<h1 class="pgc-h-arrow-right" data-track="1" > character biography</h1>
<h1 class="pgc-h-arrow-right" data-track="2" > early</h1>
Xu Wei was born on the fourth day of February in the 16th year of the 16th year of Emperor Zhengde of The Ming Dynasty, a large family that was in decline. His father, Xu Yan, was the governor of Sichuan Province.
Xu Yan's original counterpart, Tong Shi, gave birth to two sons, Xu Huai and Xu Lu; He married Miao and never gave birth. In his later years, Xu Wei gave birth to Xu Wei, who was raised by his mother-in-law Lady Miao from an early age.
One hundred days after Xu Wei was born, Xu Wei died. At the age of ten, Xu Wei's birth mother was expelled from the family by the Miao family, and the separation of flesh and bones was very exciting for him. When Xu Wei was fourteen years old, Lady Miao died, and Xu Wei lived with his eldest brother Xu Huai. The two were in their thirties and lacked brotherhood and did not get along very happily.
When Xu Wei was a teenager, he did not get the love of his biological parents, and his status in family life was low, and he had the feeling of sending people under the fence. However, he was unusually intelligent, quick in his thinking, able to read at the age of six, able to compose at the age of nine, and imitated Yang Xiong's "Interpretation of Ridicule" as "Release" when he was a teenager, and was well known far and wide. Local gentlemen called him a prodigy and compared him to Yang Xiu of the Eastern Han Dynasty and Liu Yan of the Tang Dynasty. In the heat and cold of the world, Xu Wei formed a character that was both arrogant and self-congratulatory, but also depressed.
After Xu Wei became an adult, "His appearance was fat and white, and his voice was as loud as a crane", and he often whistled in the middle of the night to vent his indignation. The poems he composed are brazen and arrogant, and have a sense of uninhibitedness that transcends eternity. In the twentieth year of Jiajing, the twenty-one-year-old Xu Wei entered the Pan clan of the rich family of Shaoxing, and accompanied Pan Kejing, the father-in-law of Ren Dianshi, to travel to the EunYang River to assist in handling official documents, and began to understand the situation in the official field. Soon, he returned to Shanyin and participated in the township examination, traveling back and forth between Zhejiang and Guangdong.
On the way to and from Zhejiang and Guangdong, Xu Wei also took Xingdeng Nanchang Tengwang Pavilion to visit Meiling Guanyin Cave. Along the way, he chanted poems and exuded an optimism that was rare in his life. He also formed a literary association with the San'in scribes Shen Lian, Xiao Mian, Chen He, and Liu Wen, and was known as the "Ten Sons of Yuezhong" by the people of the time. In the activities of making friends, Xu Wei turned to the strengths of all, and his literary and artistic cultivation was rapidly improved.
<h1 class="pgc-h-arrow-right" data-track="7" > ill-fated</h1>
Xu Wei, who was known for his talents since childhood, suffered repeated setbacks on the road of imperial examination. Jiajing was nineteen years old, and at the age of twenty, he passed the Xiucai examination. After that, Xu Wei took the Shaoxing Provincial Township Examination twice, until he was forty-one years old, after eight examinations, he never won the examination.
In addition, at the age of twenty-five, the Xu family's property was occupied by the gentry and scoundrels, and the property and the countryside to which they belonged were gone. At the age of twenty-six, his wife Pan shi fell ill and died prematurely. People died and their families were broken, and their merits were not the first, which made Xu Wei overwhelmed. In order to make a living, he left his hometown and came to Taicang, but he could not get the point and could only return in vain.
In the twenty-seventh year of Jiajing, Xu Wei opened the "Yizhitang" to recruit schoolchildren, teach private schools to make a living, and began to follow Ji Ben, Wang Qi, and others to study Wang Shouren's teachings. The following year, Xu Wei ignored worldly prejudices and took his mother back to his home.
