making a pen for a while. In the study of "Le Yi Theory", Ouyang Inquiry, zhao Mengfu, the lesson is quite strict. But the family has no Jiatuo, and it cannot be worked for a long time. It is conceivable that in the era of books for scholars, it is difficult to say that the real reason why Kang's repeated attempts not to sell is "bad sex eight shares". In the nineteenth year, the township test was not sold, hated that his studies were unsuccessful, and began to learn to write from Zhu Ciqi. He also benefited from Chen Lanfu, and then wrote the monuments of "Gui Feng", "Yu Gonggong", "Xuan secret pagoda", and "Yan Family Temple", which were less than the structure. At the same time, he dabbled in the "Book Spectrum", "Ge Ti", Zhang Zhi, Suo Jing, and Huangxiang Zhangcao. But the flow of the various theories, and the Susu and Mi Wo Usu. Therefore, the posts of "Declaration", "RongRu" and "Direct Recommendation Season" were corrected to take their clumsiness. In the meantime, Zhu Ciqi, who also spoke vigorously and also used the seal as a seal, also pointed out that the seal book should be studied by Deng Shiru, which made the necessary accumulation for Kang to accept the study of steles.
In the fifth year of Guangxu (1879), the twenty-two-year-old Kang Youwei was enlightened by Zhang Dinghua to learn the epigraphy of "the inscription is not as good as the stele". Guangxu's failure in the scientific expedition in May 1882 was the first major specialization of his calligraphy career. Although Sai Weng lost his horse, he not only took advantage of this to go through the cultural relics of the Beijing Division, but also bought and sold hundreds of Deng Shiru's handwritings and inscriptions, the realm was wide open, calmly playing with the rope, and the next pen was quite far from the custom, so he knew the wrong of the thesis. On the way back to his hometown, he traveled to Yangzhou and Zhenjiang, and looked at the stone carvings of the "Crane Ming" on Jiaojiao Mountain, and mozzie was fascinated; the seal book on the "Tao Lingding" made his heart love it. From looking at the copy to touching the physical object, and talking about the study of gold and stone, the concept of calligraphy began to change from the study of thesis to the study of steles.
The seal book "Banner of Shunqiu Poems Compiled by Bang Tong Yi Cui" is taken from Deng Shiru, and Kang Youwei was twenty-nine years old (1886) to commemorate his fellow villager Cui Shunqiu (字德雄,号夔典), and is the earliest seal book of the Kang clan seen so far. After Kang Shi realized the wrong of the thesis in the eighth year of Guangxu (1882) and the transformation of the concept of calligraphy from the post into the stele, he wrote Deng Shiru's seal book for a period of time, and later thought it was difficult to surpass, so he abandoned the pen for several years. There is a place of enlightenment in the near future, but the "Stone Drum" is the main one, and Zhong Ding is supplemented. "Langya" is Xiaozong, supplemented by the Western Han Dynasty. Thinking on the table of all things, the body is more than eight points. Seals, pottery casting, strange changes, miscellaneous pen ends. The writing of "Guangyi Zhou Shuangyi" began in the winter of the fourteenth year of Guangxu (1888), and from this point of view of the characteristics of the pen used as a seal, at that time, the so-called time of enlightenment mentioned above was not mature. Kang's Chongwei Monument was reformed, and he rarely made a seal in his lifetime, although he did not sigh when he made a trek thirty years later, and threw it away like an ancient person, but this work is also enough to prove the efforts made by the seal book. At the same time, it also needs attention to the book of this work, ren yun kang book is also from the "Sixty Artificial Portraits", taste its traces and can not be, Imami is a long paragraph of the line grass, the time should be before and after the "Guangyi Zhou Shuangyi", for the early stage of its transformation from the post and monument. Just as the "Guangyi Zhou Shuangyi" said that I am "Zheng Wengong" and people think that it is like Wu Xing, and I am like the Wei Sui people's book, but it is similar to "Jiucheng", "Huangfu", "Fan Fujun", and people also think that they have learned from the Tang Dynasty. He who wants to change but does not know how to change. Yan Kangshi was influenced by the Sixty Artificial Portraits, that is, the transformation of his inscriptions was unfinished.
The "History of Me" records that in December of the twenty-second year of Guangxu (1896), Kang Youwei revisited Guangxi, and the Holy Society was established in Guilin in February of the following year. During this period, Kang Youwei was in Guangxi at the request of his disciple Long Zehouzhi to compose the "Qing Dynasty Imperial Household Awarding Fengzheng Dafu Wupin Title Shanxi Chengxian Zhixian Former Hanlin Shu Ji Ji Shi Longjun Epitaph", which is his early script and belongs to the style of the traditional period of Theology. This work is viewed in the same way as Xiao Kai's "Temple Examination", which seems to be more obviously influenced by the "Jiucheng Palace" and the "Kaicheng Stone Classic", which belongs to the body of Ganlu and has no characteristics to speak of.
From the fourteenth year of Guangxu (1889) to the "Guangyi Zhou Shuangyi", to the first year of Xuantong (19 O9) as the cursive "Yi Youla Sentimental Writing of The Poetry of the Xian'an Disciples", it was the second stage of the conversion of the inscriptions in kang Youwei's calligraphy process.
In May of the fourteenth year of Guangxu (1888), Kang Youwei took the exam again in Beijing and became acquainted with Shen Zengzhi (Zi Pei), another key figure who changed his life. In 1888, when he fell into loneliness and depression because of the failure of his petition, it was under the persuasion of Shen Zengzhi, a friend who did not say anything about state affairs, and it was advisable to donate his reasons with the consolation of Jin Shi Tao, wash his heart and hide the secrets, and devote himself to the study of inscriptions. In other words, if there is no Shen Zengzhi, Kang Youwei's position in the history of calligraphy must be rewritten. During this period, he spent time with Shen Zipei, Huang Zhongtao, and others, analyzing the stele and writing, and contradicting the palm of the theory. "Guangyi Zhou Shuangyi. The Sui Dynasty records their appraisal of the Su Ci Stele. From the reason for the change of Theo-Kai, the division of factions, and the difference between generations, Shen Zengzhi inspired him a lot in the process of truly realizing the transformation of the Stele in his calligraphy creation. In the early years of shen's teachings, he also took the Fa "Er Cuan" and the Han Stele, used a pen to serve Bao Shichen, and used a square pen to turn around. Kang wrote with the Zhu Jiujiang method, taking the methods of "Fistula Crane Ming", "Shi Men Ming", "Zheng Wengong", etc., and used a round pen to turn. In fact, the fundamental difference in Shen Kang's penmanship can be seen from the ink left in their "Lincuo Longyan Stele", because of the difference in brushwork, even if it is copied to the same stele, its style is also very different. The realization of the brushwork is the fundamental symbol of kang's creation to achieve the transformation of the inscription. There is also Huang Zhongtao, who also played a key role in Kang's. He not only introduced himself to Shen Zengzhi and actively campaigned for him during his letters, but also introduced him to Sheng Yu, Pan Zuyin and other great Zang families in the capital, and the Sheng family's "Frequency Pavilion and His Home", which made Kang Youwei look at the collection of Jinshi Dingyi and open his eyes.
