The Qing Dynasty calligraphy began to abandon the thesis, revere the Northern Stele, and pay attention to the sharpness, vigor and ancient clumsiness of calligraphy, in order to express strong personality feelings. The calligraphy of the "Eight Monsters of Yangzhou" also shines with the brilliance of this kind of ideological and artistic liberation of advocating spirituality, emphasizing emotions, denouncing Song Confucianism, mocking Taoism, opposing bondage, and betraying tradition. This is also extremely evident in the calligraphy works of Jin Nong, one of the "Eight Monsters of Yangzhou".
Jin Nong is a calligraphy and painting artist who does not attack his predecessors and does not follow the "right path". Many of his works, especially his calligraphy works, if viewed from the perspective of normal "correctness", perhaps many people who do not know much about calligraphy will associate his words with "ugly books".
Part of Jin Nong's lacquer book "Sheng Zhongjiao Deeds Page"
Golden Agroc Cursive
Jin Nong was originally a native of Qiantang (present-day Hangzhou), Zhejiang, and when he was in Hangzhou, he had a strong relationship with Ding Jing, the head of the Eight Houses of Xiling, and was very close. In the first year of Qianlong (1736), he recommended Hongbo, but not on it. Jinnong once lived in poverty, took pleasure in cloth clothes all his life, was eager to learn, and stored thousands of scrolls of gold and stone. He studied under He Zhuomen in his weak years and later lived in Yangzhou. After the age of fifty, he began to paint things, poetry, calligraphy and painting, gold and stone are exquisite, especially famous for painting plums.
Jinnon "Memetu"
Jin Nong "Plum Blossom Diagram"
Jin Nong"Miscellaneous Painting Twelve Openings" one
Jin Nong's calligraphy is longer than the inscription, and he once said to himself: "Yu Yu has the habit of golden stone writing, a stone script from the five winds stone carving, down to the Han and Tang eight points of the flow, the heart is chased by hand, privately said to get its god bone, do not reduce Li Chao's word and a hundred gold." Reading this, one can imagine his conceited demeanor. "Merlin's Words" Yun: "(Jinnong) eight points of calligraphy, small change of Han Law, and then the two stele of Guoshan and Tianfa Shenchen, cut off the end of the end as a big character, very strange." "The Jinnong calligraphy we see today has three styles: Lishu, Lacquer Calligraphy and Cursive Writing.
Jinnong's lacquer book, horizontal and vertical, square and thick black, like the art word is higher than the fine art word, full of ink, such as brushing the book with lacquer, later generations called "winter heart body". The so-called "cut off the end of the end as a big character" refers to this. The Jinnong Lacquer Book is a sign of its own path. Ma Zonghuo's "Writing Talk of The Yue Lou" Yun: "Winter heart is clumsy, and heavy is clever." "Incisively portrays the beauty it pursues. For example, the following painting of Jinnong's "lacquer book":
Jin Nong Lacquer Book "Xianghe Sutra"
Inscription: In the seventy years of the year, the thirst pen was eight points, and the Han and Wei people did not have this method. Although Kangxi Jinling Zheng Feng is good at body, it cannot be said that the thirst pen is eight points, and those who learn Zheng Yi for a while cannot be said to be thirsty for eight points. Qianlong Pengyin June 3, Seventy-two Wenghang County Jinnongji. Seal: "Jinnong Seal Letter, Kim's Shoumen"
Jin Nong lacquer book "Xianghe Sutra" part
Jinnong's Hanzha, Ruler, and Inscriptions are mostly cursive written in the form of stele and his own lacquer calligraphy. Jiang Di's "Essay on the Heart of The Winter": "Mr. Shu, Chun Gu Fang Rectification, from the Han Dynasty, overflowing into the grass, like an old tree with flowers, beautiful and horizontal." "For example, the calligraphy album below is like a fountain of wind, in which the thirsty pen is waved, and the old is spicy and vigorous. The word "overflow" used by Jiang Di appropriately expresses its proficiency and calligraphy creation after the stele.
Jin Nongxing Book "Yan Ming Book"
In addition, Kinnon's letter of affiliation is particularly worth mentioning. If you can't appreciate his lacquered and cursive writing, at least you will not feel so "strange" about his calligraphy, at least it looks "normal".
The letters written by Jin Nong in the early days are mostly flattened and seem to have more allegorical meanings; as they grow older and clumsier, the characters turn square, long, round and simple, and it seems that the trajectory of his quest for "small change of Han People's Law" can be seen, so that people can recognize at a glance that it is definitely not the work of others. His words are square and square, and at first glance he feels sloppy and dull, but the tilt of the apostrophe and vertical painting and the brush stroke processing of the long apostrophe make his words full of agility and posture.
Jin Nong Lishu "Plum Blossom Song of the Eaves Road People"
Qin Zuyong of the Qing Dynasty once said in the "Tong Yin On Paintings": "Han Li Canggu Qiyi, bold and powerful Shen Xiong." Yang Shoujing also pointed out: "Banqiao Xingkai, Winter Heart, are not bound by their predecessors, and they have forged their own paths", just like a hero of the "mountains, forests and grasses", belonging to the Republic of China literati Yang Jun described as "a person with a special face". Jinnong's Lishu practiced his creative ideas of "game theosophy", "self-making", and "different from people".
In short, Jinnong's calligraphy, lacquer calligraphy and cursive calligraphy created by the stele method prove the way out of epigraphy at multiple levels. In his calligraphy, the people saw a microcosm of the formation and prosperity of Qing Dynasty epigraphy, so Jin Nong was a true forerunner of epigraphy, not the "ugly book" of today's rootless Ping!
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