Introduction: In the Tang Dynasty book world, there were not only a large number of masters of writing calligraphy, but also many cursive masters. For example, Zhang Xu and Huai Su, who are difficult to surpass in later generations. The two have their own advantages, not to mention more, collectively known as upside down drunkenness. Although one of them was an official and the other was a monk, they were both alcoholics and were all famous for their cursive writing. They are either "upside down" or "crazy", romantic in temperament, and they all use calligraphy as the release of their emotions, which is difficult to distinguish. But whose cursive is more subtle? The jury is long.
Zhang Xu's "BellyAche Post"
Zhang Xu, who is drunk and drunk, belongs to the pure artist, who pours out his emotions between the dot paintings, and if there is no one around, he is drunk and crazy. Therefore, his cursive writing is full of solemnity in madness.
As a monk, Huai Su, on the other hand, has a loose temperament and is keen on cursive writing, but has no intention of practicing Zen, drinks and eats meat, makes friends with famous scholars, and has friends with Li Bai and Yan Zhenqing. Therefore, his cursive writing overflows with flying and rounding.
Although the styles are different and it seems difficult to compete, Huang Tingjian is very clear.
Part of Huai Su's "A Thousand Words of Grass"
<h1 class="pgc-h-arrow-right" data-track="11" > Why does Huang Tingjian say that Huaisu cursive is easy to learn, but Zhang Xu's is rare? </h1>
The wild grass works are sprinkled with foreign flowers, the breath runs through the long rainbow, and the richness of the rhythm of the pen gives the wild grass art unlimited rich expressiveness, forming the unique artistic language of the emotions expressed by the writer. The Sheng Tang Wild Grass represented by Zhang Xu and Huai Su represents the scrawled and flying Sheng Tang Qi. The most direct difference between the two is that it is shown in the contrast of lines.
Part of Zhang Xu's Heart Sutra
Huang Tingjian's "Valley Inscription Zhang Xu Thousand Character Text" Zeng Yun:
Huaisu grass worker is thin, and the long history grass worker is fat, thin and hard, and fat is rare.
Zhang Xu and Huai Su are the most outstanding cursive innovators of the Sheng Tang Dynasty, their works mostly use ligatures, ligatures, often a stroke of numbers, to the line of strokes, to the line of strokes, breaking through the Zhang Cao and Erwang cursive characters are not much format, thus changing the rhythm of pen and ink, thus causing a series of changes in the field of calligraphy art, making the art of cursive more colorful and endless changes.
Zhang Xu learned Erwang calligraphy in his early years, but unlike Erwang, he was able to learn the law of nature, take images outside the law, and make a bold innovation in cursive writing, creating a "wild grass" writing style.
His lines are rounded and graceful, and he is condensed. In the process of writing, the center is the main, the turning point is mainly turned, the fold is supplemented, the pen edge is introverted, the bundle is tightly wrapped, and the contrast between thickness and thickness is not obvious, the line hides the head and tail, the rigidity is straight, and the details are strived to be refined. The use of long lines of rotation, continuous, as well as dense, long and short, square circles to achieve rhythmic undulating changes.
Part of Zhang Xu's "Four Ancient Poems"
For example, his book "Four Ancient Poems" has more pen turns, and uses both "house leak marks" and "cone painting sand". Zhang Xu integrated the pen movement method of the seal book against the front into the cursive, the line texture is solemn, the thickness is full of the meaning of the seal, the fat is exquisite, and it has a strong and upright atmosphere.
At the same time, the weight of the pen movement changes strongly, the lines are deep and thick, the strokes are imposing, and the contrast between the thickness of the points and lines is very large, rather than blindly fat.
Part of the Four Treatises of Ancient Poems
In addition, Zhang Xu turned in the process of lifting the pen, the sharp point of the paper, the tip of the pen pressed down, the pen was dashing and free, and the line form naturally achieved the effect of strong bones and full of paper pearls.
On Huai Su's body, the flow in the wild grass has become fast and frightening, and Huai Su has an extraordinary speed and continuous winding, often the line movement of the digital stroke naturally adapts to the thin line form.
Part of Huai su's "Bitter Bamboo Shoot Post"
Huai Su often uses folding pens in the center, the lines are rounded like steel wires, and the lines are long like the turbulence of the clear stream, so it seems that "thin and round" is the main feature of Huai Su's wild grass pen.
Huai Su once said to himself:
I look at Xia Yun Duoqi Peak, and I am a teacher. Its pain and pleasure, such as birds flying out of the forest, frightening snakes into the grass, and encountering the road of the wall, one by one nature.
It can be seen that Huai Su has realized a strange and refreshing gesture effect in the natural world.
Part of Huai su's "Mulberry Patch"
In terms of line changes, Huai Suduo uses dry brushes to highlight his personality.
The poet Wang Yong once described:
Cursive unique to Waissock, ... Suddenly the style of the wind is like an electric switch, more flying flowers and scattered snow, cold apes drinking water shake the dead vines, and the strong men pull up the mountains and stretch out the iron.
"More flying flowers and scattered snow" Huai Su uses the method of cursive dot painting to express the sentimentality of calligraphy. "The cold ape drinks water to shake the dry vines, and the strong man pulls the mountain to stretch the iron" Aptly says that Huai Su cherishes the ink like gold, and the brushwork of the dry pen is compared to the cold ape shaking a few dry vines when drinking water, and Huai Su uses ink to splash it to compare it to the strong man pulling the mountain to stretch the iron. The overall pen is virtual and real, and the ink color is both thick and light, contrasting with each other, reflecting each other, giving people the enjoyment of beauty.
