The development of calligraphy to the Ming Dynasty has been quite mature, with both styles and books, but at the same time, due to various reasons, it has gradually gone to the other extreme, and the Taige style has become popular. At the end of the Ming Dynasty, a group of far-sighted calligraphers rose up against the shortcomings of the Taige script, and a new wind blew into the history of books.
Ni Yuanlu statue
Ni Yuanlu is one of the representatives. It is no wonder that Kang Youwei would later say in his "Guangyi Zhou Shuangyi": "Ming people cannot write books, and Ni Hongbao's new theory is particularly different." The "new theory and heterogeneity" is the transcendence and reversal of the old writing of the past, and Ni Yuanlu's creativity, that is, to get rid of the shadow of the rigidity of the Taige body in all aspects of calligraphy creation, and to create an artistic realm full of vitality. His "Xingshu Du Mu Poetry Axis" is a typical example.
The twenty-eight characters of the main text of the "Xingshu Du Mu Poetry Axis" are composed of three strands of words that are consistently stringed, during which a large number of blank spaces are left, and the sparse places can be walked, which is in stark contrast to the dense word groups, so that the pattern of large sparseness and great density makes the momentum of vertical pouring more eye-catching. At the same time, Ni Yuanlu's grasp of the line of the word group is also quite ingenious: the vertical connection between the words and the word is rarely completed by the real wire, but the word is mostly independent, on this basis, the compact word spacing, or strengthen the spatial echo relationship between the words, so that it is easy to achieve the aesthetic effect of "pen breaking", which is more ethereal than the complicated writing.
Ni Yuanlu book fan
Ni Yuanlu uses a heavy and clumsy pen, and it is difficult to fully consider the integrity of the dot painting in order to achieve the overall writing momentum. Bravery is enough to set off the expressiveness of wild and fierce. In the "Xingshu Du Mu Poetry Axis", the word "ice", the last pen of "difference", the vertical of "down", the "person" and so on are all messy and rough, and the brush is sloppy and natural.
In fact, Ni Yuanlu's approach is a bold offense to the previous Chen Chen Xiangyin and stereotypical writing, thus promoting a real and willful creative state. On the basis of a solid enough kung fu, emphasizing the calligrapher's expression of boldness and embrace in the creation, rather than drawing on the complete portrayal of dot painting, can maximize the embodiment of the calligrapher's spiritual aura, and truly return to the most fundamental appeal of calligraphy art: lyrical expression.
Ni Yuanlu's Codex
In the "Xingshu Du Mu Poetry Axis", Ni Yuanlu uses both the center and the flank, plus the brush of Shi Shi, making the lines charming and vigorous, and the ups and downs are varied. At the same time, Ni Yuanlu is also good at folding strokes, such as the apostrophe of the "less" word, the horizontal bending hook of the "phoenix" word, and the last stroke of the "poor", which are all bold and fierce, adding bone to the work. It is precisely because of Ni Yuanlu's use of the folding pen method, coupled with the frustration and decisiveness, that the whole work is read to cut through the iron and sonorous.
Because the action is decisive and crisp, the ink color change is also quite vibrant. Ni's role is thick ink writing, dry and wet to transform a natural, but at the same time often unexpected. For example, the ink color of words such as "less", "ice", "layer", "qi", "lin" and so on often has the magical charm of "dry and moist, will be thick and dry" within a word, which makes the viewer inexhaustible.
Ni Yuanlu wrote a vertical scroll
Ni Yuanlu's calligraphy is outstanding in the late Ming Dynasty, which cannot be ignored, and is his unique understanding and creative expression of calligraphy knots. Ni Shixi creates dangers in the shape, takes the oblique trend, makes the single word suppress the left and the right, and the sparse treatment is also closed left and right, so as to form a sharp contrast, and tries to achieve a balance in the side of the beam to obtain the effect of "strange anyway".
In addition, the increase in the center of gravity of the single word, dense and sparse, can be called Ni Yuanlu's unique exploration and creation. In this way, the situation was opened up, majestic and magnificent, so that the words such as Minchu Zhuangshi, Qiu Ma Sword, awe-inspiring like a bear, in the precipitous and wanton, full of strange and ancient winds.
Ni Yuanlu Chongzhen initially resisted Wei Zhongxian's widow Yang Weiyuan, and in the last year of Chongzhen, Li Zicheng hanged himself when he attacked the Jingshi and martyred the Ming Dynasty. Ni Yuanlu's calligraphy is bloody and bloody, and his temperament is high, and he wants to be inseparable from his human nature.