The Paper's reporter Chen Ruoxi is from Nanjing
2020 coincided with the 100th anniversary of Li Ruiqing's death, and on the morning of November 11, the "Ink Yun Meixiang - Documentary Exhibition of Calligraphy and Painting commemorating the 100th Anniversary of the Death of Mr. Li Ruiqing" jointly sponsored by Nanjing University and Nanjing Museum opened at the Nanjing University Museum. The exhibition exhibits more than 160 calligraphy, paintings and documentary works by Li Ruiqing and his teachers and disciples, presenting his artistic and academic style. After the opening ceremony, the "Symposium on Academic Thought to Commemorate the Centenary of the Death of Mr. Li Ruiqing" was held at the same time.
Some scholars believe that as an important founder of modern and contemporary education in China, the representative of the Qing Dynasty Epigraphical School and the pioneer of the modern "Golden Stone Calligraphy School", Li Ruiqing's historical status and achievements in calligraphy and painting are underestimated, and as a remnant of the late Qing Dynasty, calligraphy and painting may only be a way to express his feelings at the end of the Qing Dynasty.
Li Ruiqing (1867-1920)
Li Ruiqing (1867-1920), also known as Zhonglin and Zhonglin, was a member of the Rain Farmer, also known as Mei'an, Mei Yi, and Yumeihua An, and a late Qing Dao, a native of Yangxi, Linchuan County, Fuzhou Prefecture, Jiangxi. Born in a noble family, he learned to study Chinese culture, look at pictures, and learn seal points at an early age. Guangxu twenty years (1894) jinshi, the following year to supplement the temple examination, the election of Hanlin Yuan Shu Jishi, Guangxu thirty-one years (1905) to change the official Taoist, distributed to Jiangsu, served as the general office of the teacher training institute, Guangxu thirty-two years (1906) as the supervisor of the Liangjiang excellent normal school, three years after xuanun (1911) the Xinhai Revolution broke out, in danger was appointed as the envoy of Jiangning Bu, the city fell, Li Ruiqing refused to shi shi republic, the republic of China died of a stroke in the ninth year (1920).
Exhibition site
Although Li Ruiqing is a native of Linchuan County, Fuzhou Prefecture, Jiangxi, he has many ties with Nanjing and Shanghai. As an important founder of modern and contemporary education in China, he served as the supervisor of the "Liangjiang Normal School", one of the predecessors of Nanjing University, for seven years and cultivated a group of outstanding talents. In his later years, he settled in Shanghai, and together with Huang Binhong, Wu Changshuo and Zeng Xi, he was called the "Four Demons of the Sea", and the calligrapher and painter Zhang Daqian accepted disciples for his later residence in Shanghai. Because of his deep affection for Nanjing, Li Ruiqing was buried in Niushou Mountain in Nanjing after his death, and Li Ruiqing's tomb is now an important cultural relic in the local area.
Li Ruiqing made outstanding contributions in his life, and his main achievements were concentrated in the two major fields of education and calligraphy and painting art. He is an important founder of modern and contemporary education in China, a pioneer of modern art higher education, and a pioneer of modern higher normal education, serving as the supervisor of Liangjiang Normal School for seven years, devoting himself to rectifying teaching affairs and learning style, recruiting Chinese and foreign teachers, reforming disciplines and curriculum structures, creating drawing and handicraft departments, and cultivating a number of outstanding talents.
He was a representative of the Qing Dynasty Epigraphical School and a pioneer of the modern "Golden Stone Calligraphy School", and his disciples had many achievements, such as Hu Xiaoshi, Lü Fengzi, Zhang Daqian, Li Jian, Wang Caibai and so on. During his lifetime, there were about 20 kinds of inscriptions published, and after his death, the disciples compiled the "Collection of The Remains of the Pilgrims" for him.
Li Ruiqing's calligraphy inscription works
At the opening ceremony of the exhibition this morning, Shi Mei, director of the Nanjing University Museum, introduced the origin of the exhibition. The 118-year history of Nanjing University began with the Liangjiang Normal School. Li Ruiqing was the supervisor of the Liangjiang Normal School from 1906 to 1911 for seven years, and this year coincided with the 100th anniversary of Li Ruiqing's death, so he organized such an exhibition. However, Nanjing University's collection of calligraphy and paintings on Li Ruiqing is limited, fortunately with the strong support of the Nanjing Museum and private collectors, the public and private collections of more than 160 pieces (volumes) are widely collected, and the exhibition was opened to the public on the 11th.
