A brief account of the past Deng's running script "Chen Ji He Shu" is also related to a famous anecdote in history. Deng's family keeps two cranes. It is said that these two cranes are at least 130 years old. One day, the female crane died. Only ten days later, Deng's first wife, Shen Shi, died one after another. This coincidence produced many associations among the literati at that time. The 59-year-old Deng was extremely sad, and the male crane was lonely and lived alone with him. Because he couldn't bear to see the lonely crane sad, Deng chose the Jixian Temple 30 miles away and put it in a monk's house. Since then, he has been carrying grain to feed cranes, going back and forth for 30 miles, and persisting every month. Suddenly, another day, he got the news that he was staying in daming temple, Yangzhou. The male crane was taken away by the Anqing magistrate and brought back to the yamen. He immediately left for Anqing, wrote a letter from Chen Jihe, and wrote a letter to the magistrate asking for a crane.
This article is touching and touching, which makes people cry. The momentum is overwhelming and the words are like clouds. Tian Huan used extreme rhetorical devices, such as parallelism and personification, to describe the past of cranes and sent them to mourn. For this crane, he can put his life and death at risk, just as the book says, "If adults can move mountains, villagers will turn cranes into cranes and cranes into villagers." The magistrate received the book and was speechless. A few days later, he returned the crane to the Buddhist temple.
Deng studied with his father at the age of 9 and dropped out of school at the age of 10. 14 years old, he "can't go to school because he is poor, so he picks firewood, sells cake bait from village to village, and turns his back on it." However, under the influence of his grandfather and father, he became interested in calligraphy, epigraphy and poetry and made great progress. /kloc-at the age of 0/7, he wrote the seal script "Preface to Xuelangzhai" for the "handsome old man", which was well received by Bo Shi people. From then on, he embarked on the road of seal cutting. At the age of 2 0, he set up a library in his hometown and served as a boy scout. He gave up because of the students' "stupid jump" and went to Shouzhou (now Shouxian) to teach Mongolian library with his father. At the age of 2 1, he resigned due to the death of his wife, and traveled abroad to engrave books to alleviate his grief.
In the thirty-ninth year of Qianlong (1 7 7 4), when he was 3 2 years old, he returned to Shouzhou to teach. He often carved seals for the students of Shouchun Methodist Church and wrote fans with small seals. He was appreciated by Liang Xian (a native of Boxian County, famous for imitating titles), and recommended him to study at Mei Miao's home in Jinling (now Nanjing). The Mei family is not only a famous family since the Song Dynasty, but also the family that Emperor Kangxi gave the most calligraphy treasures in the Qing Dynasty. It has a collection of "secret treasures" and many rare epigraphy books from the Qin and Han dynasties. Shi Ru watched the Expo, studied it carefully and made great efforts. Eight years in Meijia, specializing in seal script in the first five years and learning Chinese in the last three years. In 47 years, at the age of 4 0, he left Mei's family, traveled around places of interest, copied a large number of ancient inscriptions, honed his calligraphy and seal cutting, and finally produced a large number of works of various styles with various instruments. In the forty-seventh year of Qianlong, he traveled from Huangshan to Shexian, where he met Fang, a famous epigraphy scholar of Huizhou School, Cheng, a scholar from Southwest China, and Jin Bang compiled by the Hanlin Academy, which is good at the study of seal calligraphy. On the recommendation of Mei Miao and Jin Bang, he met Cao Wenzhao, senior minister of housing. In the autumn of Qianlong's fifty-fifth year, on his eightieth birthday, Cao went to Beijing to celebrate his birthday and invited Deng to go with him. Shi Ru refused to follow Wen Yu's team, but wore a straw hat and sandals and rode a donkey alone. After he went to Beijing, calligrapher and connoisseur Lu saw his handwriting and was greatly surprised. He commented, "There has been no such work for thousands of years." Later, calligraphers represented by Weng Fanggang, a bachelor of cabinet, were excluded and forced to "go out of Beijing". Later, Cao introduced him to Bibu (Wuchang Department), our envoy, as the minister and governor of the Ministry of War, as a curtain guest, and taught Shuo Yuan. After working in the department for three years, I didn't achieve my goal and went.
