<h1>Talk about Ni Yuanlu's path of calligraphy</h1>
■ Miner
Ni Yuanlu (1593-1644), also known as Yuru, Hongbao, and gardener. Emperor Mingshen was born in the twenty-first year of the Wanli Calendar and died in the seventeenth year of Emperor Sizong's Chongzhen. Shangyu people in Zhejiang. In the second year of the Apocalypse (1622), he was awarded the hanlin academy as an editor, and the official to the household and the ceremony were both a bachelor of the Hanlin academy. Li Zicheng attacked the Jing Division and took the martyrdom festival in his hometown. When The Fu King was wenzheng, the Qing dynasty changed wenzhen. Gongshi painting, good calligraphy, handed down works such as "Maizuru Fu Scroll", "Xingshu Poetry Axis", etc., and "Ni Wenzhen Gongwen Collection" and so on.
The era in which Ni Yuanlu was born was an era of political turmoil and the emancipation of the personality of literary and artistic thought, and an era in which calligraphers emphasized individuality, originality, and thematic feelings. In this trend of reform, they made a major breakthrough in the traditional form of calligraphy, and there were large works from eight feet to two zhang, and the aesthetics changed dramatically. In the calligraphy of Zhang Ruitu, Ni Yuanlu, Zodiac Zhou and Wang Duo at the end of the Ming Dynasty, we can see the strong and distinct artistic language brought to their calligraphy by the trend of individual liberation, and we can also see the lonely shadow or introverted thoughts and feelings. As a calligrapher with few calligraphy works but unique performances, Ni Yuanlu's spiritual trajectory is in the delicate relationship between the personality of calligraphy and the Fadu in the late Ming Dynasty. Ni Yuanlu was born in Shanyin, Zhejiang Province, where the beautiful landscape nourishes the spirit of the literati, where Wang Xizhi and Lu You lingered, and where Xu Wei, who had rebellious sentiments and subversive means of the Confucian tradition of Chinese calligraphy, was also the hometown of Xu Wei. Xu Wei's unique personality in art and his achievements in many aspects of art will inevitably have an impact on Ni Yuanlu. Ni Yuanlu's early years of calligraphy study were the cultivation of calligraphy skills centered on the imperial examination, and before he entered the career, his poetry and articles became famous. Ni Yuanlu has been enlightened since childhood, and at the age of five, he was able to sing poetry to the right, and at the age of seventeen, he was the first in the three examinations of the county, county, and superintendent, and published the "Star Society Building Manuscript", which was printed and sold by Shujia, and his talent has spread far and wide since. The reason why he fell off the list at the time of the initial examination was also that the article was too revealing and not standardized enough. Zodiac Zhou recorded Ni Yuanlu's early calligraphy experience in the "After the Gong Ti of Theory of The Emperor Of The Eighty-Year Wenzheng": "In the early years of the afternoon, the servant saw the public writing and told Ren Yun: 'Brother Hong's fate pen is on Yan Lugong, Su and Zhong, and his people are also re-emerging.'" The kings were astonished, but they did not dare to believe. He asked Brother Hong, 'What dreams did you have when you were young?' Gongyun: "When I was fourteen or fifteen years old, I tasted a dream to a pavilion, and I saw and Zhongzhong raised my sleeve cloud, and I had more than a dozen strokes of writing. The text mentions the scene when Yuan Lu was fourteen or fifteen years old and dreamed that Su Shi taught him to write, which shows Su Shi's influence on the enlightenment of his calligraphy. Xu Wei's wildness and Su Shi's openness should be intertwined and changeable in Ni Yuanlu's young calligraphy learning. At the age of nineteen, Chen Jiru was greatly amazed when he saw one of his self-written poems, thinking that he was a fairy, and his reputation was growing afterwards. "Du Fu's Poetry Scroll" is his early work, with a variety of teachers, with the words "Jiang" and "Deep" and the obvious brushstrokes of Su Shi. Although "Occasional Poetry on the Lake" was written when Ni Yuanlu returned home on leave in the sixth year of the Apocalypse, su Dongpo's style is obviously visible. Su Shi's wind influenced his life in his small works. With the repeated failures of the imperial examination, Ni Yuanlu did not focus on calligraphy and painting, but put away his temperament and worked the Eight Shares and Pavilion. According to the content of the Four Books and Five Classics, he studied the possible examination questions into different categories and made a plan. At this time, his efforts in calligraphy were only in line with the examination to move closer to the standardized "pavilion". In order to adapt to the norms of the imperial examination, he had to put away his talents, so this was very different from his appearance of completely using calligraphy as a temperament after he became famous.
