"China Art News" 344th issue
"Yan Fucai in the Elementary School Story
In the early days, the art of calligraphy failed to continue the exciting and colorful appearance during the late Ming Dynasty, but in the "Museum"In the restraint, step by step towards the stagnation and weakness of the plate, and the pulse of the "post learning" of thousands of years has since moved to decline.With the rise of the study of the middle period and the rise of Jinshi text, the academic direction of the Qing Dynasty has changed significantly, and Chinese calligraphy has also reached the historic watershed at the same time.Under the theory of Bao Shichen and others, the "monument" calligraphy of the emerging "monument" step by step in the confrontation with traditional "post learning" has gradually become the "monument" calligraphy, which is based on the vigorous and magnificent gold and stones.The mainstream pursuit of late book scenes.
The emergence and development of "Monument" directly changed the historical pattern of Chinese calligraphy and even Chinese painting.The influence is still strong.In this big era, although there are many famous masters with pure "post learning" as Zong, the overall energy is not strong enough after all.Therefore, it is easier for us to understand Yan Fu and his calligraphy achievements from Fuzhou, Fujian Fuzhou, and how they have not received due attention and attention for a long time.The direct reason for this situation is naturally covered by its popularity, and the factors of the times must not be ignored.Because of this, when we come to discuss its calligraphy after a hundred years of death, it is necessary to place it in the environment of the "Monument" era to inspect.Enough.
From the perspective of strict handed down works, he is undoubtedly a calligrapher with an underestimated and negligible calligraphy and artistic achievement.His handed down works are mainly script, regular script, and cursive script. Most of the bone strength comes from Wang Xizhi and Yan Zhenqing, and the pen is mostly affected by Sun Guotings "Book Book".In addition to deep academic care, there are more graceful artistic lights.It can be said that in the era of "monuments" calligraphy throughout the world, Yan Fu is a famous "post" master with pure foundation.Putting his works in the ranks of many people in modern times, not only have no ashamed, but also the unique temperament of many professional scholars.In fact, as early as the second year of Xuan Tong (1910), his cursive script was compiled by the Shanghai Commercial Press in the "Primary Elementary School Story" with He Wudus regular script, becoming a textbook for youth calligraphy.This is a great achievement that shows that his calligraphy achievements have been widely recognized by society during his lifetime.
It is unknown when Yan Fu started to study calligraphy when he started to study calligraphy, but in the words of a large number of posts, writing practices, and only words in his later years, weIt is not difficult to speculate that the intention of traditional calligraphy is not only the pastime of his leisure, but it contains the deep meaning, or it can be regarded as his "non -new, non -old -fashioned, and unreasonable" thought in art.He once had a book poem saying:
In ancient times, he used the ancient ideas to make a relative.Fine tendons can be ancient, and succulent is full of gods.
As an enlightenment thinker, Yan Fu is obviously a person who has insight into history and insight. His exquisite research on Western studies and worldwide vision have determined the so -called "non -old" "Old "" is definitely not old and conservative, but "using ancient new ideas" to try to seek a method in the face of the era of human drama through repeated reviews of classics.In the era of the new "monument", Yan Fu chose to use the ancient "posting" as a conversion. In fact, as he was annotated in his old age, "Lao Tzu" and "Zhuangzi" and other books were not a simple "retro".The behavior is due to the recognition of the spiritual core of a certain style, and it is planned to make a corresponding explanation based on the individual and the times on this basis. The roots behind it are from the ideological change after the world.
The source of the study of Yan Fu calligraphy, generally does not take off the classics in the "Sanxitang Fatter Post".Different.From the quoting the arguments of his predecessors in his reading notes, he knows that he is not satisfied with the practice of imitating the vast and mottled text of the stone carvings to obtain the golden stone flavor.The first and most lively writing status is pursuing, which is exactly the same as the saying of "looking through the blade" proposed by Qi Gong decades.The so -called "monument" and "post learning" are divided into the division of pens and aesthetic tastes. In essence, it is the difference between understanding and thinking. In deepening, it is a different interpretation of the essence of traditional culture.The way Yan Fu looked at the problem obviously grasped the essence of things through superficial phenomena, and this is exactly the intuition of thinkers.It is not necessary to write monuments, but to have the right way to take it, and take the initiative to choose a post, that is, to talk to the ancients directly.