When Qianlong was 5 2 years old in 59, he returned to his hometown from Wuchang, bought 4 0 mu of land, built a house the following year, and hung a calligraphy plaque "Tieyan Mountain House" at the door. I often carve and sell books to help the villagers, and the poor can't bury them and do their best to support them. In the following 1 0 years, his calligraphy and seal cutting became more and more sophisticated. Regardless of age, he often traveled to Jingkou (now Zhenjiang), Nanjing, Yangzhou, Changzhou, Suzhou, Hangzhou and other places. One year before his death, he climbed Mount Tai to meet friends and learn skills. At the age of 6 0, he traveled to Jingkou, met Bao and taught for three years. He suggested in calligraphy: "You can lead a horse in a sparse place, but you can't let the wind out in a secret place." You often count white as black, you can be curious. " All the books of the Six Dynasties verified by Bao's method are consistent. On his deathbed at the age of 6 3, he still regarded his disciple Cheng Heng's shirt as Zhang Zi Xi Ming. That year, I learned that there were eight stone tablets in Jingxian county that needed to be written in various fonts, such as Da Zhuan, Xiao Zhuan, Fenshu and Xingkai. I was generously invited, but only one returned due to illness and died at home in 65438+ 10 of the lunar calendar.
Deng Shiru, a strange folk man, is tall and has a long beard floating on his chest. He is a great man with indomitable spirit and Geng Jie personality.
Because his ancestors were born in poverty, old and poor, he tasted the ups and downs of the world all his life and lived a life of "collecting firewood and selling cake bait to win self-sufficiency every day". He pretended to be a "mountain man" and lay high in the old house by the desert river, forgetting the word fame and fortune.
Why are you so cold? The era he lived in was the "Ganjia era" which was a prosperous time in history. When he came to this world, the political situation had already been stable, and the world had already been moved by Ai Xinjue Roche's hands. Life flows peacefully day after day with the river of time. All we know is that he wears a straw hat and sandals, coaches a donkey, wanders around the world, and has a floating gull as lonely as flowing water. Li Fei, his good friend, once sent him two poems: "It's hard to keep your heart clean, and you know how rich the clouds are." Look down on glitz, exaggeration, fame and fortune and impetuousness. He didn't complain that Liu Yong had no talent. "The name of suffering does not stand, and the year of suffering is not long." Jia Kui lacks ambition and enterprise; "Fame flies to the sun and the moon, and benevolence and fortune are auspicious." Li Bai's ambition to help the world is beyond his reach. He is just indifferent to everything in the world, so indifferent that he is willing to be lonely and stay away from the world of mortals. However, he really loves calligraphy and will not give up for a day. Every morning, he grinds a plate full of ink and splashes it clean. He didn't go to bed until the ink was dry. The so-called "love" in Deng's life, in addition to being born in poverty and suffering from life, he has to put fame and fortune behind him and devote himself wholeheartedly to the hard work of art. He is not afraid of sitting on the bench for ten years, nor is he willing to be as keen on being on TV today as some "celebrities", publishing newspapers tomorrow and winning prizes the day after tomorrow, otherwise he will be sad every day.
At that time, he was a screen friend of Bi Yuan, the governor of Huguang. "I talked to people about Taoism and art, and I simply refused to borrow it. I am wearing a brown hat and there is nothing on the shore. " Just like the true colors of a civilian artist. However, "it is more and more obvious that swarms of ants tend to be jealous. Today is the so-called timeliness, and today is also the so-called shortcut." To get the best, you must have such a face. What do you mean by that? I am depressed to be with this generation. "He doesn't like the rush in officialdom, and he doesn't want to kiss up to the powerful. Then, although he is a screen friend, he is also lonely-he is not suitable for that ecological environment. So, he left and returned to * * *, survival of the fittest. Since then, he has never been involved in officialdom for more than 60 years.
Does Deng's stubbornness and unwillingness to be kitsch mean that he has the so-called "civilian consciousness" or "folk complex" that ordinary literati lack? Deng's original name was Yan, and his real name was Yi Bo, Wan Baishan, Wan Baishan, Longshan firewood chief, Feng Shui fishing chief and so on. Compare yourself to a stone.