At the age of thirty, Ni Yuanlu entered the Hanlin Academy with Huang Daozhou and Wang Duo as the same year. Ni Yuanlu's spirit has no shortage of the hidden thoughts of Chinese scholars, but to be reclusive, it is necessary to first "manifest" and "reach", which is the same as Su Dongpo. Ni Yuanlu's research on the art of calligraphy at the Hanlin Academy has become an important part of life. He and Zodiac Zhou and Wang Duo each have their own life history and are famous for the art of calligraphy, they meet to study books, and they all have the desire to study the art of calligraphy in depth. Their calligraphy interests have similarities, and Wang Xizhi, Yan Zhenqing, and Su Dongpo are all expressed in their calligraphy forms. Zodiac Zhou specialized in Su Dongpo, Wang Duo focused on Wang Xizhi, and Ni Yuanlu went straight to Yan Zhenqing. Wang Duo's style is open-minded, and Ni Yuanlu and Zodiac Zhou's personality performance is much more humorous. Ni Yuanlu and Zodiac Zhou have similar personalities, the two have a deep affection, about Ni Xuesu and Wang, Huang Daozhou once said in the "Book Qin Hua Yu Engraving Zhu Kai Fa Hou": "In the same year, Ni Hongbao's penmanship was deep and ancient, so he was able to combine Zi Zhan and Yi Shao's length. For example, the swordsman Long Tian, when he became a flower girl, should not be the appearance of the times, and in the next few decades, he will also be with the king, Su and Bao, but he is afraid of disdain. Zodiac Zhou's words show that Ni Yuanlu has distanced himself from his contemporaries "the appearance of the makeup of the time", and it can be seen that Huang, Wang, and Ni are each looking for a foothold in the tradition to innovate, although their tracking is different, but the idea of advocating independent appearance is consistent. In the works of Ni Chuanshi seen today, su Dongpo's will is still mostly seen in the pen around the time when hanlin yuan and Wang Duo and Zodiac Zhou simultaneously attacked the book, that is, before the age of thirty-five or six. Later, Ni turned to Xueyan, using the brush hair astringent, taking the meaning of "house leak marks", and the style of writing gradually became dull. Therefore, Huang Daozhou commented on Ni Yuanlu's shuyun in his later years: "Smear Cai Qisu (Shi), Wang Wang (Xizhi) Over Yang (Xin), and it is advisable to be like Ni Hongbao." But now the elbow force is falling, the breath is too muddy, and people have never solved their wonderful ears. "Zodiac Zhou advocates calligraphy to be flattering and deepening, and Ni Yuanlu's calligraphy obviously has something in common with it, but it seems that the proportion of the two is opposite, that is, Ni Nai is mainly deep and flattering, Ni Yuanlu's son once learned from the Zodiac Zhou, which it wrote in the "Ni Yuanlu and Zodiac Zhou Shuhan Combined Book": "The world and the master and the ancestor are called together." The first prince is too flattering, and the master is too flattering. Among the same abilities, each has its own victory. This comment is the one who can best perceive the character of the two people's calligraphy. Qin Zuyong of the Qing Dynasty believes that "Yuanlu calligraphy, lingxiu and wonderful, and the grass is particularly super-elegant" obviously discusses its beautiful and beautiful side, but fails to perceive its deep and thick side. After Ni Yuanlu's entry into the world, there is no caution of "stepping on the door", and it has become a manifestation of the literati's interest, which is really temperamental. Although the grass method of "Gifting Taibai Poetry Painting Axis" has not reached the realm of proficiency, making