Yan Fu has never put forward system theory of calligraphy, but his pursuit can see his clue from his letter to relatives and friends, scattered inscriptions, and self -writing poems.In the inscriptions of "Lushan Temple Stele" and the daily posts, he repeatedly mentioned the appreciation of Wang Xizhi and Sun Guoting, and raised an objection to the Song and Yuan peoples calligraphy:
The right of the right army is just like the virtue, and the galloping qi is saved.The worship of the courtesy, the Yuan Zhangs discussion Zhang Xu, the seriously ill.
"Lanting" Dingwu is true, and scholars would rather take Chu, Xue, Feng Chengsu and double -hook filling.Lifetime disease, dont care about it.
Tangshu has Li Beihai, and the Song people have the Manan Palace.
Obviously, he fully adheres to the concept of Jin Tang as a sect in calligraphy, so "Lanting" to 500 copies, writing "Thousands of Characters" to 800 Ben "Its just the tip of his daily homework, but it can be seen that the work in this place is not diligent."Posting" calligraphy requires the center pen in the center, so that it can be subtle and bone. Although a large number of side fronts can make the lines more fluent and beautiful, it seems that "all hurt the side and be charming and fast".Avenue of calligraphy.His exquisite pursuit of brushwork has a instinctual pursuit, regardless of the size of the scale.This pursuit and extending to his requirements for brushes and paper.He said in his letter to his niece He Renlan:
Fan learned the book, so that the five -year kung fu is stored in the pen and ink, and the blunt knife is not enough to believe.Xiao Kai uses purple or wolf, and the pen is also sufficient.My book is not good.As for the big characters, the sheep must be used for it.
The half of the calligraphy of calligraphy is attributed to the pen and ink. As for the useIt is the center of the center.In the Tuoben of the "Lushan Temple", he also said:
The calligraphy seven -point kung fu is used in the pen, and the paper will be flattened.The so -called people who are printed with mud are the same; those who are described in cone paint, also Tong Zangfeng painting.After the explanation of this, we can paint, make a conversation, increase the loss of words, and reward.As for the establishment of the pole, its kung fu is outside the book.
The so -called "Fengzang Painting", "Print Pud", and "Conevant Painting Sand" are all important rules of traditional "posting" calligraphy; at the same time, he also emphasized that these are only calligraphyThe technical problem, as for the pole of calligraphy, its kung fu is comprehensive cultivation outside of calligraphy.Such a tone is actually completely close to the discussion of calligraphy in the literati of the past. It is part of the comprehensive cultivation of calligraphy as a personal comprehensive cultivation. It has considerable spirituality. The training of technique is only for the sublimation of the spirit rather than the technical superposition.Therefore, he also said:
Upper Cai Shi becomes ancient, and Zhonglang is also typical.Thousands of thousands of hardships, the front line is the only one.Decorate the claws, go back to the spring.After looking at the coma, Jun listened to the sound of Jiang.
"Everything is powerful, the front line is independent," and the understanding and pursuit of the pen.Appropriate.Regardless of how the pen Feng changes, in the end, he still has to return to a "middle" road. This "first -line travel" is the background of his calligraphy in his eyes.It should be pointed out that this "middle" is not "the golden mean", but a ultimate avenue that can accommodate ever -changing. Only by grasping this core can we "see the coma and listen to the sound of the river."Although this is about the problem of using a pen, it can actually map everything in the world.Although society is developing and changing, material civilization is good, and spiritual civilization is either.EssenceThis is the case in the west, the East, and the monumental learning, and the post is the case.■
Edit | Yang Xiaomeng
Production | Yan Tianmeng
School pairing| Yajing
Second Trial | Liu Jing
Third Trial | Feng Zhijun
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