Stubborn stone, a maverick of Shan Ye people, is floating in front of us. Speaking of Deng, his contemporaries spoke highly of him. Some say "noble" and some say "noble". I only say two things here. First of all, when Deng Gang entered Beijing, people at that time took Weng Fanggang, a bachelor of cabinet, as a master of calligraphy. Weng was arrogant for a while, but Deng was "independent". If you don't visit Master Weng, are you unwilling to make friends with powerful people or look down on his calligraphy? I dare not guess at random. However, the consequences were in his expectation. The domineering Weng Fanggang greatly belittled Deng's calligraphy, while Deng laughed it off and said, "Not with the school". Another thing, maybe we can see Deng's nobility. Deng often lives in Jixian Pass and keeps a crane. After careful feeding, he kept it in a monastery He took it with him, and it accompanied him to study, "two classes in the DPRK." Unexpectedly, a satrap saw it and couldn't put it down. He took the crane away. Deng was so unfair that he wrote a strongly worded letter asking for it back. From then on, there was a crane as a companion, and the morning was faint. When Deng Shi Ru died, the crane gave a shrill whimper, moaned for a few days, made a spin, disappeared into the desert sky, and then the feathers flew away. Crane, clear sky, far away-this is the overflow picture in my heart, and it is also the poetic realm flowing in front of my eyes. Yes, wearing a cloth, looking up to the sky, coming with care, leaving without care; Knowing that all things have spirits is lighter than things outside; "You go home, I go home"-people and cranes change, leaving only a period of gathering and separation in ancient and modern times. Yao Nai, his good friend and prose writer of Tongcheng School, once wrote such a couplet for him:
It is better to believe in poverty than to believe in money, and it is better to believe in being expensive than to believe in being cheap.
A thousand words of bamboo books and flowers are good for knowing that you are safe and happy.
It is natural and meaningful without envy of wealth, and broad-minded and peaceful without affectation. The life of fishing, cultivating cigarettes, watering flowers and making wine in the rain washed away the common powder, dust and dirt, but what oozed out was the bookish spirit and a sage style in the subset of history. In people, they are them. They can settle down and make a living, or they can "do whatever they want without overstepping the bounds." As soon as life reached this state, the depth and era of art came into being.
As a great calligrapher, Deng is a model that wins our respect with real innovation. Bao, a contemporary of his, listed his calligraphy as a "masterpiece" in "A Pair of Ships" and was praised as "the first four-body calligraphy in China". In the history of calligraphy, Liu Yong, the "prime minister of thick ink" who claimed to be "self-writing", saw Deng's words and exclaimed: "There has been no such thing for thousands of years!" Far-sighted and well-read, Kang Youwei belittled Yan (Yan Zhenqing), Liu (Liu Gongquan), Jintie, Tang Monument and so on. He not only admired Deng's book, but also regarded it as an epoch-making symbol. In all fairness, it is unfair to belittle Tang and Jin, but the evaluation of Deng is reasonable. The innovation of seal script and the rise of epigraphy in Qing Dynasty opened up a new situation of traditional calligraphy, which was quietly established by Deng Zai. The agility of Deng Zhi's seal script and the naturalness of his pen broke the rigid traditional pattern since Li. No wonder he is so conceited: "Where can I make Bing Si?" Deng also had many original opinions on calligraphy theory. The theory of "counting white is black" embodies the principle of "meaning is not written" and "sparse places can start quickly and dense places cannot be leaked", which clearly explains the artistic theory of contrast between reality and reality.
