Cha Sheng (1650-1707), Zi Zhongwei, Trumpet Shengshan, Yuan Huaren, Haining, Zhejiang, Qing Dynasty calligrapher, Gong poetry, calligraphy Sect Dong Qichang. The Haining Cha family is a scholarly and prestigious family. When the Kangxi Emperor chose Confucian ministers to serve as advisers, he was recommended to the Zhinan Study for many years, and at least Zhan Shi was transferred, and he wrote the "Collection of Yuanyuan Tang". At that time, people called Zha Sheng calligraphy, Zha Shen xingshi, and Zhu Ziheng paintings as "Haining Three Absolutes". This Cha Sheng's "Order of the Holy Teachings of Wang Xi in linhuairen collection" is a private collection of overseas Chinese.
Cha Sheng's pen is extremely agile and flowing, tightly clasping the "xiu" character spread out, the knot is basically faithful to the original work, reproducing the kind of free and natural wind god of the wang character, and the flowing clouds and water when writing are in one breath, avoiding the limitations of the original set of words, and appearing to be integrated, as if it were natural. Zha Sheng's pen is extremely skilled, almost undefeated, the gestures are endless, up and down, left and right, the best of the pen and ink, gentle and clear, psychic and smart, smart and wonderful, wonderful and divine, there is a sense of pleasing to the eye.
The difficulty of writing the king character is to maintain a composure in the agility, naturally there must be a little bit of rigor, floating and slippery is the taboo of writing the king character, and Zha Sheng's work can be retained and stable in the flow, which is really impressive.
Excellent calligraphy works can overflow in the gesture movements of a breath of charm and purity, not just the reproduction of skill, it comprehensively embodies a scholar's academic accomplishment, mindfulness, Cha Sheng this work gives people a clear and handsome look, the chest is full of breath, I saw his other line of calligraphy when I looked through the "Chinese Calligraphy Dictionary" also has this characteristic, looking at its characters as if meeting with the Xianyou Daoist, it is also like watching the unpredictable Taiji sword method of watching dance. That kind of agility and just the right amount of lifting and pressing reflects the profound skill of the writer.
Although Zhao (Meng Fu) and Dong (Qichang) are not inferior in terms of technical proficiency, Zhao's calligraphy achievements are more of a skill, and Dong's calligraphy has a kind of spiritual reality, he is good at refining shen yun, has an otherworldly spiritual yearning, and writes relaxed and natural without a trace of artificial mannerism, coupled with his in-depth study of theory, so his work style is superior, Cha Sheng Xue Dong captured this, and perfectly reproduced the Wang character in Dong's brushwork, it should be said that this is the pro-writing "Holy Order" A great example of what you can do.
It is a pity that Zha Sheng's calligraphy did not come out of Wang Xizhi and Dong Qichang's scale to create a style of self-creation, and finally fell into the pattern of third- and second-rate calligraphers. With his penmanship, if coupled with a unique conceptual consciousness, it should have a certain influence in the history of calligraphy in the Qing Dynasty. Fang Bao said in the Wangxi Anthology: "When the Changhe Han Gong is killed, and the Changnan Study is the one who is injected by the Sacred Heart, there is no sound mountain, and the sound mountain pushes back, no jealousy, but eventually trapped by the contenders." Shengshan calligraphed four or six people with poetry, and the ancient man Fu Shigeya "can glimpse a glimpse of the people and things that are different. This copy is a private collection of overseas Chinese descent, and is now photocopied and published for the reference of the calligraphy community. (Hu Chuanhai)