The exhibition is divided into 7 units: Seeking Seals in Gold, Seeking Points in Stones, Entering the Tablets, Entering the Paintings of the Golden Stones, Liangjiang Pen and Ink, Mei'an Disciples, and Mei'an's Testaments, "Seeking Seals in Gold", "Seeking Points from Stones", "Nabei Into Posts", and "Golden Stones into Paintings" mainly presents Li Ruiqing's calligraphy and painting art, "Liangjiang Pen and Ink" and "Mei'an Disciples" present Li Ruiqing's teachers and disciples' artistic and academic styles, and Mei'an's posthumous works present Li Ruiqing's academic style.
Some scholars and collectors believe that Li Ruiqing's historical status and artistic achievements are far underestimated.
Li Ruiqing's "Four Screens of the Seal Book"
Xiao Ping, a calligrapher and collector, said that Mr. Li Ruiqing has not been valued in the Chinese art market for more than 30 years, and the price of his students is far beyond him, but as far as Li Ruiqing's historical status is concerned, he is the founder of modern education in China and the pioneer of art education. Xiao Ping believes that Li Ruiqing is a transitional figure in general, there are two aspects, education is a precedent, in calligraphy and painting is also a transitioner, he is exploring, many things he only made a start. "But the initiator is remarkable, and his credit lies in the opening."
"Imitation of Zhu Yun Landscape" Li Ruiqing
Wang Gaosheng, deputy research librarian of the National Museum of China, told the surging news reporter that many people think that Li Ruiqing's calligraphy has the habit of shaking pens, and he has done special research on this, believing that this is actually an understanding of steleology by people of Li Ruiqing and Zeng Xi's time, which has its own source and includes two aesthetic methods: One is that this pure "wavy line" exists in Huang Tingjian's calligraphy, which is in the theology, and the other is the wrong brushwork, which comes from the golden text, and has a vein from the golden stone to the epigraphy. So they actually have very rational thinking, not the so-called "habits". "This kind of brushwork still has a very far-reaching impact on us now, and the people who write the stele now still can't jump out of this example, and still extend on the original techniques of the predecessors, from this point of view, many people in the contemporary era underestimate the understanding of Zeng Xi and Li Ruiqing, and some of their brushwork is also misunderstood." I think they have a heritage and their own thinking. Wang Gaosheng said.
Wang Gaosheng believes that Zhang Daqian, as a disciple of Zeng Xi, was later introduced to Worship Li Ruiqing as a teacher, and he was greatly influenced by Zeng and Li. Zhang Daqian's influence by Li Ruiqing is reflected in several aspects, the first is painting, Zeng Xi and Li Ruiqing both like the four monks, which also has a great influence on Zhang Daqian's preferences. Zhang Daqian later became a master of shi Tao and the eight great forgeries, and was also deeply influenced by the four monks in terms of artistic copying and creation, which stemmed from Zeng Xi and Li Ruiqing's preference for the four monks; in addition, in calligraphy, Zhang Daqian was also greatly influenced by Li Ruiqing, who learned Huang Tingjian and Jin Wen, and these calligraphy concepts were completely imparted to Zhang Daqian. Wang Gaosheng said.
Li Ruiqing painted a fan
Xu Xingwu, dean of the School of Letters at Nanjing University, told the surging news reporter that Li Ruiqing's calligraphy achievements lie not only in calligraphy, but also in calligraphy, and his calligraphy has not received enough attention from everyone. Through the method of governing the scriptures and looking at the hand, he integrated qing dynasty scholarship and the development of new methods with new materials and traditional Chinese Spring and Autumn historiography into his calligraphy concept, and the three sentences of "seeking to divide from stone, seeking seals from gold, and accepting tablets into posts" are actually not enough to summarize all his calligraphy. Many of his calligraphic ideas are collected in an oral calligraphy work, The Jade Plum Blossom AnShushu, which is his calligraphic achievement. His paintings have not been passed down much, mainly to learn Shi Tao, Bada and Yun Nantian, all three of whom were relict painters in the late Ming and early Qing dynasties, so he also drew from them to paint words and express his feelings.