the circle more rigid, it is natural and self-evident. The title "Lanyuan Zhao Drinking Poetry Fan Noodles" is written in a pen that is interesting and leisurely, which shows the state of pride and learning the art of calligraphy. From the "Ling Yu Poetry Axis", it can be seen that the dryness of the ink in a middle is the place where ni shu's personality lies. During his tenure as a guozi supervisor in Nanjing, he held a noble and leisurely clerical position, leaving behind many excellent works. The Maizuru Fu Scroll is a portrayal of his actual life at that time, and it is also one of the few books of his "Zong Yan". The 9-meter-long scroll, with its near-wording, is really rare to see in ni's book. During his six years of age 38 to 44, his calligraphic style had taken shape. "Inscription Stone Poetry Axis" has a strange posture and a dry and spicy atmosphere. "Outing Poetry Axis" is a poem written many times, the body is open, the writing is longitudinal, and the ink color also has a dry change, which shows the author's heart in repeated grinding.
As a typical example of intellectuals in feudal society, Ni Yuanlu was deeply influenced by Confucian orthodoxy, and personality ethics were important. After the Chongzhen Emperor ascended the throne, the Yan Party was in chaos, the party strife within the imperial court intensified, and the political vicious struggle and the desire for relatives made Ni Yuanlu have the idea of returning to his hometown. In the fifth year of Chongzhen, Yuan Lu returned to his hometown four times without permission. He once said, "In my lifetime, I did not love officials, nor did I like to live in the cage of dignitaries." "Striving for the freedom of disposition and maintaining the tension of behavior and spirit under the norms of Confucian etiquette is where Ni Yuanlu's unique personality as a typical scholar and doctor who both abides by honor and discipline and insists on going his own way." In the ninth year of Chongzhen, he left the capital and returned to his hometown in Shaoxing, built a new house in the ribbed pattern of the south of the city, and began his own Hanmo life. He took a homemade "Ni family boat" to travel the lakes and mountains to find a secret adventure. Seven years of leisure time, Yuan Lu wrote a book. The quiet and leisurely natural environment led him to devote himself to artistic creation, and at this stage, his calligraphic art reached a mature state. Standing with the Zodiac Zhou and Wang Duo, he became a representative of the calligraphy style at the end of the Ming Dynasty. The most significant feature of Ni Yuanlu's calligraphy is the bold use of thirst pens, which is a difficult way to learn books. Pen thirst is not easy to fluent, writing speed is naturally hindered, and Yuan Lu's thirst pen is mostly cursive, cursive strengths and difficulties are derived from the speed of writing. Ni Yuanlu writes cursive instead of thick ink, which increases the contradiction in the process of moving the pen. Ni Yuanlu used the rapid movement of the scorched ink to achieve the effect of "change" in one word. Jiao Mo's grass is difficult to flow, which was originally a big taboo, but Ni Yuanlu survived in a desperate place, changed the method of death into a living method, and finally became a family of its own, "honoring the Buddha where there is no Buddha." Later generations, Ruo Cheng and Lin Sanzhi both absorbed Ni Yuanlu's creation method and became their own style. The Buju Poetry Axis portrays Ni Yuanlu's life in Shanyin. This painting is full of excitement, poetry and ink, and lightness, which can be regarded as a divine product.
