In the winter of the twentieth year of Kangxi (168 1), a poetry club was established with Zhu Zhu and others. In the twenty-seventh year of Kangxi (1688), Xu presided over the examination and adopted the method of "passing the exam" to recruit a large number of celebrities. Liang took the exam for the seventh time and won a scholarship with the first place, but at this time he was 60 years old. The court appointed him magistrate of a county. He refused to take up his post because of his advanced age. He was awarded Jishi Shu of the Royal Academy. Liang likes to stay in Beijing to write poems, and the literati are scrambling for articles and poems. In the meantime, he had many contacts with famous poets in the Central Plains, and his poems were well received. He is recognized as a master of poetry, and many celebrities and princes have been associated with him. Nalan Xingde, a famous aristocratic poet in Qing Dynasty, admired his name, so he wrote a book and invited him to jointly compile Ci Collection of Song and Yuan Dynasties. Seven days before his death, Nalanxingde also had dinner with him, Jiang, Gu Zhenguan and others and wrote poems. . After he was admitted to Jinshi, he didn't care about his career because he was old. He left the Hanlin Academy for a long time and returned to Guangzhou to live in seclusion, paying for his poems and wine. He took it as his duty to form a poetry club with friends and revitalize Lingnan poetry style, and devoted himself to cultivating new poets.
The following year, Liang took a leave of absence and lived in seclusion in Congguifang, Guangzhou (now near Conggui Road), where he collected poets, formed a poetry club and sang for fourteen years. In his early years, Liang and other poets founded a poetry club in Xiyuan. After returning home from vacation, he convened a group of poetry friends, reopened the blue lagoon An Baili Poetry Club hosted by him, Qu Dajun and Chen Gongyin in Huozhuoji, and organized poetry meetings for a long time to exchange ideas and learn skills. If a guest invites others, he won't hear about the disease; Those who hold poetry and prose are well dressed and gushing. The poets he has taught include Wang Ying and Liang Wuji, who are called "the two best in Lingnan" by Wang Shizhen, Chen Aping, Han Hai and Wang Yaoxiang, a poetess. Many foreign poets also come here to teach. In addition, Liang, Qu and Chen also presided over Yuetai Poetry Society, Poetry Society and Poetry Society. "Biography of the Qing Dynasty" records: "There are hundreds of people in the Shiling Society, pushing beams to lead the way." His poetry creation has attracted the attention of all parties in the poetic world. His artistic conception is broad, his skills are vigorous and elegant, and he has been unanimously praised by all major poetic schools. He was praised as one of the "three outstanding figures in Lingnan" and "seven sons in Lingnan" by people at that time. Liang is also good at lyrics, calligraphy and painting. Ci is known as the master of Cantonese Ci in the early Qing Dynasty. Calligraphy is a collection of Li Yong, Su Shi and Mi Fei.
At the end of the forty-first year of Kangxi (1702), in order to celebrate the 50th birthday of Emperor Kangxi in March of the following year, Jishi Shu, who had been separated for a long time, was ordered to work in the museum. Liang was called to Beijing. He arrived in Beijing in January. For example, 30 people, including imperial academy and Liang, were sent because they didn't learn Manchu. Liang refused to condescend to choose the magistrate of a county, and left Beijing for his hometown in the late autumn of the following year. He went south with the poet Shen Yongji, singing and laughing all the way, expressing his feelings and nostalgia for the past. The following spring, Liang arrived in Guangdong. Mr. Wen Jie, who died in Guangzhou last year, was buried at the southern foot of Keziling, Baiyun Mountain, a suburb in the northeast of Guangzhou, and is now well preserved.
Liang wrote Six Episodes, with a collection of *** 16 volumes handed down from generation to generation, including nearly 2,000 poems. He also participated in the compilation of Yangchun County Records (lost text) and made a preface to the newly revised Nanhai County Records in the 30th year of Kangxi (169 1).