While studying his studies, Xu Wei was very concerned about the political situation. In the autumn of the twenty-ninth year of Jiajing, the Mongol leader Li Da led an army to plunder around Beijing, known in history as the Change of Gengji. After Xu Wei heard this news, he was filled with righteous indignation and wrote "Today's Song" and "Erma Poem" with his pen, denouncing the powerful minister Yan Song for misleading the country.
In the thirty-first year of Jiajing, Xu Wei took the initial examination of the township examination, and was appreciated by Xue Yingqi, deputy envoy of Zhejiang Tixue, and was promoted to the first place, and was added to the county school. However, at the time of the re-examination, Xu Wei still did not win.
<h1 class="pgc-h-arrow-right" data-track="12" > from the curtain to the prison</h1>
Thirty-three years after Jiajing, Wukou invaded the coast of Zhejiang and Fujian, and Shaoxing Province became a place of beacon fire. Xu Wei, who was good at military parades in peacetime, successively participated in the battles of Keting, Gaobu, Gongshan and other places, and gave advice and suggestions, which initially showed his military ability. At this time, Xu Wei attracted the attention of Hu Zongxian, the inspector of Zhejiang.
In the winter of the thirty-seventh year of Jiajing, Hu Zongxian, who was promoted to the governor of Zhejiang and Fujian, admired Xu Wei's talent. After many invitations, Hu Zongxian finally recruited Xu Wei into the shogunate and served as a staff member.
At the beginning of the curtain, Xu Wei created "Entering the White Deer Table" for Hu Zongxian, which was appreciated by Emperor Ming Shizong Zhu Houxi. Since then, Hu Zongxian has relied more heavily on him.
Xu Wei was dissatisfied with Hu Zongxian's power-dependent minister Yan Song, but admired Hu Zongxian's anti-Wu boldness and admired his trust in him. After some hesitation, Xu Wei still entered the Governor's Office.
After that, Xu Wei moved with the Governor's Palace to Ningbo, Hangzhou, Yanzhou, Chong'an and other places. He "knew the soldiers and was curious about the plan", plotting for Hu Zongxian, helping him capture Xu Hai, the leader of the Wokou, and appeasing the pirate Wang Zhi.
In the forty-first year of Jiajing, Yan Song was dismissed from his post and Xu Jie became the first assistant to the cabinet. At Xu Jie's instigation, Hu Zongxian was impeached and arrested in Beijing the following year, and Xu Wei left the governor's palace.
In the forty-fourth year of Jiajing, Hu Zongxian was arrested again and imprisoned, and died in prison, and several of his former staff members were implicated. Xu Weisheng was a little extreme in nature, because he failed to pass the exam for many years, coupled with his mental unhappiness, at this time he was deeply saddened by Hu Zongxian's death by being framed, and he was even more worried about his persecution, so he was completely disappointed in life, so he went crazy. He wrote an indignant "Epitaph of Self-Made", then pulled the iron nails from the pilasters and struck them into the ear, bleeding like a burst, and healing for several months before he was healed. Later, he used his vertebrae to hit the kidney sac, and he did not die. There have been as many as nine repeated episodes of such recurrent attacks.
In the forty-fifth year of Jiajing, Xu Wei, in another frenzied attack, killed his stepwife Zhang Shi because he suspected that he was unchaste, so he was imprisoned and served seven years in prison.
After Xu Wei was imprisoned, friends came to his aid. Among them, the most powerful aid was first The Rebbe Attendant Zhu Dashou, and then Hanlin Editor Zhang Yuanchen, all of whom were Xu Wei's closest friends, and they were all from Zhuangyuan origins, quite prestigious. Rescued by these friends, Xu Wei was finally released by taking advantage of the amnesty of Emperor Ming's ascension to the throne. This was the first year of the Wanli Calendar, when Xu Wei was already fifty-three years old.
