Yang Yisun, Character Wing Chun, Trumpet Zi You, Late Signature Hao Shuo, Qing Dynasty Tian Zhuang people. Famous calligrapher, paleographer, epigrapher, poet of the Qing Dynasty.
In the Qing Dynasty, the stele was replaced, the seal was greatly enhanced, and all kinds of books were in a posture, which can really be described as a hundred flowers blooming and a hundred schools of thought contending. As far as the art of seal writing is concerned, the Qing Dynasty has crossed the trough of the three dynasties of song, Yuan, and Ming dynasties and re-emerged, and has made breakthrough developments, which can be called super-Yi Tang and Song dynasties, directly catching up with the Qin and Han Dynasties.
01 Reluctant to cater to the world with books
Yang Yisun, Zi Zi You, Wing Chun, Late Sign Hao Shuo, Jiangsu Changshu Ren. At the age of 5, he was personally taught reading by his father Yang Xiyu, and he cultivated Yang Yisun's poetry of "poetry alone is not the case, and there is sustenance in early years".
Yang Yisun studied in Changzhou in his early years, under the study of the scholar Li Zhaoluo. Twenty-three years after Daoguang, yang Yi served as the prefect of Fengyang in Anhui. Later, Father Ding was worried about the removal of the official. Once engaged in agricultural business, the family business was probably lost due to the Taiping Heavenly Kingdom war, and since then, he has often traveled back and forth between his hometown Changshu and Anhui, self-sufficient with pen and ink.
The brothers Zhao Zongde and Zong Jian in Changshu have a garden "Half Mu Garden" in the north of the city, and the environment is very beautiful. There is an old mountain tower in the garden, which collects tens of thousands of volumes of ancient books, calligraphy and paintings, and inscriptions, and is a place where Changshu cultural celebrities often gather. Yang Yisun, Sisun brothers and Zhao brothers are friends and are regular visitors to half-acre garden. In addition to enjoying flowers and drinking, there are naturally poems.
In the eleventh year of Tongzhi, Weng Tonggong, a cabinet scholar who was then serving as the secretary of the Taibu Temple in Beijing, returned to his hometown Changshu to observe the system with Ding Mu's worries. Zhao Cihou arranged a large-scale art set in the half-acre garden, inviting many celebrities in Changshu. Yang Yisun and Sisun brothers also gave seats. During the banquet, admire the golden stone inscriptions. On the art of calligraphy and painting, Yang Yisun and Weng Tonggong also exchanged views on Han and Tang dynasty inscriptions.
In the years after the age of about 60, Yang Yisun mainly lived in Anhui City, selling words for a living. At this time, the title of the book has been written, life is not a problem, and I am not willing to cater to the world with books and invite favors for profit.
In the seventh year of Guangxu, Yang Yisun was sputum-plugged and could not eat, and he extended to noon on the fifth day of the first month, and died of illness at the age of 68.
02 Stand on your own, open up a new realm
Under the influence of the "Deng School", Yang's seal book can stand on its own, naturally blending the excavated inscriptions and ancient artifacts without revealing traces, creating a sharp and dignified seal style, opening up a new realm, which was favored by scholars for a while.
The tao is salty, and the stele is thriving. The general environment of cultural confinement still silences scholars. Examination has become a major way of governance, and the academic trend of thought driven by epigraphy and philology has continued to ferment. Entering the Daoguang years, on the one hand, Ruan Yuan, Bao Shichen, Qian Yong, Yao Yuan and other calligraphers of the stele school still have a great influence on society, and the trend of taking the Fa Jin stone inscription and attaching importance to the seal book body has been continuing. On the other hand, following the admiration of Deng Shiru, Yi Bingshou and other representative figures of the stele school, the way to take the carved stone of the Fa stele has been widely practiced by scholars.
In the process of the rapid development and spread of epigraphy, many calligraphers with unique personal styles have emerged, and Yang Yisun is one of them.
The Qing History Manuscript Deng Shiru Biography mentions the record of Yang Yisun's writings on the Seal Book: "The Seal Li Sect Stone is as self-sufficient as it is. Deng Shiru's journey of learning the seal was first introduced with erli, and then changed the method to take the inscription, and then forward-looking put forward the theory of "Yi instrument style knowledge". However, due to the limitations of the times, such writings have not been excavated in large quantities, so Deng Shiru's seal book lacks Jin Wenyun.