The seal book "SuDong Inscription" takes the method Deng Shiru "Dong" character book "Stone Drum", the posture of the signature, the knot character slightly has the meaning of "ShiMen Ming", compared with the seal book "Bang Cui Edit shun qiu poem banner", this work is gentle and vigorous, and the style of the inscription is more mature. Kang Youwei opened a Wanmu Caotang in Changxingli, Guangzhou, to give lectures to publicize the new and cultivate talents. He also selected and other sons to assist in usurping the "New Study of Pseudo-Scripture Examination" and "Confucius Reform Examination" to create theoretical tools for changing the law. In July of the 20th year of Guangxu (1894), Yu Lianyuan was impeached by Yu Lianyuan in the matter Kang Shi was "confusing the world and slandering the people", please burn the "New Study of Apocryphal Scripture Examinations" and forbid Cantonese scholars from studying. Through Shen Zengzhi and Sheng
Bo Xi, Huang Zhongtao, and others tried their best to abandon the rescue party and survived, but the Qing court still ordered that the "New Study of Pseudo-Scriptures" be destroyed by itself, and the city was unheard of. In November, kang was invited by his disciple Long Zehou to live in Guilin to give lectures, and took the opportunity to establish the Sacred Society, found the Guangren Bao, and open the Guangren Academy, so that the ideas of restoration could be spread in Guangxi. The Inscription of Kang Yan and Su Dong carved stone by The Wind Of The Wind of Diecai Mountain Scenery, that is, the remains of his lectures, the Xingcao "Night Lantern Duxiu Feng Poetry Axis" is the former ink of Kang's "Peng Shu", although the knot is influenced by the "Crane Ming" and "Shi Men Ming", subject to the use of ink increase techniques, the breath is thick, but on the whole it still has obvious posthumous meaning, which is the transformation of its inscription.
In 1907, the Englishman Stein obtained a large number of Han Dynasty Jian Mu for his humble work in Dunhuang, and plundered a large number of Sui and Tang dynasty scriptures from the Tibetan Scripture Cave. Two years later, the Japanese Otani expedition found fragments of paper and wooden jane such as the "Li Bai Documents" in Lop Nur in Xinjiang. As a result, the thousands of years of brushwork of ancient people have been fully displayed in the world, and they have also brought unprecedented influence to the study and creation of calligraphy. In May 1911, Kang Shi collected the "Dunhuang Stone Chamber Tang Dynasty Writings" in Japan' Shumo Liang Qichao, lamenting that its steepness still existed in the Northern Qi penmanship, which was greatly shaken. In the Northern Song Dynasty, Huang Bosi once obtained an urn in Shaanxi Province with the emperor and the first people, and all of them were written by the Qiang Rong during the Han Dynasty. The body is all chapter grass, and the so-called chapter grass on the chapter of the so-called chapter grass of the Sui Wu Chuan is not because of the good cause of the chapter emperor. In the face of the authentic works of the Tang dynasty, comparing the Tang tablets that have been repeatedly engraved and lost their authenticity, Kang Shi has a lot of understanding. The April 1912 book "Linmi Hai Yue Tianma Fu Hand Scroll" is evidence of Kang's reflection on tradition and pottery stele. This work is based on the stele school of brushwork, removing the slender Huazi of the thesis school and replacing it with the thinness of the stele school
Hard theosophy is a transformation of theology in the sense of epigraphy. Xingcao 'Xu Mo Zhi Wu Xianzi Shuzha' has a relaxed attitude and is mixed with chapter grass, and the style is the same as that of Mi Fu's "Linyan Zhenqing Liu Zhong's Envoy".
During this period, Kang Youwei began to reflect on the extremes of the previous worship of monuments and the suppression of posts, advocating both style and stele posts, and the concept of calligraphy further turned to compatibility and taking. In the first year of the Republic of China, when Kang Youwei lived in The Shuangtao Garden in Sulma, Japan, his disciple Pan Ruohai came to visit and talk about the moon, the Japanese sang and the harmony, and Kang's many books were donated, which can be seen that his style is in the process of transformation. The xingshu "Seven Words of the Elder Brother of the Ministry of The Gift of The Sea People" and the "Lengxiang Residual Snow Painting Spectrum Narcissus Chi Wu Yan Lian" in the same period seem to have some of Zhang Yuzhao's northern monument characteristics with the pen, but it reveals more about the family background of Tang Kai masters such as Yan Zhenqing and Liu Gongquan in his early years. This is the foundation of Kang's calligraphy, and a similar tendency can be seen in his cursive works. Famous masters of the Stele School, such as Yi Bingshou, He Shaoji, Zhao Zhiqian, etc., also changed their temperament based on Yan and formed their own faces, and Kang Youwei was even more in his yuan. He honored Yan Lugong as the best right-hand man in two thousand years, that is, in terms of pen. In addition, the yan body element of "Kang Body" also lies in other methods taken from the "Fist Crane Ming", and the Lu Gong knot character and body posture are often from the Qi Monument, referring to Kang as Yan, which is also the reason.
In 1916, the book "Climbing Mount Taishan's Absolute Poetry Axis" and in 1920, the xingcao "Gift to Gong Wudi You Cunlu completed the poetry axis" was a new stage in Kang Youwei's calligraphy entering the ancient world.
In 1914, Luo Zhenyu and Wang Guowei co-authored "Quicksand Falling Jane" was published, which caused a huge shock in Chinese academia and brought new opportunities to the art of calligraphy. Zheng Xiaoxu said that it was the secret of the Han people's subordination to the law, which was leaked to the world and was no longer covered by the ink book. Its affiliation is han jian judas. Shen Zengzhi thought that the Inner House received Wang Xun's inkblot of "Boyuan Thesis", and the sub-plot drama could be corroborated with the Quicksand Jane Book. And soon the Han people's simple calf brushwork was transferred to the creation of Zhang Cao, and the Zhang Cao sect combined with the stele was opened. Shen's and Kang's "pen splitting feelings" and "splitting pens into grass" are exactly the same. Kang Youwei later wrote in the Monument to General Bao Guangwu
There is a saying: "Only the stele is the fourth year of Fu Qin Jianyuan, and it was only twelve years before he went to Wang Youjun Lanting, so the characters are many subordinate, and the stele of the Spirit Temple is the first, and it is lush and excessive." Compete with the Good King Monument. This bed has a stele stele, which is particularly perfect. The words are like quicksand falling simple, ancient and easy. "This stele is compared with the Dunhuang Lishu, and its knot is written with a pen, all of which are similar. According to this, the new archaeological materials did have an impact on Kang's: first, to promote the change of concepts, he based on the new materials to reflect on the past, the calligraphy position changed from the honorable stele to the stele and the post, which objectively led to the end of the Qing Dynasty epigraphy; the second is the artistic self-consciousness, the creation of new ancient ink materials to harmonize the stele, and promote the formation of a diversified atmosphere of art. The so-called thesis does not refer to the traditional sense of "theology", but "to the book first lead eight points, chapter grass in the characters, to make people angry", compared to the inscription book, the simple mu, the scriptures, these can be insight into the essence of the ancient people's penmanship of the new ink materials.
Kang Youwei is also fond of ancient fetishes. In his early years, when he wrote "Guangyi Zhou Shuangyi", he went through the collection of the Beijing master and collected a large number of ancient inscriptions, which fully accumulated for its realization of the transformation from the concept of theology to the concept of epigraphy. Later, wanmu caotang was opened to build a book collection. During his exile abroad, Kang's old hobbies were difficult to change, and although his life was turbulent, he did not forget to collect cultural relics from various countries. The cultural relics of the Shiqing Palace were scattered, and coupled with the fact that the widows were trapped in their livelihood and constantly cut off the old treasures, he and Shen Zengzhi, Miao Quansun and others enjoyed it tirelessly. The collection of various cultural relics such as calligraphy and paintings, inscriptions, and picture books of the past is considerable. In addition to the "Wanmu Caotang Tibetan Painting Catalogue", the inscription of kangshi is found in the inscription of the Fa Ti inscription that has been passed down from generation to generation. His profound knowledge and exquisite understanding, and the ancient as an apprentice, naturally make Kang's calligraphy have a deep connotation. He has held cultural relics exhibitions in Shanghai Youcunlu and Qingdao TianyouYuan. For people to visit, the first modern cultural atmosphere. Xu Beiji, Liu Haisu, Wang Yichang and others are all beneficiaries.
