Xianyushu has the boldness and heroism of northerners. He is burly and has a thick beard. His friends call him "Bearded Man". Liu Guan, a poet of the same period, said that he "has a magnificent face, gets drunk whenever he drinks, and has strange poems." His drinking poems are particularly broad-minded and gratifying; Speaking of its pride, it is often recited. "From the beginning, his conceited and casual character led to various conflicts with the surrounding environment and the upper authorities. After two years from Yuan Shizu to Yuan Dynasty (1265), Xian Yushu moved to the capital of song dynasty, Yangzhou, Hangzhou, Jinhua and other places, which was not smooth. I often argue with my boss in court. Leave without a word, be loved, and say "I am fresh in public." I've been in office three times or demoted three times. After the age of 37, he settled in Hangzhou and built a sleepy school in the Tiger Forest of West Lake. Yuan Chengzong Dade won the canon of Taichang Temple in the sixth year (1302), but died in Qiantang (now Hangzhou, Zhejiang) at the age of 57. Its tomb is located in the original nursery of Xixi Road, Hangzhou (Hangzhou Chengxi Forest Park).
Dade was attacked in three years (1299) and went to Jinhua to be an official. The specific reason is not tested. The only thing I can know is that this departure has given him a great blow. During this year, he wrote 65,438+00 poems entitled Lost. Being scattered, that is, "scattered", is a humble figure described in Zhuangzi's Human Life. Because of physical disability and incomplete form, he escaped the heavy military service and corvee of the country many times, thus saving the leader. In fact, the rare pivot is based on this situation to relieve the resentment in the chest! It was also in this year that his second son, Xianyu Biqiang, died unfortunately, which gave him a heavy blow again. Two years later, Xian Yushu himself died of illness at the age of 57 and was buried near his home. 1989, his tomb was re-excavated, but only 14 pieces of inkstones, seals and other funerary objects were unearthed, all of which belonged to the study.
Rumor: "Zhao Meng's persecution is a fresh fulcrum."
Xian Yushu was born in the first year of Dingzong in Mongolia (1246) and died in the sixth year of Yuan Dade (1302) at the age of 57. Zhao Mengsheng was born in Song Li Zong Baoyou (1254) and died in Yuan Zhi (1322) at the age of 69. They met in the 15th year of Zhiyuan (1278) and had been in contact for 24 years. Although we are both on the official road, we will always get together to talk about literature and art whenever we have the opportunity. In particular, Zhao Meng recovered from illness in Xing Wu, and Zhejiang Confucianism was promoted, and contacts became closer.
Xian Yushu and Zhao Meng are artistic confidants who appreciate each other. In Zhao Meng's original words, "if you don't get along, you will feel at home" and "secretaries have their own advantages". Not only "share the same appreciation, doubt or analysis", but also "shake hands and make peace, enjoy it, love it" and "Miao Jin Tang Tie" and "Jade Hook to the End". \ Before he arrived in Beijing, Xian Yushu had vigorously promoted Zhao Meng to Tian Yan and other friends, saying that he was simple in appearance and far-sighted. When Zhao Meng was still addicted to Song Gaozong's calligraphy, Xian Yushu awakened the dreamer with another sentence: let him start with the right army. Since then, Zhao Meng has made great progress in calligraphy, and his style is fluent among Jin people, which laid the foundation for him to become a giant in Yuan Dynasty. Both Xian Yushu and Zhao Meng are good at guqin. Xian Yushu found Xu Jingyang's hand-planted tung, copied two guqin Lei Zhen and Zhen Yu, and gave Zhen Yu to Zhao Meng.
At the beginning of the Yuan Dynasty, a special group of literati was active with Hangjiahu as the center, and they often held activities similar to "Ji Ya". It is a pleasure to talk about art, appreciate calligraphy and painting and listen to guqin together. The land of "Yaji" is often the home of rich collectors, and the fresh sleepy study at the fulcrum seems to be one of the centers of "Yaji". Participants include adherents of the Song Dynasty, such as Zhou Mi; There are also officials of the Yuan Dynasty, such as Joe and Qiu Hua. There are masters of painting and calligraphy such as Zhao Meng and Xian Yushu, and collectors such as Zhang Qian.
There are about 40 kinds of calligraphy works handed down from ancient times, mostly cursive, mainly ink and wash. His calligraphy began in the Tang Dynasty and was traced back to the Eastern Jin Dynasty. Solid foundation, good at hanging wrist writing, like to use wolf hair, emphasizing bone strength. His regular script is vigorous, round and vigorous, magnificent and without losing discipline. The running script is rigorous, full of real strength and natural. The cursive script learns from Huai Su and is innovative, with bold brushwork and great boldness of vision.
