Jiang Xun told a story.
Lady Wei was Wang Xizhi's calligraphy teacher, and when she wrote "vertical", she took him to the mountains and taught him the power of gestures from the dead vines.
So Wang Xizhi climbed an old vine when climbing a mountain, hung his body up, and suspended it in the air, to feel the strength of a vine - the hard and stubborn force that could not be pulled apart.
This memory became his understanding of calligraphy: the line of "vertical" should be written to pull continuously, to write about being strong and elastic, and there is a tension that develops on both sides.
The vine also becomes a tribute to all the strong life that looks old but does not compromise.
Vines, growing in the wild, although they have their own forms, but they all have a kind of resilience that cannot be reversed.
Whether it is in the rocky wilderness, or on the mottled walls of the city, or in the shade of ancient trees, the fence of orchard vegetables and vegetables, the vines will find its way to survive, with perseverance, gentle resistance.
In my childhood memories, there was such a longan vine.
The longan tree grows in the back garden of my hometown, but the parasitic vines on the tree are annoying, cut down every year, and grown every year.
Grandpa lifted the sickle every year to cut it, and when the fruit hung on the branches, he looked up and saw that the vine fragrance was stubbornly growing all over a tree, and the breeze blew, and the vines swayed slightly, and there was a kind of beauty that hung like silk.
The vine cannot stand upright, and it can be climbed upwards by borrowing something else; if there is nothing else, it can crawl or hang. In short, bathed in wind and rain, it is not easy to give in.
The posture of the vine, circling and circling, open-minded and forbearing; the leaves of the vine, dense and beautiful, lush and beautiful; the flowers of the vine, scorching and blooming, romantic and gentle.
Vines, just like this, accompanied by the years, people planted vines, admired vines, painted vines, and chanted vines, never hiding their appreciation for it.
The wisteria planted by Wen Zhengming himself in the Ming Dynasty is more than four hundred years old.
When we go to the Humble Administrator's Garden in April, we can still see the wisteria flowers blooming gently, and its branches are coiled like a crouching dragon, implicitly and implicitly.
Wisteria has a long life, experienced the wars of the Taiping Heavenly Kingdom, and has also witnessed several changes in the owner of the garden, and now the name of the garden, the mansion, and the landscape have changed with the times, it has not, it has just been there to carry the years.
Vines, with silent power, let us learn to use a gentle, thick posture to resist the wind and frost of the world and grow silently.
Rattan, woven into utensils, has a simple and elegant beauty, and radiates another kind of strong vitality.
People use it to make rattan beds, rattan chairs, rattan baskets, put it in the home, simple and durable, but also become a permanent companion.
The "Chronicle of Long Things" has a record: "The ancients made several beds, although the length and length of the wide and narrow are uneven, placed in the fasting room, it will be quaint and lovely, and sit and lie down, there is no inconvenience." "Rattan weaving is just in line with the aesthetic and needs of the ancients for furniture.
Rattan weaving is one of the oldest pieces of furniture in China, which was popular during the Tang and Song dynasties, such as the Luohan bed, the circle chair, and the seat of the official hat chair, which are called soft drawers. Compared with the hard drawer of the hardwood seat, it is more refreshing and breathable, and it is also comfortable and comfortable for a long time, which is a simple and elegant thing loved by the literati in many ancient paintings.
In the Southern Song Dynasty, Li Song had a painting of "Listening to Ruan Tu", which showed Gao Muqishi, and the corporal of the tree sat idly on the bed to listen to Ruan Le. The wide bed surface is a soft drawer of rattan, as if it comes with a breathing vitality. When we admire the paintings, we can also feel the coolness of the summer and the breeze.
Good rattan furniture is strong and light, mothproof and moisture-proof, and can be passed down to the world. A Hong Kong collector handled a square stool of huanghuali in the Ming Dynasty, and the soft drawer on the surface of the stool is still well preserved after hundreds of years.
Rattan weaving, as the standard of old houses, also carries our childhood memories. A recliner, a rattan bed, may be a lifetime, placed in the cold room does not feel its luxury, Cloth In Huatang does not feel its ugliness.
Nowadays, we are running and toiling, if we get a rattan chair, we can also sit in the courtyard without asking about the glitz and glamour, and idly watch the "full of roses and a courtyard of incense".
Returning to the true beauty has always been everyone's innermost yearning.
The vine, branded into a pattern, has a flowing and smooth beauty, and the posture is staggered in various auspicious patterns.
This starts with the "tangled branches" of traditional Chinese ornamentation, which is also known as the longevity vine, which means continuous and endless. The tangled branches and blue and white porcelain can be said to be the existence of mutual achievement.
For example, in the most representative Yuan Dynasty blue and white character story plum vase, Zhang Sheng on the "West Chamber" plum bottle sits on horseback, and the book boy follows behind, and strange rocks, fences, flowers and plants are dotted among them. Look closely at its shoulders, painted with a circle of tangled lotus patterns, and there is also a circle of curly grass patterns at the upper end of the feet, which has an elegant and smooth beauty.
In addition, in Ming and Qing dynasty buildings, it is also common to see tangled branch patterns as the base. Among the glass pagoda components of Nanjing Dabao'en Temple, there are very elegant tangled lotuses; at the foot of the wall of the Forbidden City in Beijing, there are also stone carved tangled passionflowers, which are more simple and introverted.
Tangles have a process of development. The common style of the two Han Dynasties is honeysuckle pattern, which is relatively simple and thin; then there is the Tang Dynasty curly grass pattern, mainly grass leaf patterns; song and Yuan dynasties began to appear tangled flowers, flowers and grass, branches intertwined with each other, more complex and beautiful.
No matter what, the tangle of branches has always been based on the core element of plant vines, which have been continuously improved and continue to this day.
The vine, gradually internalized into the auspicious cultural symbol of the Chinese, hides all the imagination and blessings from the beauty of the East.
The so-called unity of heaven and man is in these eastern vines.
Wang Guowei said: "Look at things with me, so all things are my color." ”
Whether it is the old vines in the mountains and wilds of the "dead vines and old trees", or the flowers and trees in the courtyard of the "wood fragrant flowers wet and rainy", the vines were originally the most ordinary things in nature, but because of the character given by people, they appear to be noble and unpretentious.
The grass and trees are affectionate because of my endowment, from the plants, to the utensils, to the delicate and roundabout lines, the vine contains Chinese full of tenderness.
Today, we may wish to touch the texture of rattan furniture with our own hands, feel its tranquility and elegance, and let those initial touches return to the heart.
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