Meng Yunfei/Wen
Summary: In the history of Chinese art, although Zhao Zhiqian is not a long life, and his career is not smooth, life is difficult, but he is an all-rounder in art, and he has made remarkable achievements in calligraphy, seal engraving and painting. Of course, this is related to his talent, but his painstaking dedication to art and diligent pursuit are even more crucial! Keywords: Zhao Zhiqian, calligraphy, seal engraving, painting
The great inventor Edison once said, "Genius is ninety-nine percent sweat plus one percent inspiration." "It is very important to show that the hard work of the day after tomorrow is very important. However, for the calligrapher and painter Zhao Zhiqian, his talent seems to be more than ordinary people, this talented person, in a life that is not a long life, constantly cultivated, books, paintings, printing all exquisite, can be described as a self-made family, a generation of generalists.
Zhao Zhiqian (1829-1884 AD), the first character Yifu, the number of Leng Jun, Sorrowful Nunnery, Mei'an, Wu Min, etc., zhejiang Shaoxing people. In his youth, his talents bloomed brightly and became famous in the sea. Zhao Zhiqian read and learned words, was very smart, and participated in three examinations, unfortunately, all of them were named Luosun Mountain. At the age of 44, he served as the editor-in-chief of "Jiangxi Tongzhi", serving as Poyang, Fengxin, and Nancheng Zhi County, and died in office.
Zhao Zhiqian mentioned in his Zhang An Miscellaneous Sayings that before he was 20 years old, he studied the Family Temple Monument and wrote 500 words a day, which is enough to prove that he worked Yan Zhenqing. After Zhao Zhiqian avoided Wenzhou, he had time to idly read the "An Wu Treatise", and was deeply impressed by Bao An Wu's calligraphy theory, and then fell in love with the ancient carvings of the Six Dynasties, he once said such a passage: "The ancient carvings of the Six Dynasties are wonderful in the enduring." Sudden encounters, contempt, wisdom and ears. Staring at it for half a day, I saw a wave of bricks and falling together, all created by heaven and earth, and could not be moved. It will be the scale of the pen, and it will know that there is no place to start. I have not read all the bitterness in this, and I am even more puzzled. [i] it proves that he developed a keen interest in the Six Dynasties inscription and gave it a high evaluation, laying a deep foreshadowing for his future achievements in the inscription. He also said: "An Wu Bao Shen Boyan, once saw the Southern Tang Tuoben "Mr. Oriental Painting Praise" and "LuoshenFu", the pen and brush are the same as Han Li. However, the Book of the Two Kings passed down in recent times can be known. The Book of the Second King of The Tang Dynasty was emperor Taizong of Tang. Nowadays, the Imperial Book of Emperor Taizong is there, and the Book of the Two Kings of the World is no different. It is said that the Book of Taizong is the Book of the Second King. It should be known that on that day, Emperor Taizong's second king, the courtier Dai Taizong, and the matter of Mole became pandering. Therefore, the centuries-old scholars were worshipped as ancestors, and they first lost their original appearance. Then 80 million eye holes were squinted by this dust and sand, which was a pity. This theory has been said for thousands of years and cannot dare to export it. Ruan Wenda said that the book is based on the Tang people as the pole, and the Two Kings Book of the Tang Dynasty is not expensive enough, and it is different from the meaning of Yu. [ii] He was also keenly aware that the "two kings" in the world, after a thousand years of reversal, have long been not the true essence of the "two kings". Therefore, he began to innovate and transform his calligraphy, and gradually drifted away from the "second king".
After he went to Beijing, he often lingered with Shen Junchu, Hu Ganbo, Wei Jiasun, etc., to and from the LiuliChang, Yahao Jinshi, who loved to search for ancient inscriptions, and after obtaining the "Zheng Wen Gong Monument", he loved it.