Wang Shizhen in the Ming Dynasty once said, "He is fresh in learning, negative in material spirit, handsome in appearance and bearded like a father. I have seen him often win by strength, but he lacks posture, just like a man, so he claims that he is gradually losing to Zhao Wuxing. 』
Because of his low official position all his life and often staying at home, Xian Yushu was able to give full play to his artistic talent. Besides being good at calligraphy, he is also a writer and has written many poems. He can also compose music, play the piano well and be proficient in cultural relics appraisal. It is because of his extensive artistic accomplishment and his integration with calligraphy that Fang Shu became a calligrapher. Shu began to learn calligraphy in his early years and failed to be like the ancients. Occasionally, he saw two people pulling a car in the mud in the wild and suddenly realized something. When he writes, he often returns to his wrist with the center, and his pen and ink are smooth, magnificent and ups and downs, and his wine is strange. The axis is fresh, regular script, line style and cursive script are long, especially cursive script. His skill is very solid, he hangs his wrist to write, and his brushwork is strong, and he is the author of "The Collection of Sleepy Learning". Xian Yushu and Zhao Meng were called "giants" in the Yuan Dynasty, and they were also called "Second Miao" and "Second Jie", but their influence was slightly inferior to that of Zhao Meng.
There are more than forty poems written in fresh ink, which are divided into three categories: regular script, running script and cursive script, among which cursive script has the highest artistic achievement. His representative works include Laozi's Tao Te Ching, Su Shi's Begonia Poems, Han Yu's Interpretation of Learning, and On Cursive Calligraphy.
Lv Xian Klang Ganzhou
It snowed in the river, and the cutest green curtain swayed with the long bar. Life is idle, occupying a waterless fishing state. Smoke floats on grass to build a house, and water flows around Chai Fei Mountain to the window. When the bamboo fence rises again, dogs bark.
In the shadow of the setting sun, I saw Pu returning to the boat and the sails falling in the distance. Listen to the drums when the mountain city is closing.
Daanle laughed at me for being stupid and ignorant. In Xiaoxiang's shadow, I dressed up beautifully, not to say that Liu Xiang and Sun were fat. Near the small window, who envies the blue oil building?
Yuanhe made the japonica rice boil long waist and the bream boiled down. It is a right and wrong thing to drink an empty jar with village wine. Clap your hands and sing fishing songs, regardless of height.
The stern wave was rough and the water was boundless, and the bridge pile was damaged by the ship's cable. You can catch a cold river in the plum wind.
The evaluation of the works is in the refreshing ink of the world, and the book Su Shi's Poems of Begonia is one of the representative works. This line of cursive paper is 34.5 cm long and 584 cm wide. It is the book catalogue of Su Shi's Seven Words of Ode to Begonia, which has been inscribed and collected by many calligraphers since the Yuan and Ming Dynasties. "The Postscript of Gui" said, "Fresh is better than Weng cursive script to cultivate six meanings" (author's note: "Six arts" refers to Yi, Shu, Shi, Li, Yue, Spring and Autumn Period and Six Classics), and there is no mistake. Everyone knows that it is vigorous, but they don't know that it is prepared for the six meanings. "Ming Dong Qichang said," Mr. Gai Dongpo has written "Poems of Begonia" for many times, no less than ten. Ji Bo should do his best if he wants to attach poems of sages to books. "
This volume is written by fresh Yu Shu with extremely elastic bristles, mainly in running script and cursive script. As Xiu Yuan, a poet in Yuan Dynasty, said, "He is good at returning to the wrist, so the book is round and full of energy, or he can use the Tang method more." Ruan Yuan, a native, is known as Uncle Xian Yu, and his calligraphy is lively and vigorous, between Sun and Sun. Looking closely at this volume, there are many similarities with Yan's "Sacrificing a Nephew", "Liu Zhongshi" and "Contending for a Seat", and the brushwork is vertical and horizontal and varied. The whole article is about 200 words, which are "go all out" and "don't give up". Judging from the pen power, the front gathers ink and is round and powerful. The beginning, end and turning point of each stroke are leisurely, but changeable. For example, gathering ink into "points" includes punctuality, sidedness, picking points and even potential points. , big or small, light or heavy, properly structured and integrated. Various word-formation elements such as horizontal, vertical, left and right can be beautifully formed, such as "one", "recommendation", "China" and "dragon". Although there are many horizontal paintings, "no Qi Fei" follows the trend. The vertical paintings in the words "pen", "grass", "Hua", "dizzy" and "zhong" are mostly hanging needles, which are vigorous and powerful ... The structure is slightly upward, broad and generous, and the longitudinal convergence is moderate; The change law of weeds in the middle of the running script adds more lively interest. The composition of this scroll is almost flush from top to bottom, with even row spacing, no stimulation and natural fluency. The connection between words is connected by "tying lines", and more is to freely echo up and down and give in to each other in the pen gesture. Looking at the whole volume, as Mr. Liu said: "The words are rigorous and vertical, the points, lines and surfaces are refreshing and three-dimensional, the spirit is heroic, and the rules are in and out. He showed his pursuit and creation of the formal beauty of calligraphy with profound skill, which also showed his temperament and personality. "
Du Gongbu Zhaoling Poem: This is Du Fu's Zhaoling five-character poem, written by Xian Yushu in running script. This post is simple in structure and vigorous in brushwork, which conforms to the personal temperament of Xian Yushu. For example, Liu Guan commented: "Gong resolutely looks like a doctor, and his face is majestic. Every wine is full of strange feelings and unstoppable." This volume is the masterpiece of Xian Yushu's large-character running script.
