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Zhang Yu, "The Absolute Top of the New Autumn Poetry Axis", on paper, 34.3×154.3cm, to the first year of the first century (1341). Collection of the National Palace Museum in Taipei.
"Absolute New Autumn Poetry Axis", Zhang Yu's earliest vertical work, and his attempt at vertical axis books. Written in his later years (that is, at the age of 59), the size is 154.3 cm × 34.3 cm, and the upper frame of the book is seven words and sentences cursive, two lines to the right, and the lower left is signed with eight particularly small lines of writing: "Dayuan to Zheng Xinwei, Zhang Yu." ”
Although this axis is a line of grass, the words are independent. The words "absolute", "cool", "front" and other words are wide, the cloth is white and uniform, and the pen is slightly more, which is still seen in the influence of Zhao Mengfu. The width is less lifted and more rotated, and the line thickness changes little.
This is from the Tang Dynasty Ren translation of the "Su Towel Mountain Zen Temple":
The night is cool in the new autumn, and the crane turns over truffle drops clothes.
The front peak of the moon reflects the half of the river, and the monk opens a bamboo house in Cuiwei.
Zhang Yu (1283--1350), zi Boyu, Yizi Tianyu, a native of Qiantang (present-day Hangzhou, Zhejiang). In the twentieth year, he abandoned his family as a Taoist monk, with the name of The Dao, and the name of the Dao. Erudite and good at talking about fame.
Zhang Yugong calligraphy and painting, his calligraphy began to learn Zhao Mengfu, and later learned Huai Su and Zhang Xu. The font is combined with grass, and the handsome and refreshing sprinkles are unique. Surviving manuscripts include "Mountain Residence Is a Poem", "Dengnanfeng Scroll" and so on.
Ni Zhan said in the "Title Zhang Zhenju Scrolls" that "Zhenju Zhenren's poems, people, characters, and paintings are all the first in the Dao products of this dynasty.". His paintings are known for their pastels, good at painting stone and wood, using quaint pens, especially good at embellishing stone and wood figures with bad brushes, which is quite interesting. The paintings include "Frost Ke XiuShi Tu", "Twin Peaks Han Cui Tu" and so on.
From the perspective of calligraphy style, Zhang Yu has a lot of intake of the "family law" of the early Tang Dynasty calligrapher Ouyang Inquiry. Ou Shu's pen is strictly standardized and the body is strong and dangerous, which is the pinnacle of the book. Zhao Songxue called Ouyang's calligraphy "Qing Jin Xiu Jian, ancient and modern."
On the basis of inheriting The Book of Ou, Zhang Yu Xiaokai also took another way to integrate some of the Flowing Andy Spirits of the Jin Dynasty, adding a lot of color to his own book. From the perspective of the feeling of using the pen, the habitual movements of some horizontal strokes in Zhang Yu Xiaokai are highly consistent with the "scripture writing style" created by the folk jingsheng, which is a problem worthy of attention, perhaps because Zhang Yu himself is originally a clever "jingsheng scribe" who hides in the jungle Taoist temple!
In the works, some horizontal strokes of the pen are highly consistent with the folk "scripture writing style" calligraphy. And the posture of some of them with pens makes people suspect that this work is a small letter written by Ming Ren. From the use of the small italic style of Zhu Zhishan and Wang Pet in the Ming Dynasty, it can be seen that the Small Kai calligraphers of the Ming Dynasty were more or less influenced by Zhang Yu's Xiao Kai calligraphy.
This style of calligraphy and the "inheritance from generation to generation" conform to the objective development law of calligraphy. Zhang Yu's calligraphic style of "interpolating in letters" has gradually become a common calligraphy style since Zhao Songxue used it. This style also appeared frequently in his later small works. With his contemporaries Ni Yunlin, the works of Zhang Ruitu, Zodiac Zhou, Wang Duo and others also followed this style.
Zhang Yu is a Taoist monk, but his writing style is rigorous and meticulous, especially his Xiao Kai, strict and clean, full of ancient style and ancient charm, and his Taoist aesthetic standards of "Dao Fa Natural" and "Dao Ke Dao, Extraordinary Dao" have a certain distance. Whether this deviation is normal or abnormal can only be known in the place where we are; if we rely on our own subjective speculation, we may also have deviations. This is the same as the fact that the big man in the north is not necessarily tall and mighty, and the girl in the south is not necessarily gentle and affectionate. Individual phenomena are not necessarily subordinate to universal phenomena, and Zhang Yu's Xiaokai works convey this message as we do, and Taoist calligraphy is not necessarily empty.
Zhang Yuqi first learned Zhao Mengfu and entered the room of Pine Snow. Zhao instructed him to study Li Yong's "Monument to General Yunli", which was sparsely shaped in dense glyphs, and his penmanship became fierce and sharp, and his traces can be seen in the "Taixian Pavilion Scrolls" written by him. He removed the grace and peace of the Zhao Shu and added the divine horse and qing, and his "Nine Locks Mountain Poetry Scroll" has the atmosphere of the Six Dynasties people's leniency and high antiquity, and the dust of the Qing Dynasty. After the age of sixty, he took off his Taoist robes, returned his Confucian body, lived in seclusion in Hangzhou, and lived with a group of hermits such as Huang Gongwang, Ni Zhan, Yu He, etc. After close contact with Yang Weizhen, his thinking and life underwent tremendous changes. He indulged in wine, sought pleasure, coveted "a moment of spring priceless", calligraphy he was privately shuddered in rice, the style of writing became indulgent, wanton, his representative work "Climbing the South Peak Absolute Poetry Cursive Scroll", with a thin and long dragging, virtual and real change of the pen, in the line of qi, chapters, with a particularly large contrast of dense gathering and agitation jumping, the work presents a kind of hidden literati arrogant and quite extreme expressionist style. The late Ming Dynasty Zhou Zhishi 'You He Tang Mo Xue' commented: "Zhang Boyu is healthy and close. This aesthetic stance naturally remains within the category of Zhao Mengfu's aesthetic mediocrity.
Zhang Yu and Yang Weizhen were pioneers in the shift of Chinese calligraphy from Hanzha, volumes, and volumes to vertical scroll books. Of the four vertical scroll works that have been handed down, the "Absolute New Autumn Poetry Axis" that exists in the National Palace museum in Taipei is the earliest one, written by him in his later years (that is, at the age of 59), with a scale of 154.3 cm × 34.3 cm. "It is clear that the author has not yet found a proper chapter for the signature, and should be regarded as an attempt at his upright book. The subsequent "Poetry Axis for Zizhong" was written in very small lines without reservation, and it was obvious that Zhang Yu had not yet found the mature structural position of the signature in the chapter.
Under the tide of retro-reformism, he verbally talked about returning to Wei and Jin like Zhao Mengfu, but in terms of creative practice, he was still in line with the Shangyi calligraphy concept of the Northern Song Dynasty, which was the banner of Su, Huang and Mi.
Zhang Yu's "Absolute New Autumn Poetry Axis" super list word appreciation
The pioneer of the "Large Vertical Scroll Book" Zhang Yu series
Source: ZimouTan
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