Different from the previous calligraphy and painting art exhibitions, the organizers and planners of this exhibition are mostly students trained by the Department of Chinese of Nanjing University, which also makes the audience have an interpretation of Li Ruiqing from another perspective, presenting a more three-dimensional Li Ruiqing. Xu Xingwu believes that if the Qing Dynasty does not die, the ambition of the Qing Daoist may not be to become a calligrapher and painter, and he is likely to become a generation of famous courtiers. "We always feel that he is a literati and a calligrapher, but for him personally, calligraphy and painting are just his later aspirations and hearts, as well as the needs of his livelihood, and his real goals and ideals are not here."
Xu Xingwu believes that Li Ruiqing's achievements are not in his calligraphy and calligraphy, but in the fact that he is a rare benevolent person in modern China.
On the afternoon of November 11, the "Symposium on Academic Thought to Commemorate the Centenary of the Death of Mr. Li Ruiqing" was held at The Living Water Xuan on the second floor of the College of Letters of Nanjing University, where scholars such as Zhao Charter, Zhao Changzhi, Luo Qing, Tao Yuzhi, Zhu Youzhou and other scholars will discuss Li Ruiqing's calligraphy art and academic thought from multiple angles. From the opening of the exhibition to the closing period on December 6, Nanjing University will also hold a series of academic lectures such as "Comparison of Calligraphy Styles and Concepts of Zeng Xi and Li Ruiqing - On the Historical Influence of Zeng and Li Shuxue's Philosophy", "The Road to Classicization of the Qing Dynasty: Three Milestones", "The Golden Stone Calligraphy and The Golden Stone Calligraphy Style in the Late Qing Dynasty and the Early Ming Dynasty", so that people can get closer to and understand this famous calligrapher and educator a hundred years ago.
Introduction to each unit of the exhibition:
Ask for gold
"Banner of "Wansong Caotang"" Li Ruiqing Seal Book
Li Ruiqing, as a generation of calligraphers, once said: "Yu shu is divided from the seal, the study of books does not learn the seal, and the Juwen family does not understand the scriptures, so the study of books must begin with the seal." Learning the seal will be three generations of divine travel, and the eyes are the same, and the ear is good. ”
On the basis of the Qing Dynasty epigraphy, he further put forward the proposition of "seeking points from stone and seeking seals from gold", and he believed that the small seals of Qin carved stones could not fully reflect the wonders of seal books, so he went to Shang Zhou Jinwen and traced the penmanship of seal books. He absorbed the erosion of the strokes caused by the casting of Jin Wen, and used the squat sharp brush to make the strokes thick and clumsy, dull and frustrated, highlighting the aesthetic value of the seal lines and expanding the connotation of epigraphic calligraphy.
Divide by stone
"Festival Pro "Crane Ming"" four screens Li Ruiqing
"Linjin Yu Dao by Brick" is written by Li Ruiqing
Li Ruiqing said to himself: "Long study of the two Han tablets, the difference is straight." Twenty-six years of Xi Jinping, Bo Zong Six Dynasties... Every time you come to a monument, the steps tend to be lost, shackled to the rules, tied to the ink, fingers and claws, forgetting its fatigue. ”
His calligraphy is due to the "Ceremonial Instrument Stele", "Zhang Qianbei", etc., while the Kaishu benefits from the Northern Wei "Zheng Wen Gong Monument", and he also advocates "learning Han fen, libi side and mirror, inscription, brick, tile".
He applied the astringent pen of the Great Seal to the writing and calligraphy creation of the Six Dynasties of the Han and Wei Dynasties, and the combination of seal, li, kai, line and line, vertical and horizontal changes, so that the style of the great seal, the Lishu and the Wei stele was unified, and the calligraphy of the stele school in the late Qing Dynasty and the Republic of China created a new style, which was the patriarchal law of those who studied the great seal and the northern stele at that time.
Na Stele into the post
Li Ruiqing also studied a lot of the fa ti of the past dynasties, especially Yan Zhenqing, Su Shi, Huang Tingjian, and Mi Fu. In his later years, he accepted the suggestions of Shen Zengzhi and other friends and tried to "accept the monument into the post".
At that time, under the calligraphy atmosphere of raising monuments and suppressing posts, he advocated that the stele posts had a vein of origin in their brushwork, and the two could be integrated.