Deng, the representative work, is a great epigraphy scholar in Qing Dynasty, who is good at four books. Li Si and Li were the first students of his seal script. Later, he studied Zen Monument, Sangong Mountain Monument, Tianbu Monument, Shi Guwen, Yi Qi Bi Fa, Hanshu and so on. He used official script as seal script, which broke through the barrier of imperial seal for thousands of years and opened up a new world for seal script in Qing Dynasty. His seal script is criss-crossed, and the font is micro-square, which is close to Wadang and Hanbei in Qin and Han Dynasties. The official script comes from the Han tablet, which is compact in structure, vigorous in appearance and magnificent in atmosphere, and also makes the official script of the Qing Dynasty look brand-new. Regular script takes the tablet of the Six Dynasties, and also takes the posture of Ou Yangxun and his son. The brushwork is firm and the words are tight, which makes it look vigorous and powerful. Cursive calligraphy mainly absorbs the cursive calligraphy of Jin and Tang dynasties, and its brushwork is soothing and elegant. Chinese cursive script, the weather is open and the artistic conception is boundless. Generally speaking, seal script has the greatest achievement, followed by Kai, Xing and Cao. Deng was also a seal engraver, who initiated the Deng School in Huizhou School. He entered the seal script with the small seal script and emphasized the brushwork. His style is vigorous, simple and graceful, and calligraphy and seal cutting complement each other. Deng's seal has the characteristics of "horse racing in a sparse place, but not in a secret place"
At that time, people spoke highly of Deng's calligraphy, calling it "the four bodies are absolutely unique, ranking first in the country." His calligraphy is the most outstanding, and the achievement of seal script lies in Xiao Zhuan. Taking Si and Bing as his teachers, his seal script is a little longer, but he creatively combined the brushwork of official script and boldly raised the ups and downs with long front and soft hair, which greatly enriched the use of seal script, especially in his later years. The lines are round and boundless, creating a typical seal script in Qing dynasty, making immortal contributions to the development of seal script art, and official script has benefited a lot from the long-term immersion of Han steles. The official script that can write the meaning of seal script, combined with the strength of Wei Bei, is naturally unique in its style. Regular script didn't start in Tang Kai, but traced back to the source, directly using Wei Bei and Fang Bi. The strokes make it convey Li's meaning, and the structure does not seek meaning by the method of horizontal light and vertical weight, low left and high right. It is simple and unsophisticated, which is out of tune with the customs of the times and shows the spirit of courage to explore.
Liu Yue said, "It has never happened for thousands of years."
Cao Wenzhao: "This Jiangnan Gaodeng situation is also the first in the country."
Bao's Art Boat and Twin Towers: Quality comes first.
Zhao: "the mountain people are the first of the national dynasties, and the mountain people take the official script as the first;" Ren Shan's seal script pen comes from official script, which claims that it is not as warm as here. However, even if it is not warm, people who are good at it will not talk about it. Poetry must be poetry, and it is the same to know that it is not a poet. "
Sha Menghai's "Calligraphy in the Past 300 Years": "It is not Liu Yong, a bachelor of Dongge, nor Weng Fanggang, a bachelor of cabinet, but Deng Shiru with crutches and sandals."
The inscription works are in Bandeng Mansion in Berlin, under Dalongshan in the north of Huaining County, Anhui Province, and there is a long couplet with the words 146 in regular script:
One day in the sea, under the red city, Emei snow, Wuxia cloud, Dongting moon, Peng Li marriage, Xiaoxiang rain, Wuyi peak, Lushan waterfall, these cosmic wonders, painted the walls of my den;
Shaoling poems, rubbings, Zuo Zhuan's essays, history, Xue Tao's notes, You Juntie, South China Sutra, Xiang Rufu, Qu Sao, integrating ancient and modern techniques, set up my mountain window.
This couplet was inscribed as Bibishan Bookstore, written by Deng Suo, a famous calligrapher and seal engraver in the middle of Qing Dynasty. This couplet is magnificent and unique in conception, just as Liu Xie, a literary critic in the Southern Dynasties, said that it is magical to "see Wan Li" and "think about the Millennium".
The photos on the Internet are colorful and colorful; The next step is to take the text, and the chapters overlap. The upper and lower qi veins are coherent in one go. Typical scenery, the essence of literature, elegant language, profound meaning and outstanding structure entrusted by China, the United States and China.
In addition to the above, the popularity of this couplet is also related to the author's good use of brocade rhetoric.
Jin Lie's rhetoric is a sentence composed of nouns or noun-centered naming structures. It has no adjective predicate, but it can describe scenery and express emotion. There is no verb predicate, but it can describe feelings.