In August of the fifth year of the Republic of China (1916), Kang Youwei, who was in his sixties, climbed Mount Taishan, passed through Shiyu, observed the stone carvings of the Diamond Sutra, and climbed the inscription on the peak of the sun. The biggest change brought to Kang by the Diamond Sutra is reflected in the style of the book "Climbing Mount Taishan's Absolute Poetry Axis". If all of Kang's previous explorations were quantitative accumulations, then the emergence of this work is a qualitative change. In other words, the xingshu "DengtaiShan's Absolute Poetry Axis" is a sign of the maturity of "health and fitness".
In September of the same year, Kang Youwei visited Jiaoshan again. The "Crane Ming" was first recorded in the Northern Song Dynasty Ouyang Xiu's "Collection of Ancient Records", often only its numbers. "Fistula" uses pen to conceal the meaning of the seal, and is in harmony with Zheng Daozhaoruo, which prominently influences his creations between the ages of fifty-nine and sixty. Xingshu "Seven Words and Alliances for Brother Renchen", Xingshu "Sketching into the Gods Banner", Xingshu "Wind and Frost Friendship More Dudious; Golden Stone Carvings Can Be Five Words Lian" and other works, the knot body is introverted, it looks like a Yan body, it is actually "Fist of the Crane Ming" in December 916 "Sacrifice Pan Ruohaiwen", Xingcao "Ding Has February Pai Peng Shu Ship boat and Xu Qinshu", Xingcao "Ding Has May Chronicle Poem Seven Chapters Hand Scroll", etc., Park Mao is ancient and thick, the pen and ink are murky, mainly from the "Spirit Temple Stele Yin", Kang's xingcao has obtained this meaning. The "Shimen Ming" is the basis of health and sports, and no matter what stele it takes to change its appearance, it always fits Wang Yuan, grows with each other, and especially explores its origins in small cursive writing. In 1917, the big characters "(Yuan Doushi Temple Banner") were taken from the "Shimen Ming" and "Jing Shi Yu" Kuan Bo Jian Mu, and the pen was divided into feelings, and the pen was simple and far away.
In 1917, the "Meisen Temple", which was restored by Zhang Xun, was the cradle of "recreation". Kang Youwei immersed himself in Linchi in half a year and created a large number of masterpieces. The "Lincuo Longyan Stele" and "Linwei Yuanjun Epitaph" written during this period are not only examples of his "shigu", but also the new basis for his changes in his deeds into the ancients, and also the key to the formation of the "kangtian" canonical style.
Kang Youwei's first work "Old Tuo he mingbu" when he was 59 to 60 years old said: "Dating back to the Jin and Tang dynasties, the heirs of the kaishu are nothing less than sweat and cattle." But the magic of the big characters is nothing more than the fistula crane ming. Because of its boldness and majesty, such as the dragon running river and the sea, the tiger earthquake mountain. Of the scribes of the past, only the eastern slope has its god, and the valley has its shape, which is not enough. "The book "Seven Words of Brother Ren of Hanchen" is taken from the "Fistula Ming". Its significance lies in the inscription of this link: "Since the Song Dynasty and the Song Dynasty, it has been studied in the past thousand years, and in the past hundred years, the Northern Tablets have been discussed." However, Zhang Lianqing collected the great achievement of the Northern Stele, Deng Guanbai wrote the Southern Stele Han Li but no post, Bao Shenbo quan nan Ti without a stele, and there has not been a collection of The North Stele and the South Stele for thousands of years. Contemptible people are insensitive, and they want to do both." At the same time, he also pointed out that Zhang Yuzhao, Deng Shiru, and Bao Shichen were several famous stele masters who either had stele but no post, or posted more and less stele, all of which were "partial". And he himself wanted to be both inscription and fusion, cultivate the seal, and create an original "millennium."
The Body That Has Not Been". Yang Shoujing's Study of Books · Commentary on the Steles: "Yunfeng Zheng Daozhao monuments, Wei Jin Qiwei, and the Southern Dynasty Crane Ming, the same work." "Depending on the square circle of the pen, although it is also taken from "Yunfeng", it is not similar to the pen. And the knot characters are introverted and outward- and outward-looking, the horizontal painting Shu Chang Dun pen, the word "waiter" The word "waiter" the "waiter" the pen is sharp and not picked up, and the jun is a typical feature of the "Crane Ming". The "stone" and "moon" and "phase" characters are particularly close. The Guangyi Zhou Shuangyi Yu Theory says that Lu Gongshu is as high and vulgar as the "Song Kaifu Stele" and the graceful appearance of the gas (Baguan Zhai), which was thought by people in the past to be similar to the "Crane Ming", and it is sincerely a masterpiece. Yan Zhenqing also once absorbed the "Fistula Crane Ming", so the words "Qing" and "蒨" also look like Lu Gong: the words "Waiter" and "Bamboo" are also similar to Zhang Yuzhao, which is actually "Fistula Ming". The overall style is not the same, which is obviously inappropriate to say that it is in later years. In this year, Kang's re-ascension to Jiaoshan mountain was shitao's "Color Map of Yuhang Mountain" hidden by gan Hanchen, the owner of the "Yuyuan Garden" on the sea. Moreover, the seal used is also a common seal before the age of sixty. Compared with "Zheng Wengong"),the "Fistula Inscription" "has more Yan states and less ancient methods", and the main methods taken by Kang after the sixties are "Jing Shiyu", "Cuan Long Yan", "Shi Men Ming", and "Yunfeng Carved Stone", and gradually shedd the influence of the "Fistula Ming" with the meaning of Yan body.
On July 1, 1917, Kang Youwei shen and Zengzhi went to Beijing to participate in the "Restoration of Zhang Xun", but they failed, but they avoided the US Embassy with Shen Zengzhi to seek protection. The author has seen more than ten works with the same content as Kang's "Works in the Meisen Courtyard", written to Wu Changshuo, Inuyasha Yi, Kang Tongbi, Lan Gongwu and other relatives and friends. The book "Ding Has Avoided the Poetry Axis of Mei Sen Yuan in June" is influenced by "Crane Ming" and "Shi Men Ming", coupled with Kang's love for this scene, the whole work presents a lonely and cold style. Shi Yun "Ting Meng Nan Ke Fang Dream, several stalls of large Tibetan reading Lengya. I have my own way of being at ease. Everything you meet is home. This unique style is easier to identify in Kang's writings, because it is called "Meisen Courtyard Body".
Kang Youwei's seal writings are rare. The 1918 seal book "Yan Gong Shinto Stele" (see Wang Jiakui's "Records of Modern Books Lin Pinzao"), was written by Kang for the Shaanxi bibliophile Yan Ao. In his early years, Kang Shi used the "Shuowen" to try to make a seal, and in the "Stone Drum Text", "Lang Which Tai", "Yishan Stele", Li Yangbing used a lot of force, and later in Deng Shiru understood the penmanship, believing that the best thing about the Baishan people was that the pen was the seal, thinking that the secret of the Tang Seal Law was revealed, and the unique Han seal outside the north stele of the stele he advocated was that the Han body was prepared in a square circle, which was consistent with the eight-point pen method he advocated. Split pen into grass, body and seal, seal method as its main brushwork element, this work has the meaning of "Kaimu Temple Stone Que", the chapter method is similar. Dense and vigorous, in line with its theory.
From 1922 to the 1927 cursive "Shang Puyi Xie Si Fold", it was a mature period for Kang Youwei to study calligraphy.