<h1 class="pgc-h-arrow-right" data-track="24" > in his later years</h1>
After his release from prison, Xu Wei first toured Hangzhou, Nanjing, and the Fuchun River area, recovered slightly, and made many poetry and painting friends. In the fifth year of the Wanli Calendar, Xu Wei's friend of the young age, Wu Dui, who was already in charge of the northern border defense at this time, invited him to go north, and he gladly went to Xuanhua Province to serve as a clerk. Xu Wei spent less than a year in Xuanfu, but left behind many poems describing the scenery, folklore and military life in the north. In his prefaces to many officials, he liked to discuss political affairs, especially about border defense strategies.
In the early years of emperor Mingshenzong's reign, Zhang Juzheng presided over state affairs. Zhang Juzheng adopted an agreeable policy toward Mongolia, which Xu Wei appreciated. During this period, he also passed through Juyongguan and went to Saiwai, and through the introduction of Qi Jiguang, he went to Liaodong to find Li Chengliang, taught his son Li Rusong the art of war, and became acquainted with the third lady of the Mongolian leader Li Da. Although Xu Wei was respected by Wu Dui and others, due to his poor health, he had to return to his hometown of Shaoxing through Beijing in the spring of the following year to annotate Guo Pu's "Book of Burial".
When Xu Wei was sixty years old, he went to Beijing at the behest of his friend Zhang Yuanchen, but soon the relationship between the two deteriorated. According to Zhang Dai's account, Zhang Yuanchen was a person with a severe personality and strict adherence to etiquette, while Xu Wei was indulgent in nature and did not want to be bound by traditional etiquette. Zhang Yuanchen often used feudal etiquette to restrain Xu Wei, which greatly annoyed Xu Wei.
In his later years, Xu Wei became more and more disgusted with the rich and the courteous, and most of the friends he made were friends from the past and protégés who followed him. It is said that someone came to visit, Xu Wei did not want to see it, so he pushed the chai door and shouted: "Xu Wei is not there!" When Zhang Yuanchen died, Xu Wei went to the Zhang family to mourn, caressed the coffin and wept, and left without telling his name.
Xu Wei did not rule the industry in his lifetime, and his money was scattered at will, so he had to rely on selling calligraphy and paintings to survive at this time. But with a little spareness, he refused to do it again. His group of protégés and friends of the juniors, either cheating or robbing, got a lot of his works from Xu Wei. In his later years, Xu Wei was poor and sick, and the thousands of volumes of books he stored were sold out, often until they broke out. But he became more and more arrogant, refusing to see the rich and noble, and bowing his head and begging for food. Sometimes he drank heavily, sometimes he broke his face with an axe, and his mental illness became more and more serious.
<h1 class="pgc-h-arrow-right" data-track="30" > angry</h1>
In the twenty-first year of the Wanli Calendar, Xu Wei died in poverty at the age of seventy-three and was buried in Muzha Mountain, south of Shaoxing City. Before his death, Xu Wei wrote "Malformations", which recorded his bumpy life experience. When he died, he was accompanied only by a dog, and there was not even a mat on the bed.
<h1 class="pgc-h-arrow-right" data-track="33" > literature</h1>
Xu Wei's literary and artistic creations involve a wide range of fields, but their common characteristics are: they never rely on others in art, like to be original, have a strong personality, have a heroic and relaxed style, and often show a love for folk literature.
In the poetry circles of the Ming Dynasty, due to the advocacy of the first seven sons and the last seven sons, there was a trend of imitation of antiquity. This pseudo-ancient atmosphere hinders the development of poetic art in a certain sense. Xu Wei was deeply dissatisfied with this and made sharp criticism. He said: "Birds learn from people, and their nature is still that of birds; If you write poetry deliberately to imitate the predecessors, no matter how much you learn, you are just a bird learning people's words, and it has no real value.