Doing things in the world: heirloom old books. -Title Suzhou Hanshan Temple Monument Gallery
The cause lasts forever; Xinxiang recommended it four times. -Ink
Sitting in the autumn waters of South China; Ping Jian Beiyuan Chunshan. -Self-topic
Wan Huasheng came out of Song thousands of feet; Birds sing a crane. -Self-topic
Open the book and wander for thousands of years; The heart of the curtain is in the mountains. -Self-topic
The third month after the enlightenment of a good book; Good friends come, and there are four springs. Self-theme
Two lines of tears waded through the mountains; When the wind and moon are in the sky, I often feel an old man's heart. -Wan
There are several layers of strange stones around, and the moonlight is empty, like looking at Xi Gu; Its land is 100 feet high, and the shade is withered, sometimes strange. -Title Xiaojinshan Caotang in Slender West Lake, Yangzhou
There are 89 huts, fishing in the rain and growing cigarettes. You have to believe that being rich is not as good as being poor, and being expensive is not as good as being cheap.
There are thousands of words in bamboo books. If you know that it is suitable and happy, you should be free and clear.
-Shuhuai
Let people be humiliated, stay in the hospital, drink and worry, think less and dream, plant flowers but vulgar, burn incense and pollute;
* * * Make up for work, stay alone to make up for deficiency, save money to make up for poverty, make up for kindness, calm down anger and benefit qi, and make up for troubles silently.
-claiming to be a thatched cottage
Seven feet long and seven feet big, you can't enjoy the benefits and fame, but you can't enjoy the odds and ends.
What clothes does this stinky skin need? It's better to throw it into the wild grass, so it's quick.
-Self-sustaining
Seal cutting: thousands of feet burst its banks with the river, so I can't write meaningful books, and I can't read strange ancient prose. I live in the mountains and rivers of Siling, and I am interested in the ancient society. I write poetry and dance ink, and the city grows day by day. Shan Ye grows in Lingling, Chunya Cliff, Banqianting, and the seal cutting of Wanbaishan people.
Calligraphy includes Poems of Five Gardens, Axis of Seal Script, Temple of Seal Script, Four Screens of Official Script, Seven-word Couplet of Official Script, Excerpts of Official Script, Carving Dragons in Literary Mind and Letters to Chen Jihe.
The poem "Deng Dai"
Adai's rank is high and low, and he is severe and contemptuous. Nothing is limited, only the sky is near, and no one is tall.
I lost Qilu in a fleeting moment and regarded Cao as my son. Don't be surprised by the dusty traces of Zunyan, and finally dry Kun several robes.
Completed the manuscript of Baishan people sending cranes.
Baideng Mountain guest Deng nodded, presented a book, and Chen Chuanhua spoke to the crane. The owner of this crane, who has leisure time to prove that he is 130 years old, passed by the public or the public's door. According to Tai Shitao's Poems on Ancient Crane in Wanling, this crane lived in Jiang's family in Changshu, then in Shen's family and then in Xu's family in Deqing. Yuan Lecture Hall of Jingkou Agriculture Department spent 1000 yuan to rent into the 36 Peak Museum, which has a history of 130 years. Not a few years ago, you can take the exam. The mountain people have been traveling at home for many years, and the son of the minister of agriculture ordered the crane to call the mountain people and said, "This is the monarch." It is said that cranes are suitable for mountain people, so they are given to them. The villagers have been obedient these years, so they have to be their wives and waste their time. In the autumn of the first year of Jiaqing, Sun Zhongcheng greeted him by crossing Jinling. He wants to hire a mountain crane and give it to the mountain people with two gray cranes. This puffin is not a crane. If you are a crane's slave, the crane will not suffer. Instead, take my crane home. The villagers' home stands on the wall with a lot of index fingers. Every inkstone has a living wife. They are afraid that cranes will be treated by savages, so they choose a place to send cranes at the monk's house in Jixian Pass. Although the Zen room is barren, the trees are lush, the bamboo forest is green, the pass is dangerous and solid, and the mountains and rocks are rugged. It is the main road leading to Tianqu, which was specially set up in Long Mai, Anhui Province. Monks should rely on the power of Buddha to create prosperity, to support the streets, to cultivate feng shui, and their sincerity is far-reaching. It is less than 30 miles away from the mountain house, and it is common practice to feed the cranes every month. Although I treated this crane, I kept it from the monk. He wished the monk a crane training and said, "You are a bird with a floating mound, walking through the cloud gate, flapping your wings and flying with a voice bearing the ambition to fly in the clouds. I am afraid that you will not be poor in the end. " I have a distant heart, and I also listen