Kang Youwei's treatise on the book is the heaviest "Ben Han", and he believes that calligraphy flourished at the end of the Han Dynasty, simple and high rhyme, new meaning, strange shape, and special system, and was integrated into a furnace, so it was never in later generations. Both the northern and southern dynastic stele have the meaning of Han division, and Yan Zhenqing and Yang Ning's style use Han to divide into grass, which is a special shape: even Wang Yizhi's introduction of eight points and zhang cao into the lizi are also taken from the Fa Han people. In his later years, Kang's seal rhymed with grass in a furnace, and the inscriptions were harmonious, and he created many masterpieces. "Guangyi Zhou Shuangyi" is said to be a list book "more than a reference to the Pen, but also high", to its late age, to all things, the image is deep, "each word must be used with several meanings", can move people's feelings, is the book's extreme. In this regard, the Kang clan not only surpassed the predecessors of the Stele Sect such as Bao Shichen and Zhang Yuzhao, but also surpassed the shen zengzhi and Wu Changshuo families of the same era.
In 1924, Feng Yuyan launched the "Beijing Coup" and expelled Puyi from the palace, which was the saddest thing for Kang Minping. In this year, the "Example of Mr. Kang Nanhai's Book" was reprinted again, and the style of the book changed significantly, purely using the seal pen method, and the signature was all made of cursive method, and the three words "Kang Youwei" were connected. In May, he bought the old German Admiralty Building in Qingdao and expanded it into a residence, and the famous Tianyou Garden left many masterpieces here. In 1925, the "Book of Youliang Suijue" urged the sale of words to confess, and the "Mr. Kang Nanhai's Book Example" was appended to the text: "There are too many forgeries, and now in addition to the full list of steles, one or two lines of grass must be used in the three characters of the title of the next book, up and down or in the book Tianyouhuaren, the moon and the moon."
Yi Yi, after the announcement, to the society of forgery, if the name of the full kai person pseudo also".
The xingshu "Five Words of Giving Xiangqu Brother Ren" is a combination of "Zheng Wen Gong Monument" and "Shi Men Ming", which is a typical example of Kang Youwei Yang Lian. In the autumn of 1923, Kang Youwei ascended Mount Hua and went to Yuntai to visit the Southern Song Dynasty Daoist Chen Zhuo (Xiyi) "Opening the Heavenly Shore Horse, Qiyi People in the Dragon" stone carving. The stone carved characters are arranged horizontally, and the knot characters are taken from the "Stone Gate Inscription", and the gestures are exposed. The author also saw a couplet with the same content, Zeng Xi said: "This Mr. Xiyi Linshimen booklet, its collection is The Yang language should be in the Ming Dynasty." The height of his calligraphy is enough, and this cross is enough to exhaust it. It is rumored in the sea that the exhibition is engraved, but it is a lost penmanship, and the Daoist people are left for Mr. Changsu after the purchase of the heavy value visit, and the Daoist is killed and the first claim is returned. Still with the need for the cemetery, let the Yi Wu Shiyou. Hai Nei knew that this book was manifested in the Taoists, and there was knowledge in Mr. Changsu, and it was only a matter of time. After the Mid-Autumn Festival, the farmers are xi note. According to this, the Haizang Calligraphy Decision Wei wei said that "the book of the South China Sea, the Chen Bo". Zhu Jia also purchased a copy of the engraving, saying that it was "knotted with a pen, realistic "Stone Gate Inscription"", and praised it as "Kang's unseen." "The author has seen a total of four couplets of the same content of Kang's, and considering that the time of his creation is roughly as follows: one of them was written in 1917, and it is difficult to see the influence of "Shimen Ming" or Chen Zhuo; the one contained in the Japanese "Complete Works of Calligraphy" was written in 1921, and the knotted side gesture was opened, and the french "ShiMen Ming" had a different song from Chen Zhuo; and the character posture of the signature in 1922 tended to be flat, and the pen was the most wanton, which had been integrated into "Zheng Wengong"; the one composed in 1923 was integrated with "Shi Men Ming" and "Zheng Wengong", which was strange and profound, and the image was deep. Purely self-shipping. Mr. Xiong Bingming contrasted the couplet with Chen Zhuo in the Japanese "Complete Works of Calligraphy" and believed that Kang's deliberate arrangement of the momentum of opening up was far less surprising and natural than Chen Shu.com. However, if you look at these works from a glance, it is not difficult to see that Kang is not confined to one. Comparing the "Shimen Ming" with the kang's book, it can be seen that Kang's calligraphy, brushwork, and physical posture are actually integrated into the "Zheng Wen Gong Monument", and even the subordinate law, while Chen Zhuo is the scale of the "Shi Men Ming", and the peak is lost.
It is worth noting that Kang Youwei's golden stone inscription has not yet been comprehensively collected and sorted out. This is because on the one hand, the ink of Kang's inscription inscriptions is relatively scattered, and the inscriptions are often collected in different collectors or cultural institutions at home and abroad, which is difficult to integrate: on the other hand, it may be because Kang Youwei, since he is famous as a politician, a famous scholar and a scholar, people pay more attention to the handwriting of historical documents or large books about him, and often pay less attention to the short poems appended to the inscriptions. This part of Kang Youwei's inscription can reflect his concept of epigraphy and calligraphy art, and it is also the accumulation and supplement of kang Youwei's research on epigraphic calligraphy after Kang Youwei published "Guangyi Zhou Shuangyi" in his youth. The following is a selection of kang's ancient inscriptions from publications since the Republic of China, to see one of Kang's achievements in this regard.
"The Old Tuo Tuo He Ming":
Dating back to the Jin and Tang dynasties, the heirs of the book are nothing less than sweat and cattle. But the magic of the big characters is nothing more than the fistula crane ming. Because of its boldness and majesty, such as the dragon running river and the sea, the tiger earthquake mountain. Of the scribes of the past, only the eastern slope has its god, and the valley has its shape, which is not enough. Since the excavation of this monument in the middle of the river, the water in later generations has been expanded into a good book. This is the old collection of Liu Wenqing, all of which are 98 characters, and there is a stone temple xiangguo trek. Also examining Wang Lanquan's "Compilation of Golden Stones" only eighty-nine characters, this book adds as many as nine characters, and is full of spirits, jumping between paper and ink, such as the recent Jiaoshan monk Hezhou Tuo's essence, no different from the heavenly abyss, The rare treasure of Xun Shilin, and the only best benefactor of Shuiqian Jingtuo. Now return to the ancient zhai master to get, smell will be printed, Luoyang paper can be predicted. Nanhai Kang youwei.
Stylistically, this work was written by Kang Youwei in the first half of his fifties and sixties.
"Pai Ouyang Inquiry Huadu Temple Yong Zen Master Pagoda Inscription":
Ouyang Inquiry's "Huadu Temple Stele" is the first masterpiece of his life, that is, the ancients called "snakes in the grass and power generation between clouds". The "Compilation of Jin Shi Zhi" said that this post has no full text until the Song Dynasty, and the number of words cannot be examined. And the book contains only six hundred and eighty-two words, and it is not easy to read. According to the "Golden Stone Evaluation" Yun: Yu Guowen Ming's Stop Cloud Pavilion, smelled Of Song Tuo's "Huadu Temple", Suo Yiguan, Hand Curtain to Return, and no Li Bai Yao character. Weng's Golden Stone, Fu Jia Hai Nei, and Xiang School less than double the outside. In addition to the more than ten words in the middle of this post, there are as many as 1,040 ー characters: and the word posture is both strong and beautiful,
The text runs through again. If it weren't for Tang Tuo's old version, Would An have such a completely refined version? There are Ouyang Xuan and Wen Qixiang Erbao. It was sent to Dongying in the Yuan Dynasty, and returned to China at the end of the Qing Dynasty, and the proceeds of the heirs were returned to the Biwu Mountain Villa, and the photocopy was circulated. Fu Mo luck reincarnation, obscure sometimes. Such as the treasure of the Bixi world, far away from a thousand years, Shi Ke shines brightly, is not the Jiarui of the Art Garden, the chicken forest
Adventures? Those who look at the rate of more books should take this as the right crane also. Koshi March Yasuyuki.
