When we mention the "Second King" today, we often talk about Wang Xizhi, and rarely involve Wang Xianzhi. The research on the artistic creation of Wang Xizhi and Wang Xianzhi, and the subsequent decline of value criticism, these two aspects of the problem are related to the cognition of the ontology of art, as well as to the political, social and artistic development of different periods.
Jin Wang Xianzhi Mid-Autumn Festival Collection of the Palace Museum in Beijing
The growth of the evaluation of the two kings
What is the dissipation of the two kings evaluation? The evaluation is divided into three periods: First, after wang Xizhi's death, in the nearly one hundred years from the end of the Eastern Jin Dynasty to the Song Qi of the Southern Dynasty, Wang Xianzhi's reputation was higher than that of his father. Second, in the early Tang Dynasty from Emperor Wu of Liang to Emperor Taizong of Tang, about 200 years ago, the great king of praise degraded the little king. Third, in the 100 years from the prosperous Tang Dynasty to the late Tang Dynasty, although the great king was already a book saint, he had different praises and demerits for the two kings.
The Southern Dynasty scholars all admired Wang Xianzhi, and the Southern Dynasty Yu He said that "Huan Hu Han Wei, Zhong and Zhang Shumei, the second king of the late Jin Dynasty called Ying." "It's a general context.
By the time of Tao Hongjing in the Liang Dynasty: "Bishi (Song and Qi dynasties) are both noble sons and sons, and sons are respected by Yuan Chang, followed by the same name." (Zhong Xuan) Guisi style omitted, The Sea Is Not only no longer aware of the YuanChang, yu Yishao is the same. "Hai Nei no longer knows Zhong Xuan, not even Wang Xizhi, but only Wang Xianzhi. At this time, a large number of calligraphers such as Yang Xin and Ruan Yan followed the style of dedication. Therefore, at that time, Wang Xian's reputation was even higher.
The situation changed in the early Tang Dynasty. The two kings have their own advantages and disadvantages in calligraphy. Tang Li Sizhen's "Book After-Product" "Its (Xizhi) Feibai ye, Yufu fog rolling Shu, smoke burning in the air, long sword Gengsuke and leaning on the sky, strong arrow super soaring and landless, can be described as the flying white immortal also." "The cursive king Xizhi is a fairy. Later, it is said that "Zi Jing cursive yi qi over father", he believes that the cursive book says that Wang Xianzhi surpasses Wang Xizhi: "Such as the Dan Cave Wind Dance, the Qingquan Dragon Leap, the Sudden Change, the Unknown Self, or the Sea Moves the Mountain, and the Tao Tao Yue." Therefore, Xie Anshi said that the gong should win the right army, and it was indecent to the name of the religion, nor was it a disciple. ”
Emperor Wu of Liang and Emperor Taizong of Tang were emperors with great influence during the Jin and Tang dynasties, and they had nearly identical views of the "second king". Emperor Wu of Liang's "Commentary on the Advantages and Disadvantages of Ancient and Modern Scholars" said: "The writings of Wang Xi are powerful, such as the dragon jumping the heavenly gate, the tiger lying in the Phoenix Pavilion, so the treasures of the past dynasties will always be taught." Tang Taizong said more absolutely, he used the honor of an emperor as a legend for Wang Xizhi, which was unprecedented. "The Biography of Wang Xi" Yun: "Therefore, examine the ancient and modern in detail, study the fine seals, and be perfect, but Wang Yi is less!" Tang Taizong made up his mind: Wang Xizhi is perfect and is a true book saint.
What do they think of Wang Xianzhi? These evaluations caused later generations to ignore Wang Xianzhi. Emperor Wu of Liang's "Comments on the Merits and Demerits of Ancient and Modern Scholars": "Wang Xianzhi is superb and no one can imagine." This is to say that Wang Xianzhi is powerful, but "like the young people of Heshuo, they are full of joy, and they are impatient with their bodies." He used the metaphor of "Heshuo Boy" to the immaturity of Wang Xianzhi's calligraphy. Tang Taizong's "Treatise on the Biography of Wang Xi" further belittled, believing that Wang Xianzhi had too many problems: "Although the dedication has a father's style, it is not a new coincidence. Look at its thin characters, like a dead tree in the middle of winter; look at its handwriting and restraint, if the Yan family is hungry. Its dead trees are also squeezed and squeezed without bending and stretching; their hunger is also restrained and not indulged. Both, Gu Hanmo's illness! ”
After the Flourishing Tang Dynasty, the dogma of Confucianism was fading, and people's views changed again, re-seeing the importance of Wang Xianzhi and making a different voice from Tang Taizong. Zhang Huaihuan's "Book Discussion" Yun: "Yi Shao is true and does what he wants, and Zi Jing executes and has the right to grass." The spirit of the Father and the God of the Son are unique to the ancient and modern. Yi Shaocao has a girl's material, no husband's temperament, not enough to be expensive."
Jin Wang Xianzhi Xiao Kai Luoshen endowed the thirteen-line jade engraving 26x92 Beijing Forbidden City
Wang Xianzhi established the new style of the big grass
The great cursive Wang Xizhi is not as good as Wang Xianzhi.