"Epitaph of the Elder Wang" book Li Ruiqing
"Jie LinHuaisu "Self-Narration"" Li Ruiqing
The inclusion of the stele in the post has overcome the clumsiness and embarrassment of the stele writing simple and small characters and the disadvantages of the unfavorable pen, and can also save the shortcomings of the shallow and weak fa ti. His book of the post, the gesture is open, strong and ancient, and has a strong golden stone atmosphere, and the Jane Za is also beautiful and natural, if the clouds flow.
The golden stone is in the painting
Li Ruiqing's painters Fa Zhu Yun, Shi Tao, Yun Shouping, and the remnant painters of the Ming and Qing Dynasties were good at landscapes, figures, and flowers, and their pine bamboo plum stones were high standards, and they could also paint ancient Buddha Arhats, simple and conveying the gods, and the best magic was thanks to the calligraphy pen.
"Imitation of Shitao Landscape" Li Ruiqing
He painted with super vigor and super ease, melted gold and chiseled stones, entered the painting with books, and integrated the seal brushwork into the hook, wrinkle, dot and dye of the painting, and wrote slowly, steady and deep, with a high style. His brush and ink and objects are natural, heroic and longitudinal, the artistic conception is vast, and a generation of elegant and ancient painting style is opened.
Two rivers pen and ink
During his tenure as the supervisor of the Liangjiang Normal School, Li Ruiqing often traveled with Duan Fang, Miao Quansun, Chen Sanli, Xu Naichang, Xia Jingguan, Liu Yizheng, Xiao Junxian and others.
They were not only officials and teachers, but also famous scholars, who often chanted poems and essays together, appreciated the calligraphy of inscriptions, and met for a while, pen and ink rewards, and poetry and wine stayed.
"Two Self-Composed Poems" Chen Sanli Xingshu
"To Liu Shihengza" Miao Quansun
After retiring to Shanghai, Li Ruiqing had more contacts with Zeng Xi, Shen Zengzhi, Zheng Xiaoxu and others, especially with Zeng Xi. Li Shu got the name Beibei (北碑), which was astringent and fangjin, and called himself "Northern Sect", while Zeng Xi was the Southern Monument of the Sect, Yuantong Liuli, calling himself "Southern Sect", and sometimes had the reputation of "Southern Zengbei Li". These trips are undoubtedly an important factor contributing to the success of Mei'an art.
Mei'an disciple
Li Ruiqing has been running the Liangjiang Normal School for seven years, with the motto of "treating education as life, school as family, and students as children" and writing the school motto "Chew the root of the vegetables and do great things."
He devoted himself to rectifying academic affairs, reforming the academic system, improving teachers, purchasing equipment, and adding China's earliest art education specialty, "Drawing Hand Selection".
"Sending Public Grain" Lü Fengzi
Under his painstaking management, Liangjiang Normal Teachers gathered famous teachers and had an outstanding reputation, becoming a veritable first institution in Jiangnan, cultivating many outstanding talents, such as Li Jian, Hu Xiaoshi, Lü Fengzi, Jiang Danshu, Wang Caibai, Chen Zhongfan, etc. They were personally instructed by Mei'an and eventually became a generation of people. In his later years, Zhang Daqian entered his door. Mei'an disciples, polite and generous, pass on the torch.
Mei An's posthumous works
After Li Ruiqing's death, his poems, poems, inscriptions, and other texts were collected by relatives and friends of the disciples and compiled into the "Collection of The Remains of the Qing Dao People", including two volumes of the "Testament Collection", one volume of the "Manuscript", one volume of the "Testament", and one volume of the "Appendix", which was printed in 1939.
The Remains of the Scavengers
In addition, the "Siege of the City" records the siege of Nanjing in Xinhai, but it is unfortunate that it has died. There are also "Li Rui Qingxiang Trial Scrolls" tibetan national library, "Qingdao Man to Cheng Xuelou Handbook" collection nanjing library.
During his lifetime, there were more than 20 kinds of calligraphy inscriptions published by the Shanghai Zhenya Book Bureau, such as "Qing Dao Ren Day Lin Liu Dynasty Monument", "Li Mei An Lin Ti Xuan", "Qingdao Ren Linsan Shi Pan", "Taishan Diamond Sutra" and so on. The photocopy and publication of these inscriptions not only spread and expanded the influence of Mei'an calligraphy, but also played a positive role in promoting the development of modern and contemporary Chinese calligraphy art.
Editor-in-Charge: Lu Sijia
Proofreader: Liu Wei