Zhang Shucong
First, the background of "the ceremony of meeting scholars"
Joining ceremony, also known as Wuwei Han Yili bamboo slips and Wuwei Mozizi Yili bamboo slips, was unearthed in 1957 Han Tomb No.6 Mozizi, Wuwei City, Gansu Province. It is 56 cm long and 0.75 cm wide, and is now in the Gansu Provincial Museum. At the same time, 469 pieces of 27298 words, such as Wang He's Medicine Guide, were unearthed. The book was written in the Xuandi period of the Western Han Dynasty, which was the heyday of the Han Dynasty. Wuwei City, Gansu Province, located in Hexi Corridor, was once an important town of the Silk Road. Compared with the turmoil and disputes in the Central Plains, the remote Hexi Corridor has maintained relative stability, ensuring cultural exchanges and prosperity. Compared with the official script of the Han Dynasty tablet, the ceremony of the officials is basically the same, and they are all original or original official scripts, thus breaking the stereotype of the maturity of the official script of the Eastern Han Dynasty and pushing it forward for a hundred years, which is also an important symbol of the completion of the "official change", so it is called "the first Jane in the world".
? The book "Courtesy of Scholars" is the first masterpiece of etiquette in China, which introduces the etiquette of monarch, monarch and minister in detail and is one of the Confucian classics. It is a collection of etiquette in the Spring and Autumn Period and the Warring States Period, with 17 articles in total. Also known as The Book of Rites, The Book of Rites, The Book of Rites Classic or Shi Li.
? Second, the artistic characteristics of the "ceremony of meeting officials"
Today, from the perspective of calligraphy, the "ceremony of meeting scholars" has completely got rid of the shackles of seal script. The knot changed from rectangular to flat, and the pen was not round, so Fang Bi and dovetail appeared. Points and lines have various shapes, and the wave potential is horizontal. The peak pen is thin and hard, but seeing muscles, it is beautiful but not vulgar. The essay is rigorous, standardized and not rigid, and the whole article presents a moderate and soft atmosphere. Its stippling pen is vivid, sharp, simple in shape, full of fair trends of change, vigorous in strength and bold in style.
? Although the font has the taste of official script, it contains changes and instability in specific words, and the repeated words are not the same, each of which has her special interest and brushwork. The seemingly random writing always embodies a kind of "statute", which is not available in the official script with solemn rules and exquisite craftsmanship in later generations. What is more vivid is the bamboo slips, as well as the legacy of Qin bamboo slips and the early brushwork.
? The composition is very unique, flattening the font and widening the large spacing in the long and narrow bamboo slips. The vertical wood grain on the bamboo slips forms a strong vertical and horizontal contrast with the flat font, which has an ethereal and fresh artistic conception of "sparse but not penetrating", which has a great influence on the mature or basically mature official script, and has opened up a new way for the layout of calligraphy chapters in later generations.
Third, the characteristics of stippling
1, dot: stippling in Han bamboo slips is rich in variety and random in shape, which plays an extremely important role in the structure modeling. Especially the starting point and the last stroke, there is the beauty of coming straight to the point and lingering. Sun's book spectrum "really takes stippling as a form to make it affectionate, grass takes stippling as affection, makes it tangible, makes it beautiful and turns it into words, but it is really a loss to stippling, which can still be remembered today." How to understand this passage? We know that the information conveyed by calligraphy is both material and spiritual. For example, "horizontal and vertical, iron and silver hooks" are materials, not "shape" and "texture", as well as specific strokes, lines and shapes. "Long Teng Hu Yue Feng Lie" is spiritual, and it is "emotion" and "spirit". This goes back to the essence of calligraphy, that is, Tao, which is about the change and unity of opposites of "Yin" and "Yang". Virtual and real, light and heavy, big and small, long and short, etc. Here, matter and spirit are one solid and one virtual, which constitutes the complete content of calligraphy. However, we must understand that matter is primary, and the function of spirit can only occur according to the existence of matter. That is to say, emptiness can only take effect if it is attached to reality, and meaning can only be conveyed and accepted through form. But if there is no "taste", there is no "spirit" and no vitality. Back to the point of Han bamboo slips, there are both "form and quality" and "temperament", which is the first time that cursive script uses a pen.
2. Horizontal: the horizontal paintings of Han bamboo slips seem to have no brushwork of seal, official script, line and letter, but they seem to have their brushwork. The strokes are naturally smooth and varied. The pen set is round, square and swallowtail, which has the legacy of Qin bamboo slips. On the whole, the pen is used in the center, straight, oblique and oblique.
? 3. Vertical: It is mainly tapering from top to bottom or thickening from top to bottom, revealing the aura in simplicity, using a round or sharp pen, and the legacy of Qin bamboo slips is obvious. Naturally, push the vertical hook forward, or pick it gently. Here, I want to tell you something about a primitive brushwork in ancient China. The brushwork we teach is "the middle is rich and the tail is pointed". Later people call it "Xie", and the popular saying is that the two ends are thick in the middle. This kind of brushwork can be called "Xie" or "Xie" in horizontal, vertical, oblique, oblique and curved.
? 4. Skimming: Short skimming follows the trend, with little change, while long skimming has rich changes. There is a dew front that lightly enters the pen and lightly leaves the pen, which is "inverted". Some Tibetan fronts put pen in and out lightly, while others twist or wrap the front. With obvious characteristics of modern official script.
5. Si: The main features of Han bamboo slips are Si and vertical. The painting is