Yang Weizhen in the book style blending, brushwork,
Structure and space, rules, etc
Outstanding creativity in many ways,
It became an outlier in the yuan dynasty book world.
In the Yuan Dynasty, where retro was fashionable, Yang Weizhen was definitely one of the calligraphers with unique personalities. He has demonstrated outstanding creativity in many aspects such as the blending of calligraphy, brushwork, structure and space, and chapters, and has become an outlier in the yuan dynasty book world. Even in the entire history of calligraphy, Yang Weizhen is also outstandingly independent.
Various types of books have matured by the Wei and Jin dynasties, and during the period of book style conversion, there have been books between the book styles, such as the book styles of YiZhuan Yili and Yi Yi Kai, which is a natural phenomenon when the new book style is transformed from immature to mature. It is common in adjacent scripts, such as between static scripts (篆立楷), or between dynamic scripts (xingcao). After that, the phenomenon of the fusion of multiple calligraphy styles within the same book work is mostly actively pursued by calligraphers, and the fusion between static and dynamic books (such as seal and cursive) is called "broken body". The so-called "broken body" is to break the boundaries between the books. Yang Weizhen is a calligrapher who is unique in his "broken body".
Yang Weizhen Zhenjing'an Fundraising Scroll (Partial)
Yang Weizhen's "broken body" calligraphy is a fusion of calligraphy, calligraphy, chapter grass and cursive writing. Calligraphers in the Yuan Dynasty who were also good at a variety of calligraphy styles were not uncommon, and Zhao Mengfu's "Six Bodies and a Thousand Characters" proved his talent in this regard. However, the relationship between its books is juxtaposed, and the books are not blended, and Yang Weizhen is different from this. In Qing Dynasty Fushan calligraphy, such as the "Si Lu Miaohan", there was a situation in which the fonts were disturbed by each other, such as a piece of cursive writing followed by a paragraph of Lishu. Yang Weizhen is also different from this, he is a single cursive book after a single letter. Similarly, there is Yan Zhenqing's "General Pei Poems", the difference is that the "broken body" in "General Pei's poems" seems to be more willing to highlight the characteristics of the single word, while the fusion between different book words is not strong, and Yang Weizhen's "broken body" attaches more importance to the integration than to the characteristics of the single word book. Not only that, but he occasionally appeared in the strokes of other books in the words of a certain book, such as the wave strokes of Zhang Cao, often appearing in other books such as italics or writings. In this way, the fusion of Yang Weizhen's calligraphy has reached a very subtle level in calligraphy, which is extremely rare in the history of calligraphy.
Fu Shan, "Si Lu Miaohan" (partial)
From the perspective of line characteristics, Yang Weizhen's calligraphy should belong to Wang Xi's one road, with more sharp edges and more internal strokes, and the concave arc is more than the convex arc. Occasional wave pick strokes make its chapters and cursives suddenly apparent. The revival of Zhangcao is an important yardstick for the retro of calligraphy in the Yuan Dynasty, and the wave picking strokes in the chapter grass of Zhao Mengfu and others belong to the entire single word, and even the product of the entire swing brushwork system, Yang Weizhen is different from this, and its wave picking strokes are not subordinate to the overall swing brushwork system, but only occasional embellishments, and the words attached to it are often letters and lines. Because the rhythm is relatively uniform, the wave picking strokes under the overall swing brushwork are relatively uniform, elegant and even, and Yang Weizhen's wave picking strokes undoubtedly add ancient meaning to his calligraphy, but the rhythm is more jumpy.
