Introduction: The ancients studied books, emphasizing gradual progress, idle hands, and many laws and rules. Yang Weizhen was very different and sang the opposite tune. As soon as I dropped the pen, I kneaded the three different styles and strokes of the chapter grass, the letter book, and the line book together. The layout is scattered, and the glyph size is uneven, seemingly disordered. Ink is either thick to the end, or thick and faint. It is known as the "Ugly Book".
Yang Weizhen's career path was not smooth in his life, but his heart for the world was not lost.
As a result, the block barrier that could not be released in my heart was spit into poetry, calligraphy, and drunkenness, and the pen and ink flew wildly.
His stippling style of writing, with skewed glyphs and cross-hair, reveals a kind of depression and deep unevenness, which is exactly what people call "chaotic world qi" in Yang Weizhen's calligraphy.
"Gift decoration Xiao Sheng Xian Sequence"
A life of change and reputation
Yang Weizhen lived in an unstable era, experiencing the frequent replacement of the ten emperors of the Yuan Dynasty and the ensuing upheavals. In political encounters, although he had both the talent of the world and the willingness to assist Wang, he was left idle. In terms of personality, he was frank and personality-rich, and he was crazy and informal, and finally got a reputation for debauchery and lust. As a result, his name was always discredited.
Yang Weizhen, also known as Wei Zhen, character Lianfu, meihua daoren, tieya mountain people, tiedi daoists, eastern Weisuo, tielong daoists, etc. Yuan Shaoxing Road Zhuji Prefecture people. A famous writer and calligrapher of the Yuan Dynasty.
He studied poetry since childhood, and at the age of 32, he passed the second class entrance examination and was awarded the title of Yin of Tiantai County. He should have had a bright career, but in the official field full of maladministration, it was like a dirt, and it was difficult to do anything when he entered, and he was unwilling to go out. Decades of wandering the rivers and lakes and indulging in poetry and wine have made him immortal in the history of literature and art.
From an idealistic official to a wanderer with a bad reputation, Yang Weizhen's life in the second half of his life turned, throwing him out of the ideal way of life, and his heart fell into extreme contradiction and pain. This tortuous and unique life experience, and intentionally or unintentionally reflected in his calligraphy, Qingwu Yuanhua said it well: ordinary people "know that it is allegorical to poetry because of unevenness, and do not know that it is attached to words."
Throughout Yang Weizhen's works, the treatment of many words has not been carried out in accordance with the conventional way of processing, but more like a kind of pen and ink game, full of exaggeration and deformation, full of destruction and reconstruction of classical law, where Yang Weizhen has no time to carry out meticulous consideration of dot painting, knot body, and chapter method, calligraphy and text have become a tool for Yang Weizhen's emotional catharsis.
"The Tale of Hu Yuexuan"
Books are no different from character
Yang Weizhen opposed imitation and advocated work without work. He believes that "the more imitation is forced, the farther away it is from the past", and advocates a unified view of poetry, paintings, books and character, and believes that books are no different from character. Here, too, we find the spiritual source of his weird book style.
As we all know, Yuan Dynasty calligraphy is a comprehensive retro trend shrouded in the era of calligraphy, under the initiative of the calligraphers represented by Zhao Ziang, advocating surpassing the Song people and pursuing the Jin and Tang, Yang Weizhen was also influenced by this, but his angle of taking the law was quite peculiar. He avoided the Second King and took Ouyang directly. His creative method was quite different from the pursuit of peace, beauty and elegance at that time, but was unique in a simple, robust and fresh style.
The stylistic characteristics of Yang Weizhen's calligraphy are divided into two categories:
The first type of works: Qing Jin Gao Gu, cold and beautiful
For example, the "Zhuxi Zhi" made at the age of 54, the first few lines, the meaning of the letter is quite heavy, after the seventh line, it is only kai, the line is between each other, dashing and free, but there is no big ups and downs, unrestrained. The pen mainly takes the brushwork of Wang Xizhi's father and son and Ouyang Inquiry's father and son, and there are chapters and cursive strokes between them, which looks elegant and elegant. The knot of the characters is basically independent of the characters, because of the large European brushwork, and the words are full of spirit, tight and heroic, facing life, without the Song people's pretentious and crooked customs and entering the Jin Tang Tang Ao.
