Introduction: The previous "Four Demons on the Sea" Li Ruiqing, in his life, has never been diligent in Linti, and the book chengjia has a unique style of learning That Li Ruiqing has studied the six books since childhood, learned calligraphy, and studied the characters of Yin Ruins, Zhou, Qin, the Two Han Dynasties to the Six Dynasties. Today we talk about Li Ruiqing's unique pen style of calligraphy and the advantages and disadvantages of his vibrating pen.
Do you know who proposed the "chewing the roots of vegetables and doing great things" in the History Museum of NTU?
Do you know who inscribed the "Liangjiang Normal School" Wei stele stone plaque erected in front of the old library building of Nanda University?
The stone plaque where countless people took a group photo came from Li Ruiqing, the old principal of Nanda University, whom we talked about in the past two days.
He is not only an important founder of modern and contemporary Education in China, but also a representative of the Qing Dynasty Epigraphical School and a pioneer of the modern "Golden Stone Calligraphy School".
"Linjin Yu Dao by Brick"
01 trembling with a pen, Wei Bei style
The obvious characteristics of Li Ruiqing's calligraphy are his astringent, astringent pen, and sudden setbacks, "with thick ink glue pen, make sure to make the knot strong." When it is about to be used, bite open and divide, that is, to make a word. ”
Li Ruiqing wrote a book, full of true qi, ten fingers, and full of pen power. His pen is all pulled by a gentle force, and it will make every effort to make good use of the turning edge at the turning point, so its lines have flesh and blood, round and beautiful, and a strong sense of three-dimensionality.
His pen is very astringent and not sluggish, natural and smooth, straight to the curve, or like a ancient pine proud, vigorous and straight. Or like a wave undulating, with a rhyme. Writing the Two Han Lishu in this way is not to do what you want, and it has unexpected effects. Then with the pen of the seal, into the Wei jin zhong wang zhu ti, peeping into the six dynasties of the Northern Wei stele, and from time to time infiltrated into other penmanship, practice and use, handy, so that it became a masterpiece.
The doormen Hu Xiaoshi and You Shou both used this law book to seal the North Monument. Zhang Qiquan said: "The Book of the Qing Daoist is solid under the pen, so there is no impossible to do, and its multi-way and good at it are not available after the Tang Dynasty." Simplicity does not pay attention, and Bao Yunhong is more, and the penis is cute, and the pen is also realistic."
For this kind of astringent writing, many people do not understand, Zhu Jiayun: "Unfortunately, its twists and turns are too exposed, if you swing the pen, shallow learning is effective, it flows ugly, and the cover has no heart and poisons the future generations." In this regard, Mr. Hu Xiaoshi once said when understanding this kind of pen: "All lines made with a pen must have flesh and blood and emotion. In other words, there must be abundant elasticity. Rigid not stone, soft not muddy. To put it as clear as the clockwork, not to the noodles that are boiled in a soup pot. In this way, a little painting can break through the air and kill the paper, and meet the highest requirements for using a pen. ”
This is his unique style of using the pen, he not only uses the pen to mainly stele, but also the posture of the characters has more Weibei style, especially his cursive style shows an ancient and clumsy style, so that the cursive writing has a new look.
"Six Words"
02 In his later years, he trembled and trembled
According to Zheng Yimei, "Xiao Yue'an's treatise on the book says that 'the modern Qing Daoren, Zheng Xiaoxu, Kang Youwei, Wu Changshuo, scholars must not touch their habits'" The Qing Daoists and several other contemporaries were considered to be susceptible to habituation by learning them. In particular, the trembling pen used in the calligraphy of the Qingdao people.
Liu Xizai said: "The authors of the transport are accustomed to the theory of astringent pens, but they do not know how to get astringent. Only the pen wants to do it, there are things to refuse, and strive to argue with it, and Si is unexpected and self-astringent. Astringent methods and battle brakes are the same machine, the first battle brakes are tangible, and the strong effect turns into a disease, but it is better to hide the astringent and use the divine luck ear." Li Ruiqing used a trembling brushwork in order to pursue the astringent pen, and in his later years, he deliberately trembled, which obviously belonged to the "strong" type.
Wang Xizhi said: "The force is round and moist, and the momentum is astringent." "Astringency is a gesture that cannot be expressed by the shape of the stroke. Fibrillation is just as critical as astringency, and fidgeting is a superficial, explicit brushwork. Astringent pen is more of a feeling and experience, can not be described in words or specific techniques to express, can only feel the friction between the brush and paper in the process of writing, it is difficult to use specific expression techniques to express the astringency.