Mi Fu's "Wu Jiang Zhou Zhong poem" (partial)
The strong contrast between the thickness of the lines and the thickness of the ink is also an important feature of Yang Weizhen's calligraphy. This kind of feature is rare in calligraphy before the Yuan Dynasty, and the more famous ones are Yan Zhenqing's "Manuscripts of Sacrifice to Nephews" and Mi Fu's "Poems of Wu Jiangzhou", both of which show obvious changes in ink color, but are far less strong than Yang Weizhen's "True Mirror An Collection of Loose Volumes". The change in ink color of Yan Zhenqing and Mi Fu is basically the result of natural deduction, while Yang Weizhen has a stronger subjective consciousness. The intensity of the change in the thickness of its lines is extremely rare in the history of calligraphy in the Yuan Dynasty. The strong contrast between the thickness of the lines and the thickness of the ink comes from a strong sense of manipulation of the brush itself and a strong sense of expression of the calligraphy itself. These, in the later evening light, have distant echoes.
On the whole, Yang Weizhen's previous cursive writing basically belonged to the frontal shape, that is, the single-word axis tended to be vertical, even Zhang Xu and Huai Su, who were famous for their big grass, Mi Fu, who were known for their jumping, and Yang Ning, who was known for their weirdness (taking the "Immortal Living Law" as an example), their handwriting basically belonged to this list. The side of Yang Weizhen's calligraphy has far surpassed the previous sages, especially the "Zhenjing'an Fundraising Scroll" and "Seongnam Singing and Poetry" as prominent. Of course, Yang Weizhen's side is the side of the word as a whole. Xu Wei's Wild Swing Poetry Scrolls and the side of most of the bad mountain people's calligraphy are completed by the left and right up and down movements of the internal components of the single word. Yang Weizhen is already quite strong in the type of monolithic overall side.
Xu Wei's "Wild Swing Poems Volume 11" (partial)
From the perspective of the space of the word, Zhao Mengfu generally belongs to the "Pingzheng" type, with a stable center of gravity and a symmetrical internal space. Yang Weizhen belongs to the "dangerous" type, most of the center of gravity is sagging, and the internal space is uneven. And most of them are done by stretching the upper half of the word space, and trying to compress the lower half of the word space as much as possible, and at the same time correcting it in the opposite way. In this way, the compression and relaxation of space is actually a process of gathering momentum and letting go, thus forming a strong rhythm.
The phenomenon of forming a strong rhythm through the compression and relaxation of structure and space has long existed, which can be represented by Zhang Xu's "Four Ancient Poems" and Huai Su's "Self-Narration Post", both of which are good at producing strong rhythmic contrasts through relatively uniform and uniform line combinations, as well as suddenly enlarged glyphs and lines, but the knot body is flat and has a broad and magnificent atmosphere. Yang Weizhen's "True Mirror An Recruitment" cannot compete with Xu Su in terms of rhythmic expansion and contraction, but the comparison of the expansion and contraction of its single characters and the side of the center of gravity make its calligraphy strange and dangerous, and it is another way of its own.
Yang Weizhen's "True Mirror An Fundraising Scroll" (partial)
The formation of a strange style by means of structural space relaxation and compression is not an isolated case of Yang Weizhen, and the previous Yang Condensation style and the subsequent Zhang Ruitu generally belong to this type. Yang Ning's "Immortal Living Method" shows a strong sense of escape from self-protection through the rapid downward and left direction of distorted lines in a narrow longitudinal space. Zhang Ruitu's "Post-Chibi Fu" uses sharp brushstrokes to rush left and right in a narrow horizontal space, showing the conflict and resistance in the oppressive space. Yang Weizhen's "True Mirror An Fundraising Scroll" looks strange and strange, but in fact it is retractable and flexible, creating a variety of contradictions and opposites, so that the viewer is cloudy and foggy, but suddenly the clouds open and disperse, showing Xiao Scattered calmly. Therefore, Yang Weizhen is not only a master of creating contradictions, but also a holy hand for resolving contradictions. The appearance of the strange is obvious, and the magnificent weather needs to be carefully observed. If we consider the time when Yang Weizhen was in the Yuan, Ming, and Yi Dynasties, his calligraphy will undoubtedly provide us with more space to speak.
end
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