Xu Wei's own poetry creation, focusing on expressing personal actual feelings about social life, is slightly closer to Li He, asking about the Sheng Tang Dynasty, and mixing the Southern Dynasty, going in and out of the Song and Yuan Dynasties, and finally losing his self. This tendency was inherited by the later public security faction that advocated expressive spirituality, and was of great significance to changing the poetic style of the late Ming Dynasty. Yuan Hongdao, a representative figure of the public security faction, has a wonderful comment on Xu Wei's poem: "Wen Chang is not determined to have a division, so he is a wandering tiller, and he loves the landscape and water... The landslides it saw were standing on the sea. Like a widow's night weeping, the cold of the bondage rises. When it is relaxed, the peace of the domain is thousands of miles; Occasionally steep, ghostly autumn graves.
Xu Wei's prose is the most outstanding one, "Self-made Epitaph". In addition, many rulers are also very distinctive, spicy and witty, humorous and interesting, and the style of writing is far from the first-class sigh of Jin Sheng. But in general, Xu Wei's achievements in prose are not as good as poetry.
<h1 class="pgc-h-arrow-right" data-track="37" > calligraphy</h1>
The contrast between Xu Wei's calligraphy and the dull atmosphere of the early Ming Dynasty is particularly prominent, he is best at imposing wild grass, but it is difficult for ordinary people to understand, with a pen, he is extremely fond of his calligraphy, thinking that "calligraphy is the first, poetry is second, literature is third, painting is fourth".
Xu Wei broke the loneliness of the Ming Dynasty's calligraphy led by the "Taige style", opened and led the "Shangshi" style of writing in the late Ming Dynasty, and led the Ming Dynasty calligraphy to a new peak. Tao Wangling believes that his calligraphy is "called Qijie, which is said to be a person with a bright eye". Yuan Hongdao said: "Yu can not write, and the fallacy is that the long book of Literature is determined to be above Wang Yayi and Wen Zhengzhong, regardless of calligraphy and the god of books, Mr. Cheng's Eight Laws of Dispersal, the Hero of the Character Forest!"
The emergence of Xu Wei's calligraphy and calligraphy concept coincides with the great changes in ideology, culture and aesthetic concepts in the middle and late Ming Dynasty. His calligraphy also proceeded from the rebellion of the Wumen school to advocate Tang law, and then drew on the positive factors of the Northern Song Dynasty Su Shi, Huang Tingjian, and Mi Fu in pursuing artistic personalization.
The aesthetic spirit of Xu Wei's "Always Revealing His Own Penmanship" in the "Facsimile Book Orchid Pavilion Hidden by Shu Jiziwei". His original words were: "Non-special words, there are all things in the world, and whoever imitates it directly sends his ears to his ears, and compares with each other, and combines inches and inches, is it true that I am my face?"
There are many copies of "Lan Ting", but those who have always revealed their intentions are called masters. Although you can't necessarily know who he is, he must be a master when he spies his penmanship. Youmeng is like Sun Shu'ao, is it not similar to his bearded torso? It's just a matter of taking its own. "
If Xu Wei's writing has achieved a change in traditional brushwork with "his own will", then the biggest change is the cursive writing of the middle hall with high heads and large axes. In the past, it was said that "Dong Qichang destroyed the ink method", and in this case, it is said that "Xu Wei destroyed the brushwork". Xu Wei realized the transformation of brushwork in the creation of his works in the transformation of calligraphy from the study room of the volume Hanzha to the display of aesthetics in the hall. Xu Wei's method of pointillist expression, which borrows from painting, is a creative destruction of the Jin and Tang dynasty brushwork. For the art of calligraphy this change in the tendency of fine art.
<h1 class="pgc-h-arrow-right" data-track="43" > painting</h1>
<h1 class="pgc-h-arrow-right" data-track="65" > painting style</h1>
Ink freehand painting in the Ming Dynasty developed rapidly, and splashed ink freehand painting represented by Xu Wei was very popular. Xu Wei, with his unique talent, became a master of freehand painting with high achievements in the Ming Dynasty.