If the use of this form of trembling in order to pursue astringency is a pathological technique, it is better not to use astringency and purely to do it. Although Liu Xizai did not make comments on Li Ruiqing's calligraphy works, some of the works of the Qing Daoists were really affected by the trembling disease.
The rational use of vibrators can increase the interest of calligraphy, but overemphasization will form a habit.
At that time, there were people who opposed the use of trembling pens, and Zheng Xiaoxu, a good friend of the Qing Daoist, issued a voice against trembling in the comments of the class manuscript: Commenting on Ye Xin's large-character scattered pen withered trembling days: "It is still appropriate to be deep in the cultivation of the main, and it is easy to enter the evil way when it is infected." The use of the method of using the pen to dry up and tremble to copy the "Scattered Disc" is obviously influenced by Li Ruiqing's trembling pen, and is called "the school of the times and the evil way" by Zheng Xiaoxu. It can be seen that Zheng Xiaoxu himself does not agree with the use of vibrating pens. He believes that the pursuit of a simple and old-fashioned style through vibrating pens is mostly vulgar and cannot be used as an object of taking the law, which is not worth mentioning.
"Jie Lin Huai Su (Self-Narration)"
03 Blindly trembling, losing nature
In the calligraphy creation of the Qing Daoists, the use of trembling to express astringency, trembling was originally a kind of pen method, in some works of Li Ruiqing, trembling has become the only use of pen, for the trembling and trembling, has departed from the original meaning of trembling. In the process of writing, he only noticed the trembling strokes, which were held back by the trembling, losing their natural writing, contrary to the essence of calligraphy.
Before the 20th century, the study of Lishu could only rely on the rubbings of the inscription, and the effect of the rubbing was not the original intention of the writer. After the 20th century, with the excavation of the Northwest Han Jian and the publication of "Quicksand Falling Jane", people saw the ink of the Han people for the first time. There is no astringent pen in the ink, no trembling, and it is written in a completely natural state. Li Ruiqing's trembling pen is obviously not the same method as Han Dynasty inkblot. Although his trembling pen showed the appearance of some tablets, he lost the nature of the calligraphic pen, and the price paid was extremely heavy.
Li Ruiqing was born in the era of the rise of the great banner of steleology, he studied the lonely PuXue and the rising RamXue at that time, he was fond of the ancients, and he could also blaze new trails. In literature, he did not read the following books of the Qin and Han Dynasties; in calligraphy, he also used the Qin and Han dynasties as his ancestors, alongside the Six Dynasties, and occasionally involved in Tang tablets. Correct the shortcomings of the times, pioneering and innovating.
Li Ruiqing's calligraphy was created under the pseudonym of Shu Shu in later generations. On the one hand, the trembling pen originated from the township sage Huang Tingjian and his close friend He Shaoji, and on the other hand, it imitated the erosion and damage of the inscription. The formation of the vibrating pen is closely related to the pen he uses, and the elbow does not leave the table, and the fingers are loose when using the pen, which are his unique methods.
It is undeniable that the method of using the pen of the trembling has also led to some misunderstandings, blindly trembling to form a habit, and the second is that the use of the pen to make the calligraphy lose its writing, and the writing becomes unnatural.
On the whole, Li Ruiqing used the trembling brushwork to change the deficiencies of Zhao Zhiqian and Tao Junxuan, which was very creative at the time and should be affirmed by the history of calligraphy, but the excessive formation of habits by the trembling also lost the effect of natural writing.
"Festival Pro "Crane Ming"" four screens
epilogue:
Yang Jun said: "Yu Every advised the Qing Daoists to write from scratch and abandon the previous trend. However, once it is hanging high, it is lost, and the competition cannot be written. Yang Zhongzi is a friend of Li Ruiqing, a calligrapher and painter. He found that Li Ruiqing's writing was not quite correct, and persuaded him to change the previous method of writing and use the hanging elbow, but after "high hanging", Li Ruiqing "could not write a word". This shows that Li Ruiqing does not write with his elbow hanging, and after hanging his elbow, he "cannot become a word." Due to the loose writing, he can only "take the appearance" and cannot reach the realm of "super ease".
Li Ruiqing was a representative figure of the late Qing Dynasty and the early Ming Dynasty, and he was omnipotent in the seal of Kai Xingcao. In calligraphy, he showed a strong desire to create, and his trembling pen in calligraphy creation changed the trend of the book world at that time, and he was also very concerned about the newly unearthed Hanjian ink at that time, and volunteered to work for the revival of Cursive Writing in the Han Dynasty.
His attempts did not seem too successful now. The use of the vibrating pen was severely criticized by later generations, and Zhang Cao did not become his specialty, but his contribution to the development of calligraphy was indelible.
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