Liang's poems are highly praised for personal achievements and chanted about scenery, but also vented complaints about fame and fortune frustration, sometimes mixed with ups and downs. More meaningful works are some chapters that reflect the sufferings of people's livelihood, such as raising horses, picking pearls, picking tea, flying birds, Qiao Fu's poems and so on. This kind of poems, with fresh content, popular language and natural feelings, are excellent, but rare. Most of his poems are too archaic, and their styles are plain and straightforward. Generally speaking, his poetic achievements cannot be compared with Qu and Chen. Books such as Biography of the History of Qing Dynasty and celebrities at that time, how to make contributions to Taoism and Xu Shichang, all praised his poems.
Painting and calligraphy Liang is good at painting and calligraphy, painting landscape orchids, but rare; Calligraphy is good at running script, and it is the leader of Lingnan calligraphy in the early Qing Dynasty. The History of Painters and Calligraphers in Past Dynasties said that his calligraphy was influenced by Wang Xizhi, while people close to him, such as Mai and Mei, said that his calligraphy was influenced by Su.
Rice was traced back to Li Beihai, Zhong You and Wang Xizhi, and formed its own style. According to the records of books handed down in Guangdong, there are about 37 kinds of books handed down by Liang Chuanshi, which are found in Zhuang Calligraphy and Painting Record and Fengmanlou Calligraphy and Painting Record respectively. His calligraphy is represented by running script seven words (collected by Guangdong Provincial Museum). The book of this work is called "Even if I am idle, why not lean on Yunshan", which is a kind of degeneration of being tired of officialdom and stealing time. This work was handed over to Wu Xingzuo, then Governor of Guangdong and Guangxi, and its significance is even more intriguing. Chen Boren, a close friend, called this book "a book with vertical strokes and customs of the Ming Dynasty". Reading this book today is magnificent, making the past serve the present, and its brushwork is vigorous. Recently, some good people carved it in Guangzhou Baiyun Mountain Monument Gallery. The poems of the "Lingnan Three Schools" are all good at winning, and each has its own merits in calligraphy. In the preface to calligraphy collection, the ancients specifically discussed the differences between these three kinds of calligraphy. The book says: You remember that Mr. Qu Wengshan, Mr. Liang and Mr. Chen Duxiu got together to discuss this book. The three gentlemen are only good at fame and fortune, and Liang said, "Public books have skills and knowledge, but there are many in the world." The servant book has no skills and no knowledge, but it is anonymous, and it is published for people to see. People who know it will say, "It's not bad to want to meet this son." Because of this, Qu Yue said, "Where are the official books?" Yue: "The servant book has no ability to do anything; Learned, unlearned, just write a poem yourself. " Is it true that the words of Sangong are inexpensive and interesting? It can be seen that the books of the three schools are all complacent. Have a place in the history of calligraphy. Looking at Liang's running script again, this feeling is even more obvious.
The origin of Liang's name is listed as one of the "three outstanding figures in Lingnan", ranking first. This is not without reason. It turns out that in the thirty-first year of Kangxi (1692), there was a Panyu poet Wang Ying (who claimed to be Puyi, tasted Danxia as a monk, and then returned to China for the first time to get it. And pawn, Mr. Qingyi), edited the poems of Liang, Qu Dajun and Chen Gongyin, and named it "Records of Poems of Three Masters in Lingnan". From the time point of view, Liang, Qu and Chen are all alive, and they are all singing in harmony. Judging from the social effects such as theme ideological tendency and theme value, Liang's poems are obviously not as realistic and popular as Qu and Chen's poets in depth and breadth. Qu and Chen Yisheng, however, are all cloth clothes rather than the new dynasty, and they have a strong national consciousness of resisting the Qing Dynasty. After all, Liang He is a middleman in fame and fortune, and he is famous in Beijing, so it is good to meet him. Perhaps because of these factors, Liang ranks in the top two and receives the most poems. According to the textual research of Zhicheng Deng, a close friend, in Chronicle of Qing Poetry, Wang Ying chose these three men and named them "Three Masters of Lingnan" in order to "hide against the Three Masters of Jiangzuo" (namely, Jiangsu poets Qian Muzhai, Wu Meicun and Anhui poet Ding Gong in the early Qing Dynasty). However, regardless of the editor's subjective intention, the title of "Three Masters of Lingnan" has always been recognized by people and still has its strong artistic vitality. The poetic style of Guangdong generation has played a role in connecting the past with the future. Prior to this, the artistic value of Lingnan poets was mostly absent in the national status.