1. Wei Bei
Zhao Zhiqian gradually abandoned the Yan body and turned to Northern Wei calligraphy. The booklet of his own poems written for Qi Jiwen at the age of 36 can be seen as a classic representative of his study of the Northern Wei calligraphy. At the age of 37, he said in a letter to Hu Peishi: "My brother has been reading "Yizhou Shuangyi" for five years, and the more he thinks about it, the more he is not. Since coming here, I have seen the stele written by Zheng Shubo, and I have realized the scroll. See Zhang Wanlin's book, the beginning of the enlightenment turn. See more than a hundred kinds of true deeds of Deng Shanren, and begin to understand the setbacks. However, he always did not understand the four words of 'Dragon Leaping Tiger Lying', and Yan Yanxianglai, looking at his writing, is the Great Enlightenment horizontal and vertical wave of the various laws. Yan Shi had been studying this for thirty years, and his secret was very secret, and although his brother stole it for a moment, he suddenly entered the investigation. However, at present, there is not much to let go of. At this point in the book, the back of the pavilion is large, and the brothers and others are no longer able to serve, so they may as well do their own thing. [iii] From this, it can be seen that Zhao Zhiqian has a clear judgment on his artistic path, and after many comparisons, he has decided to take the road of epigraphy.
"Yizhou Shuangyi" is The Theoretical Guidance of Zhao Zhiqian's transition from Yan Body to Northern Wei. Learning Zheng Daozhao made him understand the brushwork of "curly front"; seeing Zhang Wanlin's calligraphy broadened Zhao Zhiqian's horizons, from which he knew the mutual use of truth and subordination; Deng Shiru's calligraphy made him understand the setbacks of writing. Guan Zhao Zhiqian's works around the age of 35 to 40, his style has initially formed, but his penmanship is slightly weak. As he himself said: "At this time, the brother began to realize that he had written his own book with five words of serious illness, that is, it was not clean. If this disease is removed, then there are those who cannot be reached by Deng and Bao Zhujun, and there are those who do not know their own homes. [iv] After the age of 50, when he reached the state of "people and books are old", he was close to the masters of the Southern and Northern Dynasties, at this time, he was quite conceited about his calligraphy, claiming that "there was this person before the Han Dynasty and sui". Of course, this conceit is actually a high degree of self-confidence, not only because of his deep understanding of calligraphy, but also from his insights in the practice of calligraphy.
2. Seal book, seal engraving
Zhao Zhiqian's seal books and seal carvings originated from Deng Shiru and Wu Rangzhi, and were also influenced by Hu Shu.
Zhao Zhiqian said in the 54-year-old disciple Qian Shilin's "Yishan Stele" book: "When Yishan carved stones in the Northern Wei Dynasty, it was already dead, and the Zheng Wenbao carved book that is now rumored to be very clumsy. The past people were ugly for the history of banknotes, not too much. I put Deng Jibo as the first in the seal book, and the only people who were close to me after the stubborn uncle were Yangzhou Wu Xizai and Wuyou Jixi Hu Fufu. Xi Zai is old, and Hefu has fallen into Hangcheng, and his life and death are unknown. He was still there, and I did not dare to make a seal book. I don't know where to go. Qian Sheng's second practice of the Seal Method must be shown by what he knows, that is, the use of the Deng Fa Shu Shu Shan Wen is better than the History of Wen Bao Banknotes or less than the ear. Zhao Zhiqian did not stick to the rules, and the teacher Deng Shiru was able to use it for himself. Deng Shiru has a deep knowledge on the Six Dynasties tablet, but, relatively speaking, Zhao Zhiqian's seal book is more flexible and interesting under the premise of inheriting tradition.
3. Letter of Affiliation
Lishu is a collateral book for Zhao Zhiqian, who believes: "Life can be subordinated to the study of seals, and learning to be able to be a can be written." [v] Zhao Zhiqian studied Lishu extensively, and worked particularly hard, and successively wrote "Ode to the Stone Gate", "Chengyang Lingtai Stele", "Wei Yuanping Stele", "Sangong Mountain Divine Stele", "Fenglong Mountain Stele" and so on. At the age of 35, Zhao Zhiqian entered Beijing, after which he extensively collected Han Dynasty tablets, obtained a lot, and most of them were studied and copied. Therefore, between the ages of 35 and 50, many of the Han inscriptions he wrote have been handed down. In addition, during this period, he also made a careful examination of Shen Jun's first collection of "Liu Xiong Monument" and wrote an explanatory inscription. At the age of 45, Li Wentian supplemented the fragment of the "Xiyue Huashan Temple Stele" with 96 characters. It can be seen that Zhao Zhiqian is a book of letters, and he is also diligent and diligent.