Fourteen years after Chongzhen, natural and man-made disasters and internal and external troubles aggravated the decline of the Ming Dynasty. In 1642, the imperial court once again used Ni Yuanlu as the right attendant of the bingbu and the attendant of the Hanlin Academy, and he thanked his mother for her old age. In 1643, when the Qing army invaded Beijing on a large scale, Ni Yuanlu swore to lead three hundred cavalry into the King of Jingqin, and the Chongzhen Emperor was in danger, but Ni Yuanlu was a civilian minister, and the financial and military was not good at it, and it was really impossible to turn the tide. At this time, if Ni Yuanlu's 40-year-old is his maturity period, the next ten years are the continuation of his calligraphy maturity. The two pieces of "To Huan Hao Ruler" can see the different styles of Ni Yuanlu's small grass. The first zha should be written when going north to go to the trouble, the situation is difficult, there is heroism. This zha flows naturally, and the dot painting is subtle and interesting. Ni Yuanlu's calligraphy has a distinct personality, but throughout his life, his dedication to calligraphy is far less than that of imperial examinations, political affairs, articles and poetry. He regarded calligraphy as a matter of later use, and in his writings he did not see any articles on calligraphy, and his works were not signed with years, in his view, calligraphy was pure entertainment, and he did not think of passing on calligraphy to the world. Through Ni Yuanlu's path of calligraphy, we can have a general understanding of his life path and the development trend of late Ming calligraphy culture.
bibliography:
[1] History of Chinese Calligraphy. Yuan Ming Volume" by Huang Wei Nanjing: Jiangsu Education Press, 2007. 9
[2] The Complete Works of Chinese Calligraphers. Ni Yuanlu, by Li Tinghua Shijiazhuang: Hebei Education Press, 2005.12
[3] Appreciation of Book Art Treasures. Series VIII. Calligraphy master. Ming dynasty. Qing Dynasty. Ni Yuanlu, by Hong Wenqing Changsha: Hunan Fine Arts Publishing House, 2009
Ming Ni Yuanlu Cursive Wash Er Resignation Guardian 2016 Autumn Auction Transaction Price 4.14 Million Yuan
Appreciation of works (size 160×47cm)
Ni Yuanlu and Zodiac Zhou were courtiers of the late Ming Dynasty, and the two respected each other with poetry, and both were good at writing, advocating a book revolution with Wang Juesi and others when they were in the Hanlin Academy. Wash the soft and feminine habits of the book world. He advocates lyrical spirituality and creates a new trend of magnanimity and boldness. The impact is far-reaching and continues to this day. This axis is longitudinal and strange, and has the state of pen and ink dance. It is as if the spring water comes out of the stream, stirring and leaping, irrepressible. With the content of the book, it is in harmony with the voice of the heart, and it is easy to read it.
Plutonium Printing Ni Yuanlu Yin, Tai Shi Shi (see "Chinese Calligraphers and Painters Seal Zhi Ni Yuanlu", 29, 31 prints, 744 pages)
Inscription Wash children's words. Yuan Lu.
Shi Wen laughed to the cheeks dancing to the eyebrows, peach blossoms and snow washed childhood. Born gold casts a new child, and the wind blows.
Ming Ni Yuanlu Cursive Moon Circle Seven Words Union Beijing Poly 2016 Autumn Auction Transaction Price 3.45 Million Yuan
Appreciation of works
Ni Yuanlu (1593-1644) character Ruyu, hongbao, Zhejiang Shangyu people. In the second year of the Apocalypse (1621), he entered the priesthood. In the seventh year of the Apocalypse, he served as the chief examiner of the Jiangxi Township Examination, when the eunuch Wei Zhongxian monopolized the government and corrupted the Gangji, and Yuan Lu ridiculed it with examination questions. Emperor Sizong ascended the throne, Wei Zhongxian, and Yuan Lu survived. Later, because he was jealous of villains, he was rumored to quit and returned, and he never wanted to pursue a career from then on. In the fifteenth year of Chongzhen (1642), when the Qing soldiers entered Beijing, Beijing shook, and the soldiers asked for help from the world, yuan lu resolutely did his best to recruit soldiers, recruited hundreds of dead soldiers, and rushed to Beijing. He also explained to Sizong the method of controlling the enemy, and Sizong worshiped him as Hubu Shangshu and deeply hated that he could not use it sooner. On March 19, 17th year of Chongzhen, Li Zicheng attacked the capital, and Ni Yuanlu heard about it, so he tied up xiang Que, Xie Bi Tianzi, and hanged himself in order to show his loyalty: "It is within the duty to die to thank the country. Don't bury me after death, but I will be buried outside, and I will talk about the sorrow in my heart. "Died at the age of fifty-two.