Wang Xizhi's cursive writing, Zhang Huaihuan's "Book Discussion" Yun: "The sons also have some deficiencies: or less movement and steepness, or less wave and indulgence, scholars should also gain and lose themselves." Extraordinary, beautiful, not prepared. But if he who is in harmony with the Tao, who has a thousand years of life, if he dies and has knowledge, will he not have a god to make friends? Yi Shaocao has a girl's material, no husband's temperament, not enough expensive. The comparison between Wang Xizhi's cursive writing and Wang Xianzhi can be seen in "girl material" and "husband qi". Wang Xizhi's "Xingyong Ti" is less than the movement and steepness is "female qi material", Wang Xianzhi's "Mid-Autumn Festival Post" is written in one stroke, one line to the end, and the multi-wave potential and indulgence are "husband's qi". This is the biggest change from Wang Xi's cursive to Wang Xian's cursive.
Wang Xizhi can be said to have created Imakusa, but Imakusa had not yet entered the Great Grass, and Wang Xianzhi founded the Great Grass. There are still traces of Zhangcao in Wang Xizhi's present grass, and its "First Moon Post" and "Aunt Post" are the mainstream forms of Wang Xi's cursive writing. Wang Xizhi's grass is a row grass, not a complete big grass. "July Post" and "Shangyu Post" are all cursive in the line book, which is a line grass. At this time, Wang Xianzhi made a suggestion. Zhang Huaihuan's "Book Break" wrote: "The ancient chapter grass has not been grand, and it is quite different from all kinds of bodies. The reason for the poor and polities of today, the extremely grassy and indulgent, is not as good as the line between the manuscripts, and the past law is fixed. Adults should be modified. ”
Wang Xianzhi Dongshan Songti
Wang Xianzhi made an important suggestion to his father: The small grass and the chapter grass should be changed and changed to independent grass. This suggestion that the young Wang Xianzhi gave to Wang Xizhi was like a head stick. Until Wang Xizhi's death, Wang Xianzhi was only 18 years old, so at such a young age he put forward an opinion about the perfection of the book that was very important to his father, but Wang Xizhi did not fully accept it. There are difficulties in the middle of the transformation: "The principle of the present poor and tactful strategy is different from the previous law. If you want to change it, it will be different from the ancient book style, and this difference may be "incompatible with the six books", which is considered to have made a lot of typos. The 6 characters of "sister", "dang", "return", "dedication", "whisker" and "pi" in Wang Xianzhi's "Goose Flock Thesis" are all inconsistent with the six books in the orthography of Xu Shen's "Explanation of Words" of the Western Han Dynasty. In the process of changing the new body, Wang Xizhi also had to consider observing the Six Books more. Wang Xianzhi said that in order to create a new book style, so as to express the artistic artistic conception of our emotions, it is bound to be related to the six books, and it is necessary to sacrifice some provisions in writing and create a big grass. This is the main point of Wang Xianzhi's final breakthrough in the limitations of imabari and the creation of the big grass.
Zhang Huaiyun: "Cursive writer, Zhang Zhizaoye." Youyun: "Bo Ying is his ancestor, and Yi Shao and Zi Jing are his heirs." "Cursive Wang Xizhi and Wang Xianzhi are the successors, and Wang Xianzhi is the creator of the great grass, so the Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" said, "Wang Xianzhi can be a book." "It's the grass we see later."
If it is said that the big grass and wild grass are indeed "the reason for the poverty and the strategy, and the extreme grass traces", which is not in line with another set of writing and calligraphy systems of the Six Books, the calligraphy history works since the Song Dynasty basically ignore the main line of Chinese calligraphy that xiong Bingming and Han Yutao praised.
Wang Xianzhi's thoughts are in love
If this main line Zhang Zhi and Wang Xizhi are the pioneers and developers, Wang Xianzhi is the completer. If it is said that the great successors of Wang Xizhi's calligraphy and xingshu are Yan Zhenqing, Su Dongpo, Mi Fu and Zhao Mengfu, then the great successors of Wang Xianzhi's great cursive style are Zhang Xu, Huai Su, Huang Tingjian and Xu Wei.
I think that the Six Dynasties of Wei and Jin were the period of self-consciousness of Chinese literature and art, and it was also a period of relaxation of Confucianism and Taoism since the Western Han Dynasty, so there was a trend of writing style that respected Wang Xianzhi's romanticism and expressionism in the past hundred years.
The Sui and Tang dynasties established a unified country like the Han Dynasty, and the Confucian political and social concepts naturally returned, and as a generation of wise rulers, Tang Taizong honored Wang Xizhi, who was the most moderate between inheritance and innovation, which was completely in line with the logic of historical development.
In the prosperous Tang Dynasty, especially during the Tianbao period, Tang Xuanzong could invite the romantic poet Li Bai to the court to give poetry, so Zhang Xu and Huai Su, who inherited the spirit of Wang Xianzhi's big grass, rose up and created a romantic artistic peak from big grass to wild grass. This artistic peak was founded by Zhang Xu and Huai Su adhering to the tradition of Wang Xianzhi, followed by Huang Tingjian and Xu Wei, a series of crazy cursive calligraphers who are another cursive peak.
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Director 丨 Feng wrong
Editor 丨 Wang Zhen