"Monument to the Fourth Year of Qin Jianyuan":
The north stele has recently been unearthed, and it is the first of its quaintness. The Guanzhong Jinshi Zhi is named Guangwu General Zefei, and is the great-grandson of Guangwu General. However, the stele is four years after Fu Qin Jianyuan, and it was only twelve years before he went to Wang Youjun's "Lanting", so the characters are many subordinate, and the stele of the Spirit Temple is opened first, and it is lush and excessive. Compete with the "Monument to the Good King". This extension has a stele stele, which is particularly perfect. The words are like quicksand falling simple, ancient and easy. I intend to name this stele as the qin jianyuan four-year production stele, and this stele is also the Guanzhong Kai liguan in Shaanxi. Fu WanDi treasured this side of the golden stone when changing this name also. In the winter, the tourists kang youwei.
In his later years, Kang wrote a book, advocating that the method of writing should be slow and straight, hide the ups and downs, and do its best, when Zeng Xi, Li Ruiqing and others on the sea imitated the effect of jin wen recasting, and composed the music as much as they could, thinking it was novel. Kang's book trembling pen is more than a variety of horizontal painting waves, lifting the pen hanging wrist, this is easy to stop and easy to wave, coupled with old physiological factors, because of the suspicion of fabrication. This is really an old and deliberate workmanship.
Second, the typical stele school
(1) A healthy body that is both a combination of numbers and meanings. The "recreation" is dense and majestic, and the weather is broad, which can best reflect its monumental style. The penmanship is based on the Han Fen, the Wei stele is the body, the seal is used, and the dense is the sect: the posture is integrated with the Han and Wei, the middle palace is tightly knotted, the right Shu Is, and the xiongshen is the sect: the style is the six dynasties, the temperament is graceful, the meaning is strange, and the high beauty is the sect. The main method is "fistula"
Crane Inscription", "Citrus Yang Shinto", "Sixty Artificial Statues", "Jing Shiyu", "Cuan Long Yan Stele", "Gao Ling Temple Stele", "YuanJun Epitaph", "Shi Men Ming", "Yunfeng Stone Carving", "Gao Ge Song" stele. Increase or lose ancient method. Cut into the present body.
The main book "Sacrifice Pan Ruohaiwen" takes the method "Gaoling Temple Stele Yin", which is simple and ancient, with strange postures, both square and round, and the body is between the Li Kai. The Guangyi Zhou Shuangyi lists its stele Yin as the second divine product, after the "Cuan Long Yan Stele" and before the "Shimen Ming". Commented on it as "like a golden jade, treasure is difficult to name". Erosion is rambling, there are few words, it appears to be ancient, and it is particularly close to the "Cuan Long Yan Stele", which can be seen in the source of variations. Before Kang's 59th to 60th years of age in August, before the Meisen Temple's "Cuan Long Yan Monument", for a period of time the calligraphy style was obviously influenced by the "Lingmiao Monument Yin". The calligraphy of the main book "Sacrifice Pan RuohaiWen" is quite the reason for the "Gaoling Temple Stele" to be a variant of the kai, which can not only be in harmony with the ancients, but also can change their faces and enter the ancients and out of the new. Among them, the words "guo", "xiang", "zhi", "zhong" and so on are similar to the inscriptions, which shows that Kang's good choice.
The main book "Banner of the Temple of Yuan Doushi" is densely meant, and the methods taken from the "Cuan Long Yan Stele" and "Gaoling Temple Stele Yin" are typical of the early Kang's orthodoxy. In April 1917, Zhang Baizhen, a member of the Kang clan, funded the construction of Yuan Chonghuan's temple in Beijing, and asked him to write down the temple records, door links, and temple amounts for posterity. "Guangyi Zhou Shuangyi, System" is said to be "the same body as "Cui Long Yan" and "Lingmiao Stele Yin", hun jin pu jade, both teacher Yuan Chang. At the beginning of the year, Kang's canonical book "Sacrifice Pan Ruohaiwen" was taken from the "Gaoling Temple Stele Yin", which was ancient and elegant; in August, he wrote the "Dragon Yan Monument" at Meisen Temple, and the canonical book "Yuan Doushi Temple Record Banner" and "Qing Yi Pin Taifu"
The tomb table of Mrs. Laolao of the Kang clan of the Nanhai Kang clan" takes the Fagu Mao, the body posture changes the side to be flat, the knot is square, the turn is square, and the pen meaning is both "The Dragon Yan Monument" and "Gaoling Temple Stele Yin". "Cuan Long Yan Stele" such as Kun Dao carved jade, the knot character personality is extremely strong, not only difficult to adapt to Kang's penmanship, but also not conducive to the formation of their own face, so the main book of this style is not available
Can become the mainstream of Kang's orthodox body.
"Lincuo Longyan Stele" and "Linwei Yuanjun Epitaph" are the rare empirical evidence of "Shigu" that Kang Min rarely sees. Compared with the original stele and both of them deliberately comprehend the square folding of the original stele, that is, Kang Min's "method of the square pen without a pen", compared with Shen Zengzhi's "Lincuo Longyan Stele", Shen's reverse line, with fang as the mainstay, flattering and gaining momentum; Kang's Zhongfeng Astringent, focusing on the glyph, also Fang Is round, and his stele body is momentum, and the "Tomb of the Linyuan Ambassador" is obviously the law. After "Lincuo Dragon Forehead Stele", he created the "Tomb Table of Lady Qing Yipin's Wife Nanhai Kangshi Xianfei Lao", "Ming Yuan Inspector's Chronicle", "Title Yuan Inspector Temple Banner"
Works such as "The Seven Words of the Great Wall of Self-Destruction" and "The Seven Words of the Seven Words of the Magnificent Mountains and Rivers" and "The Seventy Poetry Axis of the Taibao of The Tao" have deeply won the beautiful and ancient atmosphere of the "Dragon Yan Monument" and the "Gaoling Temple Monument Yin", which are both square and round, mellow and intriguing. Obviously, Kang soon found that the "Cuan Long Yan Stele" was too high and ancient to declare his own personality, and the "Wei Guyuan Envoy Jun's Epitaph" was Qing Jin Fangzheng, which was embodied between the "Shimen Ming" and the "Zheng Wen Gong Monument", and with the square posture of this stele, it corrected the side of the "Cuan Long Yan Stele", turning ancient and thick into healthy and elegant, thus forming kang's orthodox art style. His main books, "Kang's Family Temple Stele" and "Xu Shilang's Zhijing Inscription", are new examples of his entry into the ancient world.
The main book "Kang's Family Temple Stele" is written in Qingjun, which is a sign of the maturity of Kang's orthodox body. The Kaishu "Kang's Family Temple Stele" and the "Linyuan Envoy's Epitaph" are exactly like the "Yuan Doushi Temple Banner" and the "Lincuo Longyan Stele"; in other words, the "Epitaph of the Wei Dynasty's Envoy" is the blueprint for the "Kang's Family Temple Stele". When it was obtained by chance in the Meisen Temple, this stele has both the elegance of "Shimen Ming" and the integrity of "Zheng Wengong", which is clean and interesting. Compared with the original stele, the "Kang's Family Temple Stele" and the "Linyuan Ambassador's Epitaph" focus on the understanding of the knot, the pen, the turn, and the square pen, with the change of temperament, the initial formation of the "Kang Body" dignified and flat, the middle palace tightly knotted, and the fresh face of Jin Jian Qi. If the significance of the "Epitaph of the Yuan Envoy" for the Kang's orthodox body is not found in the literature, if the "Linjiao Longyan Stele" makes it detach from some of the Tang Kai elements of the "Pan ruo Stele" and the "Crane Inscription" and thus form the wei stele face, then the "Linyuan Junjun Epitaph" makes it change from the temperament of the ancients to its own style. The same is the master monument, the former pays attention to the ancient, the latter deliberately new. Li Yunguang, a female marriage of Kang Tonghuan, said in "The Strange Story of Mr. Kang Nanhai's Calligraphy" that Kang's scholarly stele was only carefully appreciated and never copied, which can be seen that it is not a confirmation.
