Zha Sheng (1650-1707), zi Zhongwei, trumpet sound mountain, Zhejiang Haining Yuan Huaren. In the twenty-seventh year of the Qing Kangxi Dynasty (1688), he entered the priesthood and was elected as a Shu Jishi of the Hanlin Academy and was taught editing. When the Kangxi Emperor chose Confucian ministers to serve as advisers, he was recommended to the Zhinan Study For many years, he was at least a zhan shi. The calligraphy is exquisite, dong qichang is charming, and the small kai is particularly exquisite.
The Kangxi Emperor praised: "Other people's books are tacky, but Cha Sheng is a vulgar ear." The work is different for a long time. "Zha Sheng was cautious and diligent in his work, and was highly valued, and the Kangxi Emperor gave books, paintings, royal pens, and Yantai, and gave di Xihuamen, and the name of the imperial book "Fade Yuan". The character is high, and the treatment of others is not distinguished between noble and inferior, and all are treated equally. There were many calligraphers in all directions, and he often lit candles at night. He is the author of "The Collection of Tamyuan Hall". At that time, people called Zha Sheng calligraphy, Zha Shen xingshi, and Zhu Ziheng paintings as "Haining Three Absolutes".
Cha Sheng", "Linhuai RenJi Wang Xi's Holy Teaching Order"
By chance, I saw a calligraphy work, which was written in the "Sacred Order of Wang Xi of Huairen Ji", which was very exquisite, so I went to check the information about this work, which was written by a Qing Dynasty calligrapher, and its name was Cha Sheng. The "Sacred Order of the Book of Wang Xi in Huairen Collection" written by Cha Sheng was collected by overseas Chinese.
Knowing that this man was called Cha Sheng, he went to check his life, and the scope of Cha Sheng's activities was Shunzhi and Kangxi years. Zha Sheng Zi Zhongwei, a native of Haining, Zhejiang, was a jinshi during the Kangxi Dynasty, good at poetry, and mainly studied calligraphy from Wang Xizhi and Dong Qichang. At that time, there was a certain fame, and the literati Cha Shen poetry, Zhu Ziheng's paintings were collectively called "Haining Three Absolutes".
Everyone should know that the "Order of the Three Holy Teachings of the Great Tang Dynasty" is an article written by Tang Taizong and written by Chu Suiliang. Later, the monk Huairen used Wang Xizhi's handwriting to collect characters, which were later engraved into inscriptions. It is known as the "Sacred Order of the Book of Wang Xi in the Huairen Collection" and the version written by Cha Sheng.
Cha Sheng's study of Wang Xizhi's calligraphy is really fascinating, and people have to admire and appreciate the calligraphy written by Cha Sheng with a flexible and flowing pen, and the structure abides by the rules of the original post. Everyone knows that the "Sacred Order of the Book of Wang Xi in Huairen Collection" is composed of a collection of characters, so the rhyme is not very smooth, but the wind god who restored Wang Xizhi's calligraphy written by Cha Sheng is so natural. The qi rhyme written in one go, in the qi rhyme is not affected by the original set of words, blended in, so uncomfortable!
In observing the use of Cha Sheng's pen, the brushwork is very exquisite, there is almost no failure, the charm runs through, echoing up and down, so that the viewing is pleasing to the eye.
One of the difficulties in writing Wang Xizhi's calligraphy is that there is a dignified in the flexible brushwork, because writing floating is a taboo in Wang Xizhi's calligraphy. And Cha Sheng's pro writing is really convincing, and the writing is really good.
Good calligraphy works always have a special kind of rhyme, which is not only achieved by the proficiency of writing skills, but also the embodiment of a person's inner cultivation.
Zhao Meng, a great calligrapher of the Yuan Dynasty, his calligraphy is more of a skillful skill, and practice can produce skillful performance. There is also a Ming Dynasty calligrapher Dong Qichang, and Dong Qichang's calligraphy is more of a manifestation of qi rhyme, good at refining and absorbing qi rhyme in the pro-post, calligraphy works in one go, good and unpretentious. And Zha Sheng's calligraphy is very similar to Dong Qichang's calligraphy, both are good at expressing qi rhyme, so you can find Dong Qichang's things in the "Huai Ren Ji Wang Xi Zhi Sacred Order" written by Zha Shenglin. It can be said that the version written by Cha Shenglin is really a good work.