Xu Wei's splashed ink freehand paintings of flowers and birds are unique and self-contained. His paintings of flowers and birds are both unique and not limited, bold and creative. Its freehand paintings, whether it is flowers or flowers and birds, are all waved in one go, everything is between the similar and the unlikely, for the four flowers and trees under the pen, the painter uses a variety of brush and ink forms such as hooks, dots, splashes, and wrinkles, etc., to portray the grace of peony, the beauty of Ziwei, the xiaoshu of bamboo, the arrogance of frost chrysanthemums, and the clean charm of han plums, respectively, stretching nine feet and five feet of sycamores and plantains, straight out of the painting, not seeing the beginning and end, and the dense rain of grapes, vines like dragons constitute a huge tension, The aura and extravagance that permeate the picture are unprecedented. His ink grapes, bunches of fruit hanging upside down branches, fresh and tender water, vivid image, lush leaves with large pieces of ink dots, the style is loose, do not seek shape, representing Xu Wei's style of large freehand flowers.
The rich trajectory of movement and the ink rhyme of the brush traces of different degrees of thickness, xu disease, size, dryness and wetness, and the degree of density are all without the improvisation and non-repetition of the vibrating pen disease book, presenting the strongest abstract expressionism in Chinese painting, so that it contains a certain inner temperament and spirit, which makes the viewer feel like an immersive.
Xu Wei's pumpkin and chrysanthemum pictures are made in one go, driving ink like clouds, imposing, and at the same time properly controlling the pen and ink, light and heavy, thick, dense, dry and wet are extremely varied. The ink method is not only a random soaking ink halo, but also a well-controlled thickness. Although Xu Wei called himself "drama erasure", he still vividly conveyed the different dispositions and rhymes of flowers and fruits in his freehand writing. Its sycamore diagram, which is only painted in a small part of it in a splashed ink brushwork, is reminiscent of a tall and upright sycamore. As Weng Fanggang said: "Paper is only a foot and a hundred feet, why is this Qinglin Lu?" I am afraid that I am angry, and I am booed by the wine song in the middle of the night. With his exquisite brushwork, Xu Wei creates an open aesthetic world for the viewer between similarity and dissimilarity.
Xu Wei integrated his calligraphy skills and brushwork into the paintings, as Zhang Dai said: "The paintings of The Qingteng in Imami are bizarre and detached, and the posture in the vigor jumps out, which is absolutely the same as its calligraphy."
In the past, people called the poetry of Maha, there are paintings in poetry, paintings of Maha, there are poems in paintings; Yu is called the Book of Qingteng, there are paintings in the book, there are paintings of Qingteng, and there are books in the paintings. His "Ink Grape Diagram", the thickness of the ink shows the texture of the leaves, the font structure and line spacing of the inscription poems are irregular, like grape vines freely extending in the air, and the book and painting are integrated.
Xu Wei's calligraphy is very high, and his ups and downs and vertical brushwork helps to make clever changes in the art of painting, such as painting ink lotus and grapes, bold and bold, vertical and horizontal, and it is difficult to do without deep calligraphy skills. Xu Wei once made a "Plum Blossom Banana Leaf Diagram", putting plum blossoms and plantains together, and inscribed on the painting: "Basho accompanied by plum blossoms, this is Wang Wei's painting", showing the source relationship between Xu Wei and Wang Wei in some compositions. Of course, Wang Wei's painting of Xueli Basho highlights a kind of Zen machine, that is, making the cold of the snow and the hollowness of basho's heart constitute the religious background of the picture, and Xu Wei in such a combination of pictures highlights a kind of subject liberation that transcends time and space.
Xu Wei's calligraphy and painting methods are extremely skilled, and his inscripts, such as his splashed ink freehand paintings, are uninhibited and sprinkled; His splashed ink freehand paintings, combined with skilled brushwork, are full of fun and charm.