4. Writing
As one of the most powerful practitioners of the theory of steleology in the Qing Dynasty, Zhao Zhiqian further improved the technical system of the stele school, penetrated into the xingshu, and achieved great success. Sha Menghai, a great calligrapher of the twentieth century, commented that Zhao Zhiqian was able to express the strict and simple northern stele with a gentle and beautiful brushwork, which was his great skill, enough to be proud of the book world.
Book Appreciation: "Big Idiot Hundred Years" four screens
Commentary:
Big idiot hundred years old, fuchun fan shadow cuijiaoquan. Whether or not shu road is dangerous, ten years of writing enough real mountains and rivers. The ground can be measured by the sea, and the painting is poetic and poetic. The origin is wonderful with its waves, and the learning ability is thick when it is cultivated. In the sky of the Bian Zhou Yi River, there are sometimes rock inserts. The Futu Wild Shop is deep, and the Lotus Bridge is full of frost and forest beauty. Our side was sent to hide, and the master should read Pinggu Yun.
Inscribed:
In September, He Wei Shu Feng Jue Tang observed the Great Lord's Appreciation of Zhao Zhiqian
Zhao Zhiqian, who is good at all forms of calligraphy, is also good at mastering various forms of calligraphy, and this four-striped text has seven lines and two lines of money, which should be regarded as a masterpiece. The whole text is written in Wei script and interspersed with weed books. It integrates various calligraphy elements, including the grace of the seal book, and the wave of the lishu, and contains the square and thick of the north stele, but it shows the connotation of the book. The characters are of good size, dense and dense, the breath is smooth, and the penmanship is gentle. It represents the overall style of Zhao Zhiqian's book. We often see that many contemporary writers who often write the six dynasties inscriptions are often tangible and godless, and the reason for this is that they pay too much attention to the taste of knife carving, swing left and right, and hold the posture, but they just don't get the connotation of the inscription, let alone be able to see the pen through the blade. Zhao Zhiqian's inscription is very comfortable to write, especially the Wei Stele Xingshu, which is thick and heavy, and it is worth studying and studying well by today's friends.
Zhao Zhiqian's calligraphy is distinctive in the Qing Dynasty. First of all, his calligraphy is diverse, with seals, affiliations, truths, lines, and grasses. Although there is no shortage of such figures in history, but in the Qing Dynasty, there are not many generalists like Zhao Zhiqian, moreover, for these books, he is not addicted to it, it can be said that each kind of book is not an embellishment for him to show that he is an all-round calligrapher, and he has done a solid job in each kind of book. This is invaluable. Secondly, Zhao Zhiqian's Weibei calligraphy is flexible. As we all know, under the influence of the wind of the times, Zhao Zhiqian later turned away from the "Second King", abandoned Yan Zhenqing, and embarked on a path of stele learning. Different from the golden stone taste of the knife and axe chisel pursued by the people of the time, Zhao Zhiqian shines in the field of epigraphical calligraphy with vivid breath, flowing lines, colorful knots, and harmonious chapters. He integrated the characteristics of the "Second King" or Theoxue calligraphy into the Weibei calligraphy, and Yan Zhenqing also integrated into it, and it was natural. Third, Zhao Zhiqian's calligraphy, especially the Wei Monument, is very decorative. Between the presses, the slightly exaggerated lines and shapes make the work more beautiful. This is consistent with some of today's book styles, and it is no exaggeration to say that Zhao Zhiqian has opened up the trend at this point.