Laozi's Moral Classics Volume: This volume of calligraphy is excerpted from Laozi's Taoist Classics Volume, starting from "forever" and ending at Laozi's Taoist Classics Volume, and it was not paid for because of the lack of the second half. Qiu Xing Poetry Collection: These are three five-character poems written by Xian Yushu and Yuan Qiu, which are full of homesickness. From the sentence "Looking at the sky in the north and thinking about it, traveling tirelessly in the south", we can know that the author is in Jiangsu and Zhejiang at this time. This calligraphy is handsome and vigorous, slightly sparse, and it is a more representative one among many works in the middle and late period of Shi Xian.
Living in Immortality: This is the handwriting of Yang Ningshi's Living in Immortality. By comparing the original posts, we can find that Yu Shu's posts are both in form and spirit.
"Tang Poetry Volume": The brushwork of this volume is vertical and horizontal. He himself said that when writing cursive script, the pen should be three inches away from the paper, the palm should be flat, the wrist should be round, and the written words can fly freely and have a unique posture. It's wonderful to read cursive script and hang your wrist to the front.
Preface to Han Yu's "Send Li Yuan back to Pangu": The line begins with "My husband is in front of me, and my followers are blocking my way" (according to "Collection of Han Changli"), and there are still 108 words missing before it. There is an evaluation of "clear and vigorous, strong and straight".
The calligraphy work Song of the Stone Drum is the work of Han Yu, a poet in the Tang Dynasty, and is a rare famous Mo Bao in the history of Chinese calligraphy. It is reported that "Shi Guwen" is the earliest existing lettering in China. Unearthed in the early Tang Dynasty, lost. Han Yu wrote "Shigu Song" to highlight it and promote it as a national treasure.
Shi Gu Song, a book written by Xian Yu, was a great calligrapher in Yuan Dynasty, which had a far-reaching influence on cursive scripts of later generations. His cursive poem "Song of the Stone Drum" is straight down, slightly round, round and rich, simple and dignified, and contains strict rules. It is understood that this book is not only Mo Bao's masterpiece, but also a calligraphy work. According to reports, there are two volumes of Shi Gu Ge by Xian Yushu, one of which was written in the fifth year of Yuan Dade and is now in the Metropolitan Museum of America, and the other is this volume, which is the perfect work of Shi Xian's calligraphy in its mature period, with clean paper and ink, which is better than that of Metropolis.
The contemporaries of historical evaluation said: "The old Xi Zhi people were good at returning to their wrists, so their books were round and vigorous, or they used the Tang method. However, in the fifteen or sixteen years since they met Ji Bo, they have seen that their books are different from each other and better than the common books in the world. " ("Lin Shu made a sword")
Zhao Meng appreciates his calligraphy very much. He once said, "Yu He's classmate's cursive script is too far away for him to catch up. With Ji Bo gone, the world is called a servant who can write. The so-called no Buddha is called respect. " Chen Yi, a calligrapher, once said, "This generation is only fresh when they hang their wrists in Langzhongshan. I asked, and when Chen's eyes lit up, he stretched out his arm and said, Courage! Dare! Bold! " As far as the status of calligraphy history or its influence on later generations is concerned, it is really difficult for Xian Yushu to compare with Zhao Meng, and his calligraphy works (especially Jieshi tablet) are far less abundant than Zhao Meng's. However, since the Yuan and Ming Dynasties, many masters have learned from calligraphy, such as Bian Wu and Dong Fu in the Yuan Dynasty (both of them have thousands of words handed down from generation to generation), Feng Fang in the Ming Dynasty (Shanghai Pavilion has its "big characters to refresh Taichang", modern Pan Boying and so on. This "Wang Anshi's Miscellaneous Poems Volume" was written on February 8 th, Zhiyuan Xinmao, and it was the representative work of Xian Yushu in his early years. Paper book, 50 cm long and 1025 cm wide, once entered the imperial palace and was recorded in Baodi, Shiqu, and is now in the Liaoning Provincial Museum. This volume is written by Xian Yushu for his good friend Xi. According to Jun, Fang was born in Chun 'an, Hangzhou, Zhejiang. Song Chun's imperial court was the first, from officials to assistant ministers of the Ministry of War, compiling national history and writing Feng Jiao Collection.