Xu Wei's later years were miserable and desolate, hanging from each other, he integrated his sadness and sense of nostalgia into the end of the pen, the ink bamboo in the pen, the branches are light and thick, the pen is grassy, the bamboo branches are vigorous, the bamboo leaves are hanging down with affection, although it belongs to the bamboo branches and the high and clean and refreshing atmosphere is not reduced. This is the brilliant portrayal of the painter's ability to be in the lower class, the talent is not met, the character is high, and the independent personality of the world is unparalleled.
His splashed ink peony, not limited to the rich and elegant characteristics of the peony, the color is gorgeous, but he often paints it in ink, intentionally changing its nature, the purpose of which is to give the peony a clean and elegant style and charm, the so-called "never the national color is unplugged, empty color rouge kitsch." "
<h1 class="pgc-h-arrow-right" data-track="63" > influences</h1>
Xu Wei's paintings have strong subjective emotional colors and indulgence in pen and ink, thus pushing Chinese freehand flower and bird painting to the highest realm of writing strong thoughts and emotions, and improving the freehand flower and bird painting technique of controlling pen and ink at will on raw rice paper to express emotions to an unprecedented height. It has become a milestone in the development of Chinese freehand flower and bird painting, created a precedent for the Chinese freehand painting school, and provided a broad space for the development of literati painting. His painting style had a profound impact on the Bada Shanren, Shi Tao, Yangzhou Eight Monsters of the Qing Dynasty, as well as Wu Changshuo and Qi Baishi in modern times.
<h1 class="pgc-h-arrow-right" data-track="53" > opera</h1>
Xu Wei not only adopted the form of northern miscellaneous dramas, but also absorbed the natural rhythm of southern songs, and created four independent plays of the miscellaneous drama "Four Voices Ape", including "Crazy Drum Shi Yuyang Three Alleys", "Jade Zen Master Cuixiang A Dream", "Female Mulan Serving in the Army for Her Father", and "Female Champion Ci Huang Defeng".
"Crazy Drum Shi Yuyang Three Alleys", also known as "Yin Scolding Cao", was created after Yan Song killed Shen Lian, showing an arrogant spirit of resistance. The latter two plays are both stories of women dressed as men and making meritorious achievements, reflecting his views on women and having a certain anti-feudal significance.
These works all broke the fixed format of miscellaneous drama and opened up menjin for the diversification of theatrical forms.
"Four Voice Apes", Gao Hua Shuangjun, with the spirit of rebellion and innovation, played an important role in the creation of opera in the middle and late Ming Dynasty. Tang Xianzu once said: "'Four Voice Apes' is a flying general in the world of words, and he sings several times for it, and Andrew is born to the writer and extricates himself!"
In addition, Xu Wei was very disgusted by the popular trend of contempt for southern opera at that time. He believes that Southern Opera has its own loose and free rules, which are welcomed by the people
To this end, Xu Wei wrote the "Narrative of Southern Words", which summarized southern opera for the first time, studied the artistic characteristics of southern opera, and recorded sixty kinds of southern opera in the Song and Yuan dynasties and forty-seven kinds of opera texts in the early Ming Dynasty, in order to oppose the beautiful fashion of opera creation and support emerging folk songs. This is the first theoretical monograph on southern opera in China, which is of great significance in the history of theater.
The miscellaneous drama "GeDai Xiao" and the novel "Yunhe Qizhong", that is, "The Legend of Heroic Martyrs", are also said to have been composed by Xu Wei.
In terms of drama theory, Xu Wei advocates "true color", that is, the dramatic language should conform to the identity of the characters, and should use colloquialisms and colloquialisms to ensure the authenticity of the characters, while opposing elegant piao language and excessive embellishments are quite insightful.
<h1 class="pgc-h-arrow-right" data-track="57" > military</h1>
Xu Weiwen was conceited and strategic, and most of the situation and tactics for talking about marching and fighting were essential. While serving as Hu Zongxian's staff, he assisted him in his fight against the Wokou and participated in the formulation of a plan to lure down pirates Wang Zhi, Xu Hai, and others. In his later years, he carefully cultivated the famous general Li Rusong and made him establish an immortal meritorious service.