Ni Yuanlu's book is deep and tall, and he is extremely bold. Often write books and do whatever you want. But the talent is both high, learned and rich, so it can touch the bypass, the wind vane is unique, although the vertical and horizontal turn, it seems to be inadvertent, but the voice is rich, the charm is elegant, and it is a style of its own. Kang Youwei's "Guangyi Zhou Shuangyi" said: "There are no ming people who cannot write, and Ni Hongbao's new theory is particularly different. Qin Zuyong of the Qing Dynasty also had an evaluation in the "Tong Yin On Paintings" that "Yuan Lu's calligraphy is exquisite and wonderful, and the grass is particularly super-elegant".
Most of the works circulated by Ni Shi are vertical scrolls of banners, and it seems that this study couplet is extremely rare. Its "rigorous structure, boldness and strength", "unique purity and purity", for Wu Yun's old collection, lost and recovered, as its "size is more expensive than the ball bi". Wu Yun (1881-1883) character Shaofu, the number of Pingzhai, Yuting, Yuting, Baozizi, the late number of the owner of the retreat. A native of Gui'an (present-day Huzhou), Zhejiang. After stepping down from his post as the prefect of Suzhou, he built the Tingfeng Garden, hid in the Two Xuanxuan, engaged in the examination of gold and stone, collected Yiding cultural relics, old books, and appreciated with friends. His biography is very rich, but the Gengshen Mutiny, his works have been completely destroyed in the war. This Ni Yuanlu couplet is a lost and recovered thing after the disaster, and Wu Yun has left two long passages at the edge of the frame, detailing the collection process of this lost and recovered, and the joy is overflowing with the pen. The left side of the frame is a calligraphy seal engraved by wu Xizai Guan bao, which is highly evaluated, loyal and inky, and has been passed down for hundreds of years, like divine help.
Inscription: Moon Boundary Xiao Window Qin Yue Run, Bamboo Shake Autumn Ink Cloud Fresh. Yuan Lu.
Plutonium Seal: Taishi Clan, Ni Yuanlu Yin, Ni Clan Hongbao, Bu Xu Ge
Inscription:
1. This Ni Wenzhen Gong Zhen Gong Zhen Gengshen mutiny was lost, hereby purchased for Yao Shaoyuan Shihao, and then returned to Yu, the book this Zhixi. Shi Jiazi (1864) in the spring and February, wu Yunzhi, the owner of the Hundred Mirrors Room, was in Shanghai Yuzhai . Seal: Wu Yun, Ping Zhai
2. The structure of this book is rigorous, bold and deep, and in the Ming Xian Fa Book, only Huang Zhongduan Gong can be with Jie Hao. The Ergongzhi Festival is awe-inspiring, and the economic scholarship is also enough to stand still. The size is more expensive than the ball, and there is also a ball. Remembered again on the same day. Plutonium seal: Wu Yun's private seal
3. There are many generations of Wen Zhen Gong Forgeries, and most of them have a state of sword and crossbow (Zhang), this union is unique and pure, and Mr. Pingzhai loves it to the point, which can be described as a true example. Jia Zi Xia April, with the guest Jiao Yan Pillow Jiang Pavilion, out of this appreciation. Remember. Zhenzhou later learned From Wu Rangzhi. Seal: Xi Zai approved
Jianzang Seal: Wu Pingzhai verified the true works of the famous sages, the Two Hundred Lanting Zhai Collection, the Mengquan Secret Book, the Chuanhoutang Quan Zhensheng Collection, and the Donggao Appreciation
Description: Old collection of Beijing Municipal Cultural Relics Company.
Artwork
Author Ni Yuanlu
Dimensions 106×20cm×2