Tao Te Ching, a regular script work, is a calligraphy excerpt from Lao Tzu's Tao Te Ching. It starts from "forever" and ends at line ***2 1 1 in Lao Tzu's moral classics, so it is not paid because of the lack of the second half. Every piece of paper is stamped with the chapter of "Three Disciples". There are five paragraphs after the volume: Weng Fanggang's inscription, Wu Rongguang's inscription, Yan's inscription and "Panasonic's" inscription. This post has been collected by Weng Fanggang, Lu Gong, Ye Gongchuo and others, and has many marks.
Pan Zunqi recorded "Xu Jingzhai's clouds passing by".
In the Tang Dynasty, there were two great poets in Shi Guwen, one was Wei and the other was Han Yu. Xian Yushu's Shigu Song is a seven-character poem written by Han Yu.
Shi Guwen, also known as Lietuan or Yongyi Stone Carving, is the earliest stone carving in China. There is no specific date, and the Song of the Stone Drum by Wei and Han Yu in Tang Dynasty is considered as a stone carving of the period. Ouyang Xiu, a poet in the Song Dynasty, has three doubts about the poem Postscript of Shigu, but he still thinks that it was written by Ishikawa in Zhou Xuanwang's time. Zheng Qiao, a poet in the Song Dynasty, believed that Shi Gu belonged to the pre-Qin period and was written after King Huiwen and before Emperor Wu of the Han Dynasty. Luo Zhenyu's textual research and Ma Xulun's annotation are both things, which are no different from those of Wei and Han, with a difference of only seventeen years. According to Guo Moruo's textual research, Shigu was written in Qin Xianggong for eight years, which is closer to Wang Xuan. The difference is that it was written by history books or when Chen Qin was king. The stone drum was unearthed in the Tianxing Three Ugly Courtyard (now the Three Ugly Courtyard in Baoji City, Shaanxi Province) in the early Tang Dynasty, and then moved to Fengxiang Confucius Temple. During the Five Dynasties War, stone drums were scattered among the people. After many twists and turns in the Song Dynasty, it was finally collected and placed in Yu Fengxiang University. Song Huizong was obsessed with epigraphy, especially the stone drum. In the second year of Daguan (A.D. 1 108), he moved to Bianjing to study Chinese, and he was embedded with gold characters. Later, due to the Song and Jin Wars, Shigu moved to Lin 'an (now Hangzhou). After Jin Bing entered Bianjing, he regarded the stone drum as a "strange thing" and shipped it back to Yanjing (now Beijing). Since then, Shigu has experienced ups and downs for hundreds of years. When War of Resistance against Japanese Aggression broke out, Ma Heng, then director of the Palace Museum, moved the stone drum to the south of the Yangtze River to prevent the national treasure from being plundered by Japanese invaders. After the victory of the Anti-Japanese War, it was transported back to Beijing and exhibited in the Forbidden City in Beijing from 65438 to 0956. In the fifty-five years of Qianlong reign in Qing Dynasty (1790), in order to better protect the original drums, Emperor Gaozong of Qing Dynasty carved ten-sided drums in imitation and placed them in Biyong (University). Now the imitation drum is in imperial academy. Its shape and lettering are quite different from the original stone drum. Shi Guwen's rubbings existed in the Tang Dynasty, but they have not been handed down. Compared with the bronze inscription, Shi Guwen is more standard and solemn, but to some extent, he still retains the characteristics of the bronze inscription. It is a transitional style from inscriptions on bronze to Xiao Zhuan. According to legend, before Shi Guwen, Zhou Xuanwang Taishi Biography reformed and arranged the inscriptions on bronze, and wrote 15 Great Biography, so Great Biography was also called "Wen Shu". Shi Guwen is one of the well-preserved calligraphy relics in the handed down Da Zhuan. Song Anguo's collection of stone drum rubbings in Song Dynasty was sold by Qin to Kawai family in Tokyo, Japan during the Republic of China.
Song of the Stone Drum is a novel written by Yu, and there are two novels that have been circulated so far. One was written in Dade for five years at the Metropolitan Museum in New York, USA. At the age of 45, Ji Bo died that year, and his masterpiece was written. The book is mounted on folded paper and rolled horizontally. Second, this volume, although no money, but the brushwork is round and graceful, easy to write. It is known to be the most mature product in pivot fresh, with clean paper and ink, which is better than metropolis.