Jinnong's "Linhua Mountain Temple Stele" (partial)
Jin Nong (1687-1763), Qing Dynasty calligrapher and painter, the first of the eight monsters in Yangzhou. Zi Shoumen, Si Nong, Ji Jin, Mr. Dongxin, Ji Liu Shanmin, Qujiang Waishi, Xiye Jushi, Shou Daoist, etc., Qiantang (now Hangzhou, Zhejiang), cloth lifelong.
He travels well, but he doesn't come back with anything. Late in Yangzhou, selling calligraphy and painting for self-sufficiency. Curious and studious, he works in poetic calligraphy, poetry is ancient and peculiar, and is good at identification. Calligraphy creates a flat pen style, which has both a italic and a subordinate posture, and is sometimes called "lacquer book". He didn't paint until he was fifty-three years old. His paintings are strangely ancient, and he makes good use of light ink dry brushes for floral sketches, especially painting plums.
Jin Nongli's book "Huashan Temple Stele", 109 pages in Yangyang, can be called the "most refined trace of middle age" of Jin Dongxin, whether it is the scale or the calligraphy itself, it is a very rare good product in the market.
In the early years of Jinnong Lishu, it was "ink shou Han people rope ink", the style was regular, the strokes were thick and simple, its strokes were not sent and closed, the structure was strict, more restrained, and less outward-looking posture, with a simple and concise style, Jinnong's calligraphy art was known for its simplicity and thickness. His first "lacquer book" is a special method of using pen and ink. "Jinnong Ink" is thick as lacquer, and the words written are protruding from the paper. The brush used, like a flat brush, is dipped in thick ink, and the line pen only folds, like a brush paint. The words written in this method look vulgar and simple, without rules to speak of, but in fact, they are big-minded and have a majestic charm.
Jin Nong Lishu, starting from the closest zheng gukou, about thirty years ago, the Han "Xiyue Huashan Temple Stele" expanded the book, love is deep, repeatedly copied, when the person Wang Jin said that he "saw the "Xiyue Huashan Stele", the penmanship changed" for a change. Since then, he has emerged from the calligraphy style of Zheng Gukou and looked for innovative ways to enter the ancient and open up from the ancients from the Han and Wei inscriptions. Some researchers believe that the process and success of his life's book style reform are almost all related to the "Huashan Temple Stele".
From the age of thirty or forty to the age of seventy years, he imitated the "Huashan Stele" in the past few decades, he imitated the "Huashan Stele" works survived a lot, but each work has a different meaning of different styles, from the earlier flat round pen, to the middle-aged square pen obviously with the Wei stele calligraphy of the variant of the writing, to the vertical and horizontal are used flat pen, emphasizing the inverted Qiao Li, and even the formation of the seventy or so lacquer books, all of which are reflected in the "Huashan Temple Stele" works he wrote in various periods, it can be said that every time he imitates the Huashan Stele, he always carries exploratory thinking. The Xiyue Huashan Monument became the inspiration for his calligraphy reform. "Huashan Flake Stone is my teacher," Jin Nong said. And this teacher has been with him all his life.
Among the many works of "Huashan Temple Stele" handed down by Jin Nong, the most representative, the most significant, the largest format, the greatest boldness, and the most proud of the writing of the god should push the big character "Huashan Temple Stele".
Originally a huge vertical scroll, the later collector Huang Xiaosong changed it to an album for easy carrying and reading. According to Shao Songnian, another collector in the late Qing Dynasty, this painting used to be ten lines, with twenty-two characters per line, eleven characters in the tenth line, and six characters in the paragraph, for a total of two hundred and fifteen characters. Now restored by computer, the height of the original shaft should be about 3.6 meters or more, and the width should be 193 centimeters. Obviously, among all the calligraphy and painting works of Jin Dongxin, this is the largest one that has been handed down.
What is important is not the size of the format, but this work not only has the style of the early flat body, but no longer seeks the similarity of the shape of the Huashan Stele, but more references to the body posture of the Wei Stele and the clumsy pen of Fang Jin, in the effort to strive for the simplicity and thickness of the whole, but also always emphasize the stretching and frustration of the skimming, the so-called inverted and hanging dew method, so that the fang humble posture has a change and charm, the predecessors classified this kind of calligraphy as Mr. Dongxin's original "Kai Li", and this huge work of deep strength and boldness, And the thirsty pen "Lacquer Book" that he was well known to the world in his later years has many similarities in form - Jin Nong, with his profound courage and arrogant revolutionary spirit, has created a new face of the Qing Dynasty, and "Dazi Lishu Huashan Temple Stele" is such a successful representative work.
This masterpiece, which carries Jinnong's tenacious and innovative spirit, and even more with his incomparably powerful shocking power, jinnong's thick calligraphy skills and full creative passion are fully revealed, just imagine, to write more than 200 dou da kai on a huge axis of forty square feet without the pen, timidity, and mistakes, without strong courage and physical strength, consistent creative enthusiasm and handy profound skill, it is impossible to complete this extraordinary masterpiece. It is no wonder that Huang Xiaosong, a Jinshi family, would deeply worship this work, calling it "hungry and thirsty for pens, not letting the ancients," which is the "most refined trace of middle age" of Jinnong.
Huang Xiaosong is a Qian, Jiashi Jinshi everyone, searching for and preserving countless Qin, Han, Wei and Jin jin golden stone tablets, he has a wide range of knowledge, rigorous examination, but also admired the ancestors of Jinnong, not only collected his works, but also tried to copy his calligraphy and paintings, Wuxi Museum has one of his "Calligraphy and Painting Album", of which there are many imitations of Jinnong's works. The love is deep, the knowledge is deep, and his evaluation of Jinnong's "Big Character Lishu Huashan Temple Stele" is of course theoretical and well-founded.
Jin Nong's "Linhua Mountain Temple Stele" (overall restoration)
After Huang Xiaosong, this piece was obtained by Wu Yunzhuang, and later reverted to the hands of the late Qing dynasty collector Shao Songnian, who repeatedly inscribed and recorded in his "Records of ancient edges", and the Jinling scholar Huang Huan's "Commentary on Jinnong Calligraphy" is also described, which is a masterpiece of Jinnong.