to the vastness of my soaring, but I don't care. I am a monk, the same age as Sauer. The monk entrusted her to help him become famous. I have no intention of sending cranes up the mountain, but I can wander here. There are ancient bamboo forests here, which can shelter you; There are ancient Buddha lanterns that can be repented; There is a Lingbao cover, which can be used to prestige; There is an altar of law, which can be solemn; Lying lion and elephant can protect you; There are scattered winds in Luoyue, which can linger; There are wild flowers and weeds in the mountains, which can slow your steps; There are streams and springs that can feather; There are mountains of stones that can be used as bird mouths; There are mossy embroidered bricks, which can be proud; There are many high roads, and Zhang Kegai; Cangteng hangs down and can be arranged in a row; With the bells and drums boring, you can enjoy the ambition of Qingyun. If there is the sound of wind and rain shaking the vegetation, it can lead to mountains, and if there is a responsibility to keep Mu Zhi; Accompanied by the noise of birds singing, it can help you and I blend in and enjoy nymphs together; If there are horses and chariots marching in the footsteps, you can indulge your servant in the dust while you comb your feathers and swim with your head down. With the canopy, scholars can stop, but they can read that they are doing things in the wild, driving and walking all the way, which is conducive to showing that you are clear-headed, energetic and lonely. I will silently lead it to change the humiliation of four o'clock in the mountains, the moon in the snow and the wind, rain or shine. Chyi Chin accepted my instructions. "
Then he said, "The monk goes to your company, and the monk goes out to guard it. The moon is white and the wind is clear. Listen to the classic and nod. Don't just drink water and peck, clean up your feathers, your clothes will be too clean, and you can ride a horse and swim. Without a fortune, it is difficult to go to Yangzhou. I don't live far away. I don't know where it is. If you return to your hometown, Longshan Phoenix Water. Listen to my congratulations. " I wish you all the best. The crane looks around with trepidation. Do you have any ambition to escape? The comforting thing is: "Before you came, you were very satisfied here." The crane then converted to Buddhism. Although converted to Buddhism, cranes are still cranes in Shan Weng. The monk put forward his name, and Yu Yue said, "It's a treasure, and several names are worthy of humiliation. The Buddha can make it." Hence the name Buddha slave. There is no place to send cranes, and there is no place to be happy. The crane is a monk, and its help is reasonable. There is no stone storage in the villagers' house. Before that, they used ten gold coins to help monks build a crane pavilion and gave tea to help pedestrians. Last autumn, during the drought, I still used 10000 yuan to help monks build this East Pavilion. Bamboo poles are being built now, and the house is full of shade. You can get rid of your troubles if you pass. Today, I heard that the monk Lin Baishi Caotang wrote that you spent time here and celebrated from the official rank under the stage of crane dance, thinking that the official rank is a symbol of a product, pointing directly at the ears of Japanese affairs. If you don't look around, you will be tied up by your comrades and sent to the Ministry. The monk's name is in the Tao, and the crane is on the pawn. Instead of welcoming the mysterious car, he is humiliated by the prison system. The speaker of the matter is auspicious, and he is so sleepy. From then on, the lotus curtain invited guests and friends to compete for the birds that were not hired by the window, and the cold courtyard was dry. Yan is there, and the crane is there. Everyone in the village knows that your intentions are far from perfect, but people close to the waiters are trying to ask them to enjoy their ears. Or the plum blossom cave pavilion, for entertainment for the time being. Zhang Qiong gave a banquet with flowers, and all the guests were drunk. No? Hey? Zhai bird, how can you enjoy this elegance? Take the opportunity to recruit and enjoy lingering, so in a few days, the crane will still belong to the villagers. Or enjoy political leisure, cherish people when seeing things, and admire the wind of the ancients, so as to make it clean and shine in Anhui. The mountain people are the people under their rule, and they are also honored. If they have it with their bare hands, can the villagers bear the gift of a crane from Yuan Lang? I am ashamed of this crane, too. And from the appearance, it is said that the satrap took the name of the mountain crane. If you commit the crime of desecrating the dignity of grass, the villagers will become cranes, and cranes will become mountain people, without hesitation. So through the whole story of Chen Guhe, I shared this concern with monks and mountain people. I used it to describe Chen, which was very scary. The mountain people want to eat again.