Xingkai's "Banner of Feeling The Emperor's Poetry" is dedicated to the "Zheng Wen Gong Monument", which is a masterpiece of his general meeting. On December 1, 1922, Emperor Puyi was married, which was presented by the Kang clan as the "Xie En Poem" of the Imperial Book "TianyouTang Plaque" given by Emperor Puyi of Xuantong, and the carved stone of the Northern Dynasty of Yunfeng Mountain in Shandong Province, with its scale and the essence of the Law, can be called the right body of the Wei Monument. Kang called it the "Round Pen Pole Track", and in his later years, he took the Fa here and wrote the "Zheng Wen Gong Monument". The writing is the same as that of the "Zheng Wen Gong Monument", which shows the depth of the effort.
Xingkai "癸海 May Climb Taishan Jing Shiyu Eleven Screens", "Jing Shiyu" and "Zheng Wengong", and also includes several meanings. The meaning of "Jing Shiyu" is slightly the same as that of "Zheng Wengong", and the grass is full of rhymes and rhymes, and all the laws are prepared. Kang Youwei "Pingsheng Jing Shiyu" as a teacher", mainly taking its broad hun Mu, Zhongzheng Pingzhi, and seal law rhyme. This orthography is "Shi Men Ming" and "Zheng Zhi Gong Monument". The knotted characters are derived from the Jing Shi Yu (經石峪), the Zhao Fa gesture Naizong (郑文公), and the Jian Mu Tang Yi ShenQi (石門明). Graceful and thick, deep breath.
(2) Healthy and healthy grass that can move people's feelings. "Wellness" is a grass, a heavenly horse, pure god, and can best reflect its divine spirit. The penmanship is based on Han Fen, the combination of square circles, the seal meaning rhymes, and the profound is the sect: the posture of the Six Dynasties, the right and the wrong, the shape is wanton, and the qi is the sect: the style is new and different, the quality is deep, the people can be transferred, and the deep depression is the sect, and its main integration is the "Gaoling Temple Stele Yin", "The Dragon Yan Stele", "Shi Men Ming", "Jing Shi Yu", "Zheng Wen Gong Stele" Steles, and also takes the Jian Mu Zhangcao, drawing on Yan Zhenqing, Yang Ningshi, Ni Yuanlu, Yi Bingshou and other families. The inscription is integrated, and the machine is unique.
Kang Youwei believes that the reason why the Six Dynasties penmanship is different from the future generations lies in the secret of the knot body, the thickness of the pen, and the grass intention method of its practice. Xingcao "Yuan Doushi Temple Record Banner", together with Xingcao's "Seven Chapters of Ding's May Chronicle Poems" and Xu Qin's Xingshu "Ding Has Mei Sen Guan's Secluded Poetry Volume", is the same kind, integrating the "Cuan Long Yan Stele" and "Gaoling Temple Stele Yin", with dense knots, mellow pens, and a unique appearance in the Kang body xingcao, which is a typical style of the "Ding Has" period.
The cursive "Four Screens of Datong Book Poems with The Title of the First Month" is harmonious, the pen is smooth and harmonious, and the new theory is different. Its horizontal demarcation is obviously influenced by the stele: the knot word has many chapters and wills, which can be described as the integration of the stele and the post, which can move people's feelings.
The cursive "Poetry Axis of Brother Ren of The Gift of Hou Hou" is full of pen and ink, and the imagery is shocking, which is a portrayal of Kang's spirit. Zhang Huaiyun: Those who are deeply literate, deduce their brilliance, and do not see the glyphs", yes, it is also said. Wanmu Caotang Poetry Collection · Addendum: "In June (1921), Xin You, took refuge in the summer at the Jiaoshan Grand Observatory, listened to the waves at night on the stone bed under the oak tree, sat and forgot the world, left a poem temple monk Liu Heng, and protected the loquat tree." The white waves can't go back, and the green mountains roll on the ground. In front of the sill, the bamboo is more humorous, lying down to listen to the thunder of the night. "It's similar to this work.
Kang Youwei visited the garden from 1923 to his death in 1927, and he must come to rest several times a year. Watch the sea and climb the mountain, and the wind whistles. The mountains and seas of Qingdao are full of nostalgia, suitable for their intentions, and their nature, and they have left a large number of masterpieces of poetry and books here. Cursive (B ugly heavy also Qingdao Xifu poetry axis) ink gas dripping. The joy of revisiting Qingdao jumped on the paper.
The cursive book "Four Screens under lulun Sai" has a peculiar and magnificent chapter, which is a meticulous masterpiece. The grass is still dangerous, and this method is unique: four poems are one line and one screen for each sentence, and the screen screen protection ring. The fourth screen of "thousand" characters is horizontally drawn in a wave posture, and the vertical pen is like a Han Jian vertical and straight down, occupying the digital space, which makes people breath-taking. Liu Xizai said: "Cursive writing is especially heavy on tendons, and if the pen is not converted and has been under the control, the tendons will die." His pen is like "General Pei" "hidden in the struggle to cut the law", the courage can resist the Ding; the pen is straight like Ni Yuanlu, the fall is reversed, in the correction of the flying momentum to stay, the virtual reality with the situation. Cursive writing is especially heavy on pen power, Kang Youwei respects Yan Zhenqing and Yang Ning style in Xingcao, and regards it as "General Pei's Poem" and "Xia Retie", which is dense and strong, and the grass posture of the pen is often intentional
(3) A healthy and simple calf with good words. Kang Youwei's ruler calf and Jianzha are longitudinal and transverse. From the heart, it is a miracle in the garden of calligraphy. The Qing Dynasty Monument was ruined. The revolution is in decline. Not only are the famous masters in Beijing not good at jian calves, but even masters like Deng Shiru and Zhang Yuzhao. Its simplicity is also undesirable. This stele is actually caused by partial epigraphy. Kang Shi, who honored the stele and suppressed the post, did not completely deny the function of the thesis. He pointed out that today's stele is because it can learn the penmanship of the ancients, and the post is repeatedly distorted: however, the thesis is convenient for personnel and has a magnificent posture. Especially suitable for JaneZa. Kang's ruler calf and Jianzha can be roughly divided into three periods from the method of taking and using the pen. The early period is the thesis period, the middle period is the transition period from the thesis to the stele, and the later period is the period of the blending of the stele. Its pen is divided into two periods, the former is biased to mention the disadvantages in the transport finger, the latter is focused on the transfer of the wrist. The former is the Thessalian, or the Italic Method of the Present Body, and the latter is the Stele School, or the Division of the Ancient Body. The so-called meeting center is not far away, and the Kang's ruler can be rope ink.
In May 1917, Kang Youwei and Shen Zengzhi went to Beijing to participate in Zhang Xun's restoration. Defeated by the Beiyang government, he and Shen Zengzhi took refuge in the Meisen Temple of the U.S. Embassy, and sang poetry. The book "Four Chapters of the Book of Gifts to The Eran Shangshu and the Poetry of Harmony" was written in the style of Meisen-in Temple, and the knot was influenced by the "Gaoling Temple Temple Yin" and the "Dragon Yan Monument". Kang also had some books with friends and friends who discussed stele discussions, such as the "Letter to the Situation of the Dragon And the Second Book" in 1917 when he was sixty years old, that is, the "Monument to the Temple of Gao Lingling", and in the "Guangyi Zhou Shuangyi", he even enshrined the "Tablet of The Dragon Yan" as the first of the three sacred works. "With The Book of The Clouds" talks about calligraphy, "With Xiaochuan Zha" talks about the purchase of monuments and inscriptions, and "With Shen Yi Laozha" discusses painting, with a revealing temperament and good words. Xingcao's "Letter to Mo Hewu Shuzha", in which the letter talks about the content of learning calligraphy, helps to understand kang's concept of calligraphy in his later years. This work is written in a clear and concise manner, and it is a masterpiece of his writings.
