Fu Shan was a thinker, calligrapher, physician and scholar of the late Ming and early Qing dynasties, also known as Fu Qing lord and Fu Dingchen, with pen names and numbers of stone, stone head, stone old man and so on as many as dozens, which can be described as the most in the field of calligraphy and painting. He made achievements in philosophy, culture, calligraphy, painting, medicine, martial arts and other aspects, and was a very famous figure at that time.
As far as calligraphy is concerned, Fu Shanchu was praised as the "first writer" of the early Qing Dynasty, his calligraphy first learned Zhao Mengfu, Dong Qichang, and then followed up Zhang Ruitu, Zodiac Zhou, Wang Duo, Ni Yuanlu and others, after going deep into calligraphy, coupled with the influence of the current politics at that time, the worship of Yan Zhenqing's integrity, and traced his calligraphy, and achieved great achievements, in the seal, calligraphy, cursive calligraphy and other aspects have been specialized, is a very influential calligrapher in the Ming and Qing Dynasties.
Speaking of Fu Shan, we must not forget the calligraphy theory that he put forward, "rather clumsy than clever, rather ugly than charming, rather fragmented than slippery, rather frank and true than arranged", but this calligraphy theory does not require people to write ugly words as literally said, but this theory is put forward for its historical reasons, so if you want to understand this calligraphy theory, you need to look at history.
Fu Shan's historical era is a period of change, Fu Shan believes that as a dynasty ruled by the Han Nationality, suddenly replaced by a foreign race, his heart is very sad, but he can not change the world, can only pin his emotional world in calligraphy.
It is better to write according to one's own heart, to achieve the artistic realm of great cleverness and subtlety, rather than to cater to others and to be subservient to others and to be flattered by others. It is better to pursue loose and jagged writing in the realm, to collapse the cliffs and old trees, rather than to draw eyebrows and paint whiskers, to embellish in every way.
Judging from Fu Shan's calligraphic thought, the calligraphy ideal he proposed was of course very closely related to the historical state at that time. Fu Shan's calligraphy began with Zhao Mengfu, however, judging from his later criticism of Zhao Mengfu's calligraphy, it was mainly due to The lack of national integrity due to Zhao Mengfu's surrender in political ideals.
As Fu Shan said: "Yu Ji does not like Zhao Ziang, and thins his people and hates his books." Close-up, mature and charming, about to be lowly, run and round, still belongs to the right vein, covered from the "Orchid Pavilion" slightly changed to this point. At the same time, it is also by luck, not only by the article. "
This is the voice of Fu Shan who dislikes Zhao Mengfu's calligraphy from his heart, believing that although Zhao's calligraphy is beautiful and round, learning from Wang Xizhi is the right way, it is also slightly changed from "Lanting". The level of calligraphy is ultimately determined by "qi".
In order to fully express the meaning of "qi" in calligraphy, he made a more explicit explanation with a poem:
Writing is preceded by people, and people are also ancient. Gang often rebelled against Zhou Kong, and the pen and ink could not be repaired. Sincerity is supreme, and the pen is not exclusive. One arm plus five fingers, qiangua six to see. Whoever uses the Nine, the heart and the wrist are taken. Yongzhen traces the Xiwen, not easy to Liu Gong language. Before learning the Lu Gongshu, first look at the Lu Gongju. The plain qi is in the middle, and Mao Ying's feet are swallowed.
According to Fu Shan's meaning, the highest realm in calligraphy is the problem of character and personality, only in this aspect, the quality of calligraphy is naturally good, and I think that one of the main reasons why Yan Zhenqing's calligraphy has such boldness is because he has a strong enough personality, and even this kind of calligraphy can kill people.
Through the comparison of Fu Shan's two passages of writing above, we can clearly see that he quoted the different personalities of Zhao Mengfu and Yan Zhenqing, the basic elements that should be possessed in the instruction method, and proposed the expressiveness of calligraphy and its expression method.
The wrist is clumsy and the pool will not be soft, and the sharp branches are bald and hard. The backbone of public power is born enough, and Zhang Xu is gradually harvesting. The hungry Yan family was scattered, and the trees withered and the winter moon suddenly turned upside down. The flower arrangement dancer should be ugly, and beg Mi Yan Gongqing to stay.
In this poem, he believes that calligraphy is elegant even if it is "hungry", even if there are dead trees in the middle of winter, it is natural, even if it is a flower arrangement dancer, it is ugly, from which we can imagine that what Fu Shan advocates is the pen power in writing, and the performance of dot painting is also strong.
Fu Shan's calligraphic ideas are not his personal inventions, and the strength of his brushwork and the strong posture of pointillism are also of historical roots.
In the inheritance of pen power, Fu Shan asked people to look for "ancient quality" and "Xiao Scatter" in pointill painting, which is exactly the calligraphy idea advocated by calligraphers all along.
The southern and northern dynasty calligrapher Yu Gong once proposed the concept of "ancient quality" of calligraphy in his "On the Book Table", and he said in the "On the Book Table":
Husbands are ancient and now yan, and the number is often also; love is thin and thin, and human feelings are also. The "two kings" of Chung and Zhang Fang can be described as ancient, and there is no difference in quality? And the "two kings" are better than the few, and the father and son are in the present and ancient times, and the son respects the poor and his wonderful yan, and it is appropriate to fix it.
He pointed out that when people learn calligraphy, they should take the ancient as a teacher, of course, contemporary people like the beauty of "Jinyan", but this is only a kind of appearance, it can not last, as Sima Qian said: "If things are not ancient, they can last long, and there is no such thing." In this sense, learning calligraphy is the same, it is necessary to find the required calligraphic meaning in more ancient works.
Ancient, is a kind of nature, is nature, is also the creation of the masterpiece given by god to mankind, is very unattainable by people, only from the more ancient works can we extract what we need to learn calligraphy, as for the works of today's people, there can not and can not be so much "creation". This may be Fu Shan's discovery.
In addition, from the perspective of the realm expressed by calligraphy, Fu Shan is not original to "Xiao San", which is also the inheritance and development of the calligraphy ideas of his predecessors.
As early as the Northern Song Dynasty, the development of "calligraphy" represented by Su Dongpo promoted the artistic proposition at the level of calligraphy realm. Su Dongpo proposed that calligraphy should also have "Xiao Sanjian And Simple", using artistic conception to express the artistry of calligraphy, and later, Huang Tingjian, Mi Fu and others have also successively put forward the calligraphy concepts of "rhyme" and "frankness" at this level, which are the expression and practice of the meaning of the calligraphy realm. Fu Shan's understanding of "Xiao San" is in line with the calligraphy of the Northern Song Dynasty.
We cannot deny the new ideas put forward by Fu Shan in the theory of calligraphy, but we believe that he is the inheritance and development of his predecessors, especially he introduced human character and cultivation into the artistic expression of calligraphy, which is an important contribution to the theory of calligraphy, and it can be seen that Fu Shan's calligraphy is the spiritual reproduction of "character as character" and "character as person", so it can be said that when learning calligraphy to "take the law", when taking personality and character as the first, because this is the real artistic spirit, it is also what people have to do in their lives. No matter how well the characters are written, no matter how exquisite the structure of the dot painting, the artistic spirit is the soul charm of calligraphy.
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