Many people know that Fu Qing lord in Liang Yusheng's "Seven Swords Descending the Heavenly Mountain", he wears a Confucian crown and Confucian costume, not only has exquisite medical skills, but also has high martial skills. In fact, the characters of this martial arts world really exist. But his more widely known identity is that of a generation of great Confucians in the late Ming and early Qing dynasties. The original character Qingzhu, later changed to Qingzhu, is a Shanxi Yangqu people. He was also a master of poetry, calligraphy and painting, and medicine, and was revered as a generation of masters with his profound and extensive knowledge.
Fu Shan wore a Taoist robe
The first 37 years of Fu Shan's life were spent in the afterglow of the Ming Dynasty. For Fu Shan, the change of dynasty is undoubtedly a matter of heaven and earth, he wrote in the "Jiashen Ji Jiashen Shou Nian": "Thirty-eight years old can die, and the roost does not die for what year!"
The second half of Fu Shan's life was the 40 years of the Qing Dynasty, almost every day there were barbaric suppression, massacres and plunders, the anti-Qing rebel army still fought tenaciously, and the Qing court imposed a literal prison or bribe on Han intellectuals. The ups and downs of his life have created his unique personality and his calligraphy creation.
Fu Shan,"Flower and Duck In the Rain", Collection of Shanxi Museum
The Qing Dynasty historian Quan Zuwang's "Strategy of Mr. Fu Qingzhuo of Yangqu" records that during the Chongzhen dynasty, Fu Shan, as a cloth cloth cloth, mobilized dozens of people from all generations to petition for the Shanxi Tixue Yuan clan to sue for the injustice, bravely defeated the eunuchs and traitors, and later became famous and shocked the government and the opposition.
After Ming's death, he secretly engaged in anti-Qing activities with Gu Yanwu and others, and was arrested. In prison, "he resisted the words unyieldingly, went on hunger strike for several days, and died several times."
During the Kangxi Dynasty, the imperial court opened the Erudite Hongzi Department, Fu Shan was seventy-two years old, the magistrate forced him to enter Beijing to take the exam, he said that he was sick, the officials actually sent someone to move him away with his bed, to thirty miles outside the capital gate, Fu Shan resisted death and did not enter the city, the imperial court specially sealed his "Zhongshu Sheren" to return, he neither thanked nor accepted, when he left Beijing, there were countless people to send him off, and his temperament was so strong.
Fu Shan Cursive "Return to the Word"
The social turmoil in the late Ming and early Qing dynasties also promoted the vitality of thought, and the field of literature and art set off a wave of advocating "gaogu qiyi" represented by the Ming Dynasty relics and scholars, and a group of maverick calligraphers and painters were born, which were praised by later generations as the "relics painting school", and Fu Shan was one of the representative figures.
Liang Qichao listed Fu Shan, along with Gu Yanwu, Huang Zongxi, Wang Fuzhi, Li Yong, and Yan Yuan, as the "Six Masters of the Early Qing Dynasty".
Fu Shan Calligraphy and Painting Collection, Album on Paper, Collection of Shanxi Museum
Fu Shan Qiu Lei Ke Tu Collection of Tianjin Art Museum
Fu Shan Wai Red Leaves
In the history of books, Fu Shan put forward the famous "Four Nings and Four Noes" calligraphy propositions -- that is, "rather clumsy than clever, rather ugly than charming, rather fragmented than slippery, rather straightforward than arranged".
This is not only the mystery of calligraphy, but also its standard of human beings. Fu Shan has a unique path on the road of exploration and research of Chinese calligraphy aesthetic theory, and his influence can be described as far-reaching.
Fu Shan 《楷書臨家書》
At the age of 20, Fu Shan was already "omnipresent in the Jin and Tang Dynasties that had been passed down in his ancestors." Fu Shan lived in an era where calligraphy was about individuality, and his works were full of wanton flamboyance.
Fu Shan kai is good at both grass and grass, and the calligraphy is dignified and vigorous, strong and powerful. The cursive strokes are majestic, the lines are gentle and flowing, and the dot paintings are frustrated and depressed, full of romantic colors, and are respected by the people of the time as "the first writer in the early Qing Dynasty".
Fu Shan Cursive "Drunken Wave Book"
Fu Shan is the only remaining cursive calligrapher after the late Ming and early Qing dynasties, and he was also the first to explore epigraphic calligraphy, and his works represent an era.
Fu Shan is an outstanding figure who, after Yan Zhenqing, once again pushed the spiritual height of calligraphy to the peak of history.
Fu Shan ,"With a High View of heaven and yixin", collection of Shanxi Museum
Fu Shan Cursive Linwang Xizhi's "Fu Xiang Qing He Ti" Collection of Shanxi Provincial Museum
Fu Shan sells words, but he is not greedy, he does not sell until he sells to a certain extent, and the price is not set high, so he is not rich, and sometimes he can even be said to be very poor.
In Fu Shan's view, it is a shameful thing to make a living by writing a character, but the situation is turbulent, and in order to survive, it is still necessary to "not come out". Although in the era of hardship, the goal of reading is still the same. He said in his testament, "What can survive in the world is only the article." ”
Fu Shan Xingshu Li Bai's "Qiu Deng Xuancheng Xie Yan North Building" poetry axis
Fu Shan's cursive writing is certainly magnificent, but his manuscript is also very bookish, relaxing and casual to show his skills. In contemporary times, many people also create calligraphy works according to the letters of the ancients.
But this form of doing it for others to see doesn't make any sense. Fu Shan's relaxation is a natural expression of the heart, not deliberately, which cannot be learned.
Fu Shan's Diamond Sutra
Fu Shan is a legendary figure, an all-rounder who has rarely been seen for hundreds of years, but he regards the things outside his body very lightly, and it is the ideal goal for him to pursue his life to relieve the people's worries and implement the right path in his heart. Therefore, it is his purest spiritual portrayal in his calligraphy and paintings.