Xingcao "癸海六月亭林云台觀尋陈希夷迹诗札" is written in grass, with waves of drums and drums, as if there is a fa lou lan jian mu and residual paper. The characters "Chungu", "Chu" and "Youcun" are written in chapter grass, and the pen is old and ancient, which is the best in his poems in his later years · Kang's cursive book "Jia zi may to his highness king Gong Wang' shuzha" composed at the age of sixty-seven is also representative. Ai Shin Kyora · Pu Wei, the last Prince Gong of the Qing Dynasty, was the lord of the Xijin Dynasty, and advocated the leader of the Restoration Faction for Yi v. Sun. 1912 took refuge in Qingdao · The Japanese army occupied Qingdao in World War I in a vain attempt to use Japanese power to restore it. In 1917, kang Youwei lived in seclusion at the US Embassy for half a year and met pu wei in Qingdao. In 1922, Pu Wei moved to Dalian and gave his family to Kang Youwei to settle in Qingdao Tianyou Garden. This work is the work of his appreciation and knowledge.
In 1927, Kang Youwei's 70-year-old cursive "Shuzha with Liang Suijue" also reflected his activities during this period Liang Suijue (1880 to 1969), a Cantonese character. In 1897, he married Kang Cheng and became his "second wife". After the failed coup d'état, he traveled with Kang around the world. Liang's tong Yu Wenmo presided over household chores. The birth of the daughter tongfu, the same ring, the son tongji (early day), the same raft. On the fifth day of the first lunar month in 1927, Kang Youwei solemnly celebrated his seventieth birthday in Shanghai. Puyi specially wrote the "Yue Zhiyuan Qing Plaque" for him and gave him Yu Ruyi. Liang Qichao wrote the Shou Lian: "The Mysterious Meaning of the First Coming, the Unevenness of the Whole Hundred Families, Entering this Age, Seventy Years old; Offering The Beans to the State, to the Joy of Xin in Spring Wine, and the Pro-Receiver Covers Three Thousand Yans." When the Northern Expeditionary Army approached Shanghai, kang set off from Shanghai to Qingdao on the thirteenth, and arrived on the island on the eighteenth. In the middle red box of this letter treasured by Kang Tonghuan, it reads "The last third letter, will be written." Kang You is a good cultural relic, fine appreciation, and the wealth of his collection can be seen by the "Wanmu Caotang Collection of Paintings". Kang Youwei's source of livelihood after his return to China, in addition to selling books and texts, also buying and selling ancient calligraphy and paintings. Kang Youwei was already unwell when he left Shanghai, and he fell ill on the 20th, during which he composed "Xie Si Folding", and died at 5 o'clock in the morning of the 28th.
(4) The book of the profound and beautiful health and sports. Kang's list of books is the length of the "Jing Shi Yu", "Yunfeng Stone Carving", and "Shi Men Ming", and in his later years, he used the "Ode to the Pavilion", which was divided into feelings, all in the square circle, the depth of the achievement, and the ancient and modern steps alone. The list of books is signed by the ancient day, also known as the big character of the book, which is difficult to compose since ancient times. Huang Tingjian's shiyun "big characters without excessive fistula crane inscription" proves that the Song Dynasty people have not seen the "Qinshan JingShiyu" and "Four Mountains and Cliffs". Since Qianjia, with the rise of epigraphy and epigraphy, a large number of ancient stone carvings in barren mountains and wild ages have been discovered, which has had a great impact on the development of calligraphy art. Kang Youwei visited Mount Taishan in April 1923 and was shocked by the "Jing Shi Yu" and "Jing Shi Yu as a teacher in his lifetime". Kang believes that there are five difficulties in the list of books, such as different writings, unaccustomed management, sudden changes in standing, difficulty in imitation, and difficulty in refining pens. Therefore, there are no portals for list books, when the Six Dynasties are used as the law, and there are few fine list books since the Yuan and Ming Dynasties, and the study of monuments is not happy. And the list of books must be written and ink graceful, with quiet and simple as the top, followed by deep elegance and health. If there is a man of the Tao, subtle and round, the qi is mu mu mu, and the nature is superb. If you intend to be imposing, you are the father. The round pens of the book are all derived from Chung Wei. The round pen is based on the "Jing Shi Yu" and the square pen is based on the "White Ju Valley". However, the "Jing Shi Yu" is the first. Its penmanship is slightly the same as "Zheng Wengong", grass love seal rhyme, everything is prepared. Majestic Gumu. Kang's is the best at connecting. The style is the same as that of the list book. "Kang Youwei himself wrote. The title list is in big print. Majestic and the most amazing. I especially appreciated the three-character wooden plaque of "You Cunlu" that he looked at at the entrance of the shanghai garden road apartment, and the whiteboard ink book, without hook carving. It also does not apply lacquer. Round pen wide knot. Graceful promotion. This is Kang Lao's 'meat pen', and his courage comes out of the "Shimen Ming" and "Diamond Sutra". It's a really majestic one. Wei Qi Tablet Edition. Square circle pen combined. Most of them are square pens. Is it that Kang Lao's special round pen has not been aware of the problem of carving hands? Or did he deliberately avoid the knife marks on the stone carvings and take the appearance of the god alone to carry the pen? Extrapolating from historical conditions, I think it belongs to the former, not the latter. (Wu Changshuo) According to the "Diamond Sutra" still has many words only double hooks not engraved, at that time the book dan people used the pen square circle preparation, the engraver in the double hook of the change of the pen, the round pen is very careful, so it can be known that the round pen of "Jing Shiyu" is not all transformed by nature, nor is it carved by the knife of the engraver, but also the aesthetic pursuit of the book writer with the change of the pen square circle. This point was already clearly observed by Kang Youwei as early as when he wrote "Guangyi Zhou Shuangyi".
Xingcao's "Great Pi Ge Banner" is an early list book of Kang's institute, which also has the meaning of "Zhu Jun Chang Carved Stone" and "Shi Men Ming", but it is more of an old habit of the pavilion, and it is still difficult to grasp the key to the list book. The book "Yuan Doushi Temple Banner" integrates the "Gaoling Temple Stele" and "Zheng Wen Gong Monument" in one furnace, upright and rigorous, thick and simple, and the meteorological ancient Mu Cangshen. Written in the spring of 1917, it was a book gift to Xu Beihong to france. This work is in the same style as the "Seven Words of The Gift of Hanchen Ren Brother", and has the characteristics of the penmanship and knotted characters of the "Crane Ming". The xingshu "Cun Tiange Banner" is taken from the "Shimen Ming" and is a good system for him in his later years. "The Northern Tablet is always good for the Wang Family", Kang's "Shimen Ming" as a divine product, Feiyi Hun Mu Zhizong, especially used in the inscription list. However, throughout the Kang's ink, in addition to "Opening the Heavenly Shore Horse, The Dragon Five Words of the Qiyi People" directly took the "Shimen Ming", no works copied from this stele have been found. In 1923, the inscription on the "This" did not damage the "Shimen Ming", which is the only empirical evidence of his relationship with the "Shimen Ming". In this year, the Shanghai Art College rebuilt Kang's inscription "Cun Tian Ge Banner" for Liu Haisu · Its knot breath is all derived from the "Stone Gate Inscription", and the posture is changed to the right, in order to pursue subordination. This work is a different ingenuity: the three words of "Cun TianGe" are uneven up and down, the word "Cun" is slightly larger, the "Tian" is close to the front word at the minimum, and it is separated from the back word, the so-called "sulfur can go to the horse, the airtight is impermeable", and the "Pavilion" word is pressed at the maximum, and it is really "Shi Men Ming" "Flying away and strange, the branch is sparse", which is quite playful. With both square and round pens, knotted and tail hook picked, horizontal painting leads without hair, and the spirit is introverted: the pen is old and spicy, which is a rare masterpiece of its plaque. In addition, Kang Youwei began his domestic travels after returning to China at the end of 1913. Famous mountains and rivers, temples and ancient temples, where the traces are, there are many inscriptions, including many plaques, which have become famous historical and cultural sites in the local area. For example, Hangzhou's "Crane Pavilion", Kaifeng's "Hanhan Guguan", Lushan's "Huanglong Temple", Shaanxi's "Lantai Stone Canal", "Sting Lu", Chang'an's "Xingjiao Temple", etc., all have their inscription plaques.