The second type of works: wild and uninhibited, messy and rough clothes
For example, written at the age of 67, "Seongnam Sings and Poems", the chapters are like the scattered flowers of the goddess of heaven flying, jumping and uniting. The size, obliqueness, and weight of the characters vary, and the combination of the present grass and the chapter grass, the vertical and horizontal potentials are connected, and the word spacing is tight and dense, tight but not urgent. The lines are mostly used in arcs and bends, which strengthen the tension, and the strong and exaggerated painting is pointed out, so that the knots are strange in the flat and stable. He also used strange characters and ancient characters, which looked strange and ancient, and his head was chaotic and rude. It is worth mentioning that the ink method of the whole work, thick and dry, natural stretch, as if the sky is full of stars, waving to you, and like a flower and bird painting gathered by a hundred grasses, the posture is varied, and the sky is full of fun.
Compared with Zhao Ziang, Xian Yushu, Kang Li Kunnuan and Feng Zizhen of the Yuan Dynasty, Yang Weizhen's calligraphy is the most personal and the most peculiar. His works organically combine the strengths of zhangcao and European characters, and can naturally melt the chapter grass of the Han and Jin people into cursive writing. It seemed like an innovation at the time and even today.
"Zhuxi Caotang Inscription Volume"
Rough looking disorganized, in fact, the bones are strong
Most of Yang Weizhen's calligraphy works are his later works, and the calligraphy that can best show Yang Weizhen's personality and his most representative calligraphy should be his cursive writing.
His words, roughly looking east and west, are chaotic, and his actual bones are strong and strong, and Wang Yang is wanton. Yang Weizhen is good at cursive writing, his penmanship is clear and refreshing, his posture is quick and horizontal, he is full of personality, and he has become a special appearance of his own. There is a trend of "the general class division, the three armies play kai, the axe is broken, and the example is returned". If Zhao Mengfu is compared to a beautiful representative, then he is a magnificent model.
"Zhang's Tongbo Table"
The overall style is zhangcao, but it is not the whole chapter grass as a book, but the thickness of Han Li, the smoothness of the book into their own works, the lower pen is heavier, the line form is also thick, but in the process of writing, and skillfully use the stroke of the book, the line of the connection even has the appearance of a thread, so that the line is very consistent
"The Nest of The Characters"
The pen is tall and strong, the lines are simple and stable, and a lot of chapter and cursive writing are integrated. The size of the glyphs is very different, full of bold momentum, but also gentle emotion, just like a piece of music, the big strings and small strings are intricate, fully showing the rhythm and rhythm in calligraphy.
"True Mirror Ann Fundraising"
As one of the works that best represent Yang Weizhen's calligraphy style, at the beginning, the title numbers are written fairly well. Entering the front part of the main text, Yang Weizhen's strong, stiff dotted lines and knots gradually appeared, and the ink was gradually aggravated. Writing to the middle, the ink color begins to transition from the thick black in the front of the work to the dry brush of the pen edge, the center and flank are constantly converted, the knot side takes the momentum, and the words and words, lines and lines are interspersed with each other to avoid each other, and they are integrated. When the writing enters the second half of the text, strong contrasts continue to appear: with the pen heavy, the pen is pressed, and the vigorous lines sweep out with the belly of the pen. With the light touch of the pen, the tip of the pen is lifted, and the light and strong lines are formed. Here, the strong contrast between solemnity and lightness is perfectly integrated in Yang Weizhen's pen.
"Title Zou Fu Lei Chun News Volume"
When I was sixty-six years old, the book was in the middle of the summer, its pen was heavy, the size of the glyphs was very different, and the ink was sometimes thick and sometimes dry, which made people thrilled. Yang Weizhen broke through the constraints of the traditional law, and used extremely exaggerated techniques to arrange the structure of the word, such as the "compound" word, the left side of the side of a point and then straight and straight to form a thick vertical painting, the right half did not take the general upper and lower large or up and down equal way out, but adopted the process of upper and lower small, so that the whole word appears strange a lot.
"The Second Ode to The Tsukishi"
epilogue:
Yang Weizhen's cursive writing style is unique in the history of Yuan Dynasty books. His use of chapter cursive writing has reached the realm of freewheeling and free wielding.
His calligraphy may not be able to be learned as a model, and its influence on later generations of calligraphy is mainly in the sense of style. However, many calligraphers after the Ming Dynasty, such as Xu Wei, Zhu Zhishan, Zhang Ruitu, Ni Zhan, Huang Zhoudao, Wang Duo, Fu Shan, and even the Eight Monsters of Yangzhou, did create a unique calligraphy style like Yang Weizhen, shining on the starry sky of Chinese calligraphy.
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