At the end of the book, it says, "He Shou doesn't know his discipline, but he died a hundred years ago." The ear of the universe. This crane sends officials, villagers, monks and buddhas, and satrap. The satrap, monk, Buddha, villagers and officials were all sent to Crane's Ear. Are cranes for people? People give it to cranes? However, although the life span of human cranes is uneven, they will eventually return to the universe. What's good for me! I have been a servant for many years, and I own this crane. When I returned, I just thought my eyes and ears were playing for a while. I had never dealt with Crane Spirit. After writing this book, I used cranes, love cranes, train cranes and wish them good luck, which made me forget cranes. Despite this, there is nothing wrong with the crane, but some people are not at ease with the crane. Storing books and storing cranes can be described as cranes without cranes and cranes without cranes. Hey, hey, hey, don't wait for me. Why not go swimming in the desert with mountains and water? How about leaving?
Brief introduction of art appreciation Deng: (1743- 1805), formerly known as Yan, also known as stubborn Bo, No.1 Mountain Man, No.2 Mountain Man, Ancient Huan Zi, Youyoudao Man, Fengshui Jade Field, Longshan Qiaochang, etc. , from Huaining, Anhui. Some people classify him as Huizhou school, and more people regard him as "Deng school" because of his outstanding contribution in the history of seal cutting.
When Deng was a child, his family was poor and his social status was low all his life. He said to himself, "I tried reading at the end of my youth and tried everything." When I was thirteen or fourteen years old, my heart was whispering and I took pleasure in books. At the age of twenty, my grandfather brought it to Shouzhou, and now I can teach me to be old. People don't treat each other like literati. " Such a "coarse cloth" with little reading has grown into a great artist by unshakable faith, tenacious will and hard exercise. After seventeen, he began to carve his own food with books. After the age of 30, through the introduction of friends, I gradually got to know friends such as the three Mei brothers in Nanjing, and visited the rare epigraphy books collected by the Mei family. Every famous inscription always has to be copied more than a hundred times, so I got up early and got greedy for black, which laid a solid calligraphy foundation for seal cutting in the future. So at that time, people evaluated his four-body calligraphy as the first person in Qing Dynasty.
In Deng's time, Huizhou School and Zhejiang School occupied the altar of printing, but he was never satisfied with the achievements made by his predecessors. Based on his wealth and calligraphy, he achieved "the book is printed, and the book is printed from the book", which broke the traditional procedure of official seal cutting in Han and India, pioneered the use of small seals and inscriptions in seal cutting, broadened the scope of seal cutting and formed his own vigorous and graceful seal cutting. Deng's brilliance has always influenced Bao, Zhao, Hu Shu and others in the same period. Deng is an outstanding figure in the history of seal cutting development. Unfortunately, few of his original stones have been circulated in the world, such as Wanbaishan seal cutting, Wanbaishan seal, Deng seal and so on.
It is one of Deng's representative works to introduce the sentence "The river flows loudly and burst its banks in thousands of feet". Artistic conception is the most taboo. In calligraphy theory, he once put forward the aesthetic idea that "understatement can make you walk fast and keep secret", which can be said to be a vivid embodiment of this idea. The words "flow" and "broken" increase its density and make it dense and sparse. The word "Jiang" echoes the words "Shore, Thousand Feet", and the brushwork is open, echoing the word "Duan" in a large area, in sharp contrast to the complexity of flow, presence and sound. His knife technique is different from that of Huizhou School and Zhejiang School, but it makes the knife technique like a pen and rotates smoothly, carving out his vigorous and graceful style.
The printing of My Intention is Impossible can be said to be unprecedented in fine white engraving. However, he abruptly developed the lettering method of Zhu Wen in the Song, Yuan and Yuan Dynasties to this fine white lettering method, and the printed Chinese characters Fiona Fang twists and turns were completely randomly matched according to the printing form. This white line can best reflect the brushwork interest of his calligraphy and the stone taste with a knife as a pen.