Kang's is the best at yanglian, excellent in writing, profound in meaning, and deep in temple atmosphere. For the wonders of Kang Shu.
The book "Since the Great Wall Of Destruction Laments the Present and the Present, and the Water Remains resolute and strong mountains and rivers" is seven words, and the characters are square flat, taking the "Gaoling Temple Stele" and "Cuan Long Yan Stele", the atmosphere is ancient and thick, and it is a new masterpiece for entering the ancient world. After Zhang Cao was formalized by Shi You's "Anxious Chapter" during the Yuan Emperor of the Western Han Dynasty, Bo Cao became its most typical brushwork feature. During the Wei and Jin dynasties, some inscriptions and scriptures were unique to the stroke forms of the two ends of the wave, that is, the pen feature that Kang called "the change of Li Kai" was actually the Zhang Cao Bo Relic Method, and the meaning of Kang's calligraphy came from this. "Gifting Immortals and Brother Ren Ren Five Words Lian" is a long-fronted yanghao, the pen is exquisite, and the calligraphy is pure from the "Shimen Ming", qingjun shu, very bookish, for the book couplet boutique. The genus "youwei" is written in cursive, and the word "has" is not standardized, which is an example of the grassification of the genus Kang. The cursive book "Gifting Mu Yan Shi To Speak five words together" is divided into grass, and the stele knots are fused. Kang's cursive couplet is relatively rare, this work is a center turn, "inspection" and "life" two fonts are flat, and the pen is wavy. "Guangyi Zhou Shuangyi" says that "if you want to be retro, you should write chapter grass". In his later years, the inscription was harmonious, which was a reflection tradition on the basis of the stele school and changed the temperament. With the pen as the grass, the strokes still pursue the golden stone meaning carved by Gu Mao, rather than the so-called thesis style. Kang's saying is "I taste love the Ode to the Pavilion", and the body method is dense. "The Book of Conduct, "Ji Qiu Xiaoyou Five Words And Five Words", has a unique will, a magnificent atmosphere, and can change its shape for the sake of learning the ancients.
Collection of Qing Dynasty epigraphy
Kang Youwei inherited and developed the latest achievements in the tradition of epigraphy and epigraphy since Qianjia, and wrote "Guangyi Stele Double", which became the integrator of the Qing Dynasty epigraphy movement. If Ruan Yuan initiated the steleology movement and opened up a new field for calligraphy creation; Bao Shichen Fengfubei's technique theory greatly promoted the development of epigraphy: Deng Shiru, Yi Bingshou and others provided practical support for epigraphy with their creative achievements; then Kang Youwei's significance lies in summarizing and perfecting the theory and practice of the epigraphy movement and establishing the historical status of epigraphy in the Qing Dynasty, so it is said that Kang Youwei is the integrator of epigraphy theory.
Huang Zhonghan's "Comments on the Guangyi Zhou Shuangyi" records the background of the writing of the "Guangyi Zhou Shuangyi": "On the occasion of the Peng-ji Brigade Beijing Division, changsu Pengzi Touring The Beijing Division, the noble people who prefer the book have not met, and they want to be sealed by the Guozi Supervision Capital Inspection Yuan, and they are not reachable, and they are quite a monk. Yu and Zi Pei advised their young cadres to talk less, so they read the stele, gathered hundreds of passes in October, visited the Nanhai Pavilion, saw that its interstitial shelves were as beautiful as possible, Zhang Bi stall case, the eyes were like electricity, and the comments were one or two, all of which were suspenseful and suspenseful, and analyzed the streams, and Gu did not know that he had a lofty ambition. "When the study of epigraphy is in the ascendant, and there are a large number of inscriptions, Ding Yi out of the upper, found, a thousand monuments and a hundred memories, hook noon is rich." At the same time, the latest achievements in epigraphy and archaeology were absorbed, and the famous scholars in the DPRK and China who were in contact with Kang, such as Zhang Dinghua, Pan Boyin, Huang Zhongtao, Sheng Yu, Shen Zengzhi, Ye Changshi and others, were mostly proficient in gold stones, collections, and calligraphy, and had a great influence on the formation of their epigraphical ideas. This enabled him to develop a new understanding on the basis of the theory of Ruan Yuan and Bao Shichen's epigraphy. Due to its strong political color and not without extremism, "Guangyi Zhou Shuangyi" was repeatedly destroyed by the Qing court after its publication, and its reputation has been mixed for a hundred years. His friend Huang Zhongtaoyun did not believe that his ancient text was forged for Liu Xin to fake the miscellaneous zhongding. Zhu Rongsheng, president of Guangya College, had many difficulties in handling the work, pointing out that this book is becoming clearer and clearer in the source of calligraphy, and the discussion is penetrated into detail and has many thrilling words. And especially obedient to "BaoNan" and "Embellishment" two, "Pen" to the full of gold needles. However, the so-called flat wrists think that they have not yet reached their point of view, or they are afraid of delaying future generations. Sha Menghai said that Kang's overview of the Han and Jin dynasties and the northern and southern dynasties of Motuo, to save the sluggish phenomenon in the calligraphy world at that time, was caused by the wind and made a great contribution. But because he is faced with new things, all monuments are good, and they become extreme, unfair words. This work was written from Guangxu Xindi (1891) to August 1898, seven years of fan eighteen prints, and then published many times after Xinhai. Translated into Japan as the Treatise on calligraphy of the Six Dynasties, as the most important treatise on calligraphy theory in the late Qing Dynasty, it influenced a whole generation of calligraphy styles and also had a major impact on Japanese and Korean calligraphy.
It is worth mentioning that in the seventeenth year of Guangxu, Kang Youwei set up a lecture in Changxingli and wrote the "Record of Changxing Learning" as a study rule. Among them, the six art subjects are added: etiquette, music, books, numbers, diagrams, and guns; with "Guangyi Zhou Shuangyi" as the teaching material, calligraphy has become a tool for cultivating talents for restoration and applying them to the world. In the "Examination of the New Apocrypha", a large number of gold stones and philological achievements are used to prove the falsity of the new learning. For example, after the "Cai Yong" in the "Pseudo-Jing Yu Tong Xue Cheng" in the eighth zheng Xuankao, Kang's "Yong Chuan" and "Notes on the Book of Books" both said that Yong Zi Shu Dan Yu Shi, so that the work was engraved. The Luoyang Garan Ji also says the Three Character Stone Classics
For the Han Right Zhonglang general Cai Yong relic. The Book of Sui and the Chronicle of the Classics say that the Seven Classics engraved by the Later Han Dynasty were all written by Cai Yong. Dong Kui's "Guangchuan Shubao" is not complete with Cai Yong's "Shijing". Its extensive quotations from non-stop calligraphy, which were entirely out of political necessity, became a tool for "the Six Classics to Note Me".