Part of Huai Su's "Drunken Monk's Post"
The reason why Zhang Xu's wild grass lines are constantly changing, and unlike the rapid movement of Huai Su's wild grass lines, Zhang Xu's fat lines are reflected in the process of his pen rotation. Since the pen edge is fully spread out whenever the rotation is made, it contrasts with the line of the thread part.
Huai Su often uses folding pens to center, the lines are rounded like steel wires, the form is slender, and it has a tough elasticity. Therefore, it is very appropriate for Huai Su to compare "running snake" and "dry vine" in the "Self-Narration Post".
However, the contrast between the thickness of Huaisu's cursive dot painting and the speed and slowness of the pen is much smaller than that of Zhang Xu, it seems that he just uses the pen edge to quickly complete the swing again and again without stopping, although there are more flying whites, but because the contrast between black and white is not strong, the changes in the lines themselves are much weaker than the changes in the combination of lines.
Zhang Xu is a typical example of "astringent" pen transportation, although the action is also very rapid, but there are more setbacks in the press, the pen edge, abdomen, and roots are used together, and the image of the pen conversion is relatively rich, and the level of line thickness and the rhythm of speed are much more than Huai Su.
The difference between the two people in the expression of emotion is also obvious, and Zhang Xu's feelings are abundantly reflected in the words and lines, which is a feeling of respect for art. And Huai Su's large pen in the end, with wine and meat through the intestines, is the expression of the world's unaccustomed. Therefore, to some extent, Huai Su's cursive writing lacks Zhang Xu's deep and broad life experience and spiritual strength, so his cursive writing gives us a far less emotional shock than Zhang Xu.
In addition, the performance of the two is not the same.
Zhang Xu's "Broken Thousand Character Text" expands the part
<h1 class="pgc-h-arrow-right" data-track="95" > can also be strong in the upside-down risk, and the drunkenness is suddenly opened and broken</h1>
The free knots in the wild cursive, the strokes that echo each other, will put the rules in the midst of ups and downs. Zhang Fa collects many words to form a wild grass of Zhang Xu and Huai Su, and its crazy characteristics are vividly reflected in the chapter law of the work.
The penetration of the line qi in Zhang Xu's wild grass is reflected in the coherence of the long line and a large number of strings, the gesture goes down the trend of the qi, endlessly, the stroke relationship between the lines is emphasized in the stroke, and the use of horizontal and vertical strokes in the word tends to be horizontal and vertical, so that the knot has the characteristics of stability and dignity.
Zhang Xu's "Four Ancient Poems"
For example, in the "Four Ancient Poems", the space outside the word is compact, and the space inside the word is open and loose, so that the line can make a cyclical movement inside the word. On the basis of a smooth glyph and compact external space, Zhang Xu's lines move more smoothly, freely and unrestrained within the characters, highlighting the rhythm of line operation.
Zhang Xu's grasp of the danger of the glyph is also very good, looking closely at the "smoke" word, the right side is moving and dangerous, and the left is vertical and long, so as to handle the font firmly.
The dai character of Huai Su's "Self-Narration Post"
Huai Su's "Self-Narration Post", especially in the second half, is multi-stroke ligature, the line spacing is not obvious, the body shape is more long, and its "one stroke book" makes the strokes connect the numbers, the whole line appears in succession, and several words or lines form a new whole.
In the second half of the "Self-Narration", a "Dai" character is abrupt and abrupt, the width span is very large, and it is full of tension to break the single structure of the word. The change of single words in the knot body is not rich, more open and generous, strong changes are mainly manifested in the lead of the wire, with a large number of circles to make the strokes endless, the static knots are connected into a moving whole.
Part of Huai Su's "Self-Narration Post"
Looking at Huai Su's "Self-Narration Post", the whole text is 700 words, and it is noted back and forth, and it is completed in one go. The whole work, the posture is novel, the author's pen is dragon and snake, the numbers between the words and even the positive line are connected to the vast majority, the words are in a state of calm and leisure, the ups and downs are not rough and sloppy, full of bold and flexible temperament, which has played a great conflict effect in the visual effect.
The strokes are mutually restrictive and interconnected, and the musical sense of rhythm makes the whole work full of rhythmic meaning. The layout breaks the stable state, so that every word is given vitality. To the last few lines of the book, the wanton swing between the lines can see the excitement of emotions, truly release their passion, and the role of wild grass in expressing the emotions in the heart at will is fully reflected in Huai Su here.
The same is full of paper clouds, Zhang Xu's "Four Ancient Poems" attaches importance to the penetration of the gesture in the treatment of knots, the space inside the word is sparse and open, and the external space is compact, thus achieving a steady effect. The close connection between the lines of the word, the so-called increase of one point is dense, the loss of a point is sparse, the line and the line are interspersed with each other, echo each other, coordinate with each other, the transition is natural and harmonious Throughout the atmosphere is more unified.
The characters of Huai Su are further simplified in appearance, the beginning of the knot is clear, the opening and closing, the amplitude is large, the traction belt changes strongly, and there is also a sense of independence of the small cursive characters, and the side of the glyph is exhausted. The "Self-Narration" maintains a certain distance between the lines, with the trend of flowing springs and waterfalls, and in the vertical and horizontal upside down, the bold chapter method is perfectly displayed.
epilogue:
The key to Zhang Xu's cursive writing breaking through the famous masters since the Second King is that "the gesture is wonderful". For us, we have unfolded an artistic picture of the opening and closing of nature, the strange brushwork, and the dot painting business. To borrow a concept from modern literature, Zhang Xu's cursive writing is the "art of life".
And Huai Su's works seem to be strange and prominent, full of spirit, but in fact, they are nourished in the middle, sad and happy, rationally anticipating the composition of his works, rather than using love to hold pens, just like Lin Zhixuan's singing, abandoning all emotions, and rationally using techniques to express the work.
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