As a descendant of the late Shiru for decades, Yisun has unique conditions in both the learning environment and the learning materials, coupled with the fact that Yisun is talented and intelligent, and has thorough research on primary schools such as text and exegesis, so he can follow Deng Shiru to become a person who carries on the book world.
"In the Past" partial
03 Go back to the ancient times and enter the book with gold
For example, all accomplished calligraphers and calligraphy studies can form their own system, and sometimes have new insights, and the "Book Genealogy" written by Sun Guoting in the Tang Dynasty can be called a model of the unity of calligraphy and literature, and so is Yang Yisun.
Yang Yisun's creative ideas are all recorded in his book "In the Past" and "Thirty Rules on books with his children", and these calligraphy views run through his entire process of seal book creation.
Written in the year before his death, Guangxu Sixth Year Gengchen practiced his writing theory with pen and ink in the form of four-word poems, that is, it is both an incisive and meticulous theory of calligraphy creation and a wonderful calligraphy work. In general, as a philologist and calligrapher, Yang Yisun creatively cuts from these two angles, integrating the development of ancient characters with calligraphy creation.
At the beginning of the book, Yang Yisun reviews the development of writing: "In the past, depressed, the Yellow Emperor. Start to change the knot rope, make the book deed... For thousands of years, I dare not or dare to. Up to Zhou Xuan, Shi Fei was prosperous. ”
Considering that the oracle bone script has not yet been found in Yisun's time, the ancient script here refers to the 籀 script. After the small seal, then the book, and then the real grass, through a process of "primary school mausoleum". The evolution of writing adheres to the principle of seeking work and making it easier to multiply, and calligraphy is therefore "ancient and gradual, and there are few real forms." The development of ancient characters is declining, and calligraphy with ancient characters as the carrier has gradually faded from the sight of calligraphers. Therefore, the rise and fall of paleography is closely related to the development of paleography.
"Qin has not been in the world for a long time, so there are not many people who hang on the golden stone. It can be seen in the present, only Taishan and Lang evil two stone carved a few crosses. Although the Yishan inscription is complete, it is copied and imitated, losing its true meaning. The small seal passed down from generation to generation, I don't know what to do with Qin? Is it not similar? "The small seal glyph must be based on the "Explanation of Words" and must not be made out of nothing. The limited number of small seals in the Shuowen Jiezi limits the scope of the creation of ancient calligraphy. To this end, Yang Yisun proposed that the inscription of the golden stone ware should be referred to on the basis of the small seal, and the bronze script should be integrated with the small seal, which not only plays the role of checking and filling in the gaps, but also innovates the small seal writing method.
In addition, the stone drum script that has been handed down has experienced wind and rain because of its long age, and the glyphs are blurred. Some of the original engravings have been around for a long time, and only the engravings have been circulated. These materials are far less reliable than the bronze inscriptions, so Yang Yisun said: "Only this Ji Jin, the ancient Fu Qi... The tibetan mountains are buried in the soil, and the time is out of the blue. The world is always new, and the past has not changed. ”
Due to the special properties of jinwen, compared with the stone drum script, it is more stable and less susceptible to natural erosion, as long as it is buried under the mountain soil, it can still show the original appearance of the script more clearly after thousands of years, which is one of the advantages of jinwen.
The content of The Golden Text basically reflects the social life of the time, and for the creation of the writer, the text is more practical, which is another advantage of the Golden Text.
The gold characters are neat and beautiful, simple and thick, stripped of the singleness of the traditional writing method of the small seal, and the lines and structures are varied, and the gold is included in the book, which greatly enhances the creative space of the writers. Due to the influence of the environment, the writers of the former dynasty lacked many historical materials that were written in letters and evidence, some failed to jump out of the traditional writing method of Erli, and some changed the seal book but were short-lived. But now the situation is diametrically opposed, Deng Shiru completed the first opening of the Qing Dynasty seal book by referring to the Han Dynasty stele.
epilogue:
Yang Yisun, Wu Rangzhi, Zhao Zhiqian, Wu Changshuo, Wu Dacheng, He Shaoji, and many others, under the influence of the atmosphere of studying jinwen, constantly traced back to the ancient times, and used the writing method of bronze inscriptions to try and innovate seal books. This has given new life to ancient calligraphy that has been silent for hundreds of years.
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