5. Painting
Zhao Zhiqian's paintings are closely related to his calligraphy. Zhao Zhiqian, with his profound calligraphy skills in the golden stone tablet, integrated these elements into his paintings, greatly enhancing the style of his paintings and making his paintings look very attractive. At the same time, he also carefully studied and learned the technique of "boneless flowers and birds", integrated it with the painting style of the eight monsters of Yangzhou, and made an understanding of the aesthetics of most people in society, transforming "high paintings do not enter the eyes of the world" into a masterpiece of elegant and popular appreciation. In terms of inscriptions, Zhao Zhiqian relied on his profound calligraphy skills and used various font inscriptions to form a model of organic combination of poetry, calligraphy and painting. His painting style had a great influence on the later Wu Changshuo, and the contemporary painting master Pan Tianshou wrote in the "History of Chinese Painting": "HuiJian Uncle Zhao Zhiqian, with the fun of Jinshi calligraphy and painting as flowers, honghuang guli, the pioneer of the Qianhai school." ”
Zhao Zhiqian studied Deng Shiru in his early years, and then traced the Han Monument. His teacher, Fa Han, is a family of his own. In the early days, the works were still underheated and resembled the ancients; in middle age, they had entered the room of the Han people, and the writing still had Deng Shiru's will; in his later years, the main book and seal book were calm and simple. Its penmanship is between the seal book and the main book, with the center as the main and the flank as the supplement; the combination of the line pen and the square circle; the knot body is flat and wide, and the odd and positive are born together. Zhao Zhiqian's works are most widely circulated in the Xingshu. His writings, from the Yan body, are carefully observed, and have the same magic as He Shaoji. Around the age of 37, he tried to write in the northern stele brushwork, and during this period it was obvious that the turn was unnatural and the pen strength was weak.
Around the age of 40, although Zhao Zhiqian's writing pen still had some improvements, it had shown a smooth and thick shape. If we compare the several types of books that he himself is good at, his seal, lishu and main books mature earlier than his writings. After the age of 45, he has achieved both hands and hands, and he can use his pen to drive and swing freely. After the age of 50, Zhao Zhiqian, especially his later works, all kinds of book styles have reached the realm of "people are old". Shiren commented on the characteristics of Zhao Zhiqian's calligraphy: "Uncle Shu first taught Yan Pingyuan, and later deeply understood the method of Bao's hook to send ten thousand millimeters of qi force, seal, subordinate, Kai, and line consistently." ”
In the division of talent and diligence, Zhao Zhiqian commented on Deng Shiru, talent accounted for four points, diligence accounted for six points; while Bao Shichen's talent accounted for three points, diligence accounted for seven points; Wu Rangzhi's talent accounted for one point, diligence accounted for nine points; himself was talent accounted for seven points, diligence accounted for three points. In terms of talent alone, it is above all people. It can be said that Zhao Zhiqian's judgment of his artistic talent is accurate, and practice has proved that this is indeed the case.
From another point of view, the calligraphy road of a generation has also experienced many changes, and after years of hard work, hard work, in the career path is not smooth, life is difficult, there has never been a negative impact. French writer Romain Rowland said that behind greatness is suffering, and from the comparison of life experience and artistic achievements, Zhao Zhiqian is the same. However, as a generation of generalists, Zhao Zhiqian's personal experience was quite tortuous, and he died at the age of 55. It must be said that it is a great regret. If Heaven gives him another 30 years, I believe that there will be an even more remarkable Zhao Zhiqian in history.
[i] Zhao Erchang, ed., Zhao Zhiqian, Zhang An Miscellaneous Sayings, 384 pp., Shanghai People's Fine Arts Publishing House, January 1989 [ii] Zhao Erchang, ed., Zhao Zhiqian, Zhang An Miscellaneous Sayings, 384 pp., Shanghai People's Fine Arts Publishing House, January 1989 [iii] Zou Tao, ed., Annals of Zhao Zhiqian, 146 pp., Rongbaozhai Publishing House, October 2003, 1st edition, 2nd printing in January 2006 [iv] Zou Tao, ed., Zhao Zhiqian Chronology, 128 pp., Rongbaozhai Publishing House, October 2003, 1st edition, January 2006, 2nd printing [v] Zou Tao, ed., Zhao Zhiqian Chronology, 193 pp., Rongbaozhai Publishing House, October 2003, 1st edition, January 2006, 2nd printing