Through Zha Sheng's calligraphy, we can see that his calligraphy did not jump out of Wang Xizhi and Dong Qichang's own style, so his influence was not very large, but his study and understanding of Wang Xizhi and Dong Qichang's calligraphy was heartfelt.
Although Cha Sheng's fame is not very famous in the history of calligraphy, and even many calligraphy enthusiasts do not know his name, his calligraphy is good, and calligraphy is worth learning and appreciating. So sometimes learning calligraphy only depends on whether he writes well or not, and their fame is not absolutely related, I think there must be such a deep calligraphy skill in history and unknown calligraphers, for them, we can remember their calligraphy works. Let's enjoy the "Sacred Order of The Holy Teachings of Wang Xi of Huai Ren Ji" written by Zha Sheng!
The Prajnaparamita Heart Sutra, the general outline of the Mahayana Buddhist teachings, is a concise summary of its contents, referred to as the Heart Sutra. The whole sutra is only 260 words, and it belongs to one volume of 600 Prajnaparamitas. This "Heart Sutra", the penmanship is from the Lan pavilion, and none of them are meticulous. Deeply understand the will of the easy, win with coolness. However, those who lack self and learn to stick to it are slightly involved.
There are nine parts of the Prajnaparamita Sutra: "Radiant Prajnaparamita", "Bright Prajnaparamita", "Dao Xing Banruo", "Shengtian Prajnaparamita", "ShengtianWang Prajnaparamita", "Manjushri Prajnaparamita", "Vajrapani Prajnaparamita", "Dapin Prajnaparamita", and "Sketch Prajnaparamita". According to the scholar Huang Jiashu (2000), the Prajnaparamita Sutra and the various pranayamas, as proclaimed by the Buddha during the second turn of the Phaseless Wheel, are the deepest methods of Mahayana Buddhism. It is often mentioned in Tibetan scriptures: "Of the eighty-four thousand Dharmas, the Prajnaparamita is the most special." The connotation of the Prajnaparamita Sutra is mainly emptiness, and through the understanding of emptiness, we can break the obstacles of defilement and obtain the nirvana of Hinayana and attain the nirvana of the Hinayana and the bodhi fruit of sound and hearing; we can also completely break the obstacle of knowing and obtain the nirvana of the Mahayana, that is, the supreme bodhi fruit position, through the understanding of emptiness, coupled with the perfection of the meritorious food.
The Prajnaparamita Heart Sutra is the heart marrow of the Great Prajnaparamita Sutra, and all the essence of Prajnaparamita is located in this sutra, hence the name Heart Sutra. This passage summarizes the essence of the righteousness of the Great Pinnacle in a shallow and profound way. It can be described as simple and meaningful, and words are sparse and deep. Ancients believed that reading this sutra would allow you to understand the basic spirit of the Prajnaparamita sutras. There have been seven Chinese translations of the sutra. The more famous ones are the Mahabharata Sutra translated by the Later Qin Dynasty Andromeda and the Prajnaparamita Heart Sutra translated by Xuanzang of the Tang Dynasty.
This sutra preaches emptiness and pranayama, and is also considered the first and core of Mahayana Buddhism, and is the most widely known and popular Buddhist scripture in the world (American Translator of the Han Fan Buddhist Sutra PINE 2004). The English translator Edward Conze (2000) considers this sutra to be part of the third phase of the four stages of the development of the Prajnaparamita sect. On the other hand, the short Prajnaparamita Sutra and the Vajrapani Prajnaparamita Sutra, which are also the quintessences of the sect, had a profound influence on the development of Mahayana Buddhism. At the same time, the Heart Sutra is similar to the Zen classics, and the Diamond Sutra is regarded as the supreme classic by Zen Buddhism.
The Heart Sutra is generally thought to have been written within the Territory of the Kushan Empire in the 1st century BC. Pine (2004) believes that the author is a monk of the Twenty Schools of Buddhism, one of the Theravada schools, because the Heart Sutra was first translated into Chinese by the Yueshi monk Zhiqian in 200-250 AD.
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