"Reading ancient prose and listening to different words every day" is the same as Shang Yin's style. Although the knife method is not as powerful as Shang Yin's, the composition is painstaking. The eight characters are divided into three lines, and the lines are sparse and dense, which is the characteristic of this seal.
The seven characters "home is in the mountains and rivers of Siling" are printed, just like its books. The composition of this seal is just the opposite of the last seal, dense in the middle and thin on the left and right. Tight places will not make people feel suffocated, and sparse places will be more than enough. Influenced by this, Huang, a master painter, also said "carefree, carefree" in On Painting.
The two seals "Ling Shi Shan Chang" and "Spring Bud" echo diagonally, and Bai Zhu sets each other off. The whole seal is full of ink, round and simple. One side of a seal often has a hue. In contrast, the white seal on the "Spring Yard" is due to the slight skill between the turns. Feng Zikai, a master of art, once said that seal cutting is "operating within a square inch, but the appreciation is almost unscathed, judging its density and distinguishing its beauty". Therefore, "calligraphy and painting are of the same origin, books are deeper than paintings, and stones are deeper than books." Therefore, "there is no exquisite artistic accomplishment, and there is no shortage of language." These penetrating insights are of great significance to our understanding of Deng's art.
Interpretation of Calligraphy: Since the Wei and Jin Dynasties, the integration of seal script has gradually become silent, and calligraphers who are good at seal script have become like morning stars. Until the Qing dynasty, with the rise of epigraphy and textual research, the spring of the revival and prosperity of seal script was ushered in. During the reign of Ganjia, the appearance of Deng completely broke the deadlock of seal script depression and opened up a new look. Deng changed the writing method of seal script in the past hundred years, and made full use of the specialty of brush to express the meaning of seal script, which made the writing styles of lifting and pressing the pen, starting and closing the pen more diverse, and broke the fixed pattern of Chen Xiangyin in the structure, which influenced and became popular.
Deng, whose real name is Yan, whose real name is Yi Bo, is from Huaining, Anhui. Cloth for a living, self-sufficient by engraving books. He studied calligraphy seal cutting all his life and made pioneering contributions to the achievements of seal cutting. Seal script is based on Shi Guwen, Taishan Stone Carving, Yishan Monument and Mukai Stone Que, and is integrated into the interest of Han Monument. Font Fiona Fang used pens for each other, with novel posture, profound brushwork, graceful posture, generous posture, flexible brushwork and strong bone strength, which swept away the combination of rigidity and softness at that time. Also, seal script changed from official script to official script, and from official script to official script, forming its own style. After the Qing Dynasty, all the seal writers were influenced by him. It can be said that for more than 200 years, the artistic style of seal script is rich and colorful, and everyone comes forth in large numbers. This brilliant scene really began with Deng.
Deng Zhuanshu was written after the first year of Jiaqing, and it is Deng's calligraphy handed down from ancient times. Its brushwork is sharp, its bones are as strong as cotton wrapped in iron, its brushwork is calm, and its brushwork is like silkworms spinning silk, especially with the official pen as the seal. When studying this post, you should observe it carefully and deeply understand its changeable brushwork characteristics. As far as collection is concerned, there are both reverse collection, introverted and implicit, and reverse entry and exit, which is easy and smooth. The strokes of his arc painting are either lifting and turning to see the circle or closing to see the square strength. These subtle changes in the use of pens must be in place and must not be excessive when studying. We must do what Sun said, "Those who observe are still refined, and those who seek are also expensive." In the aspect of receiving characters, Deng Zhuan's seal script strives for a unified white method, which makes every seal character appear stable and serene, but it drags on in the blank, thus forming the unity of opposites of sparse, virtual and real. When dealing with uniform and dense white cloth, we should also pay full attention to the parallel, symmetrical, embracing and opposing relationship of lines. In addition, the serrated lines of Deng's seal script are also an important aspect that cannot be ignored. The zigzag arrangement of seal script lines is often the key to creating vividness. Wang Shuyun, a scholar in A Qing, said: "Seal script has three essentials: first, it should be round, second, it should be fine, and third, it should be uneven. Round is power, thin is thin, and uneven is neat. One of the three is lost, slave book ear! " We should keep this in mind when writing Xiao Zhuan.