Liang Tomb, located at the south foot of Keziling, Baiyun Mountain in the northeast suburb of Guangzhou, has been announced as a cultural relic protection unit in Guangzhou and is well preserved.
The grave surface is built with lime sand, which is divided into grave (mountain circle), mountain hand and front desk. To the south, the total length is about 13.4 meters. The ground is covered with grey sand, which is divided into three layers. The highest tomb, footman and front desk descend in turn. The tomb is wrapped in a semi-cylindrical shape with a printed sand wall, with a diameter of 2.7 and a middle height of1.2m.. There is a monument in it, and the stone tablet has been dug up long ago. According to the traces left, the original monument was 98 meters high and 45 centimeters wide. There is a table in front of the niche, which is higher than the ground. The width between the two hands is about 5 meters. Two epitaphs are embedded in the gray sand wall with flat shoulders on both sides (hanging on the list). The epitaph is black and badly weathered, and most of the inscriptions have peeled off. The front desk extends to both sides and is about 8 meters wide. Due to the steep slope where the tomb site is located, a double-layer lime-sand wall (Hui Ling) was built behind the tomb according to the steep slope. The double-layer lime-sand wall is decorated with relief auspicious clouds, and the wall is embedded with gray-black monuments, which are 60 cm high and 38 cm wide. Side by side in the middle is engraved: "Give the scholar a scholar background, and give him the name of scholar, Jishi Shu Xiankao Medicine Museum, Liang Gongfu Jun, and give him the name of a Confucian scholar. The next paragraph is "carved in the Gongsanggong Palace in the 50th year of Kangxi, with Xin Mao, Sun and Great-grandson *** 14 people. The cemetery is surrounded by a whole pine forest, with weeds and shrubs in front of the grave, almost like people. There is a new cement tomb in Cave Donglu 1, which breaks the east side of the platform in front of Liang's tomb. In the middle of the new grave is the granite monument "Liang Xinhui Gongxian Tomb", which was buried in 195 1. According to the rebuilt epitaph written by Wu Rongguang, the surface of the tomb was rebuilt in Daoguang for six years (1826), and the two stone tablets hanging on both sides of the hand in the tomb were written by Wu Rongguang. During the reconstruction, two lime-sand retaining walls (Hui Ling) were built behind the grave, and a new monument (which has been dug up and does not exist) was set up in the grave, and the original tombstone was moved to the nurse's wall (Hui Ling) with heavy internal weight.
Send water to Raoyang Road on behalf of Shizhou (No.4)
It's good that the light rain is wet, and the autumn flowers are fresh.
Autumn flowers shine on the river, a piece of Jiangnan spring scenery.
The white dew festival has not fallen, and the white clouds are new.
Ship language: flowers bloom and fall.
On autumn night, Chen Yuanxiao was alone in Lutang, reading "The Legacy of Former Fu, Emotional Fu (I)"
This article will not be published after a big festival.
The ink is particularly like a stain, and I have written the game agreement several times.
Self-satisfied and honest, but things are difficult.
The thatched cottage is lit, and people in first frost are cold.
Two Cantonese songs
The spring breeze tries to climb the Yuewangtai, and the beautiful mountains and rivers are open in all directions.
The rise and fall of ancient times is still in sight, and the tides of great rivers rise and fall.
Pipa Zhou Tou Zhou Qing, Pipa Zhou Wei Zhou Ping.
A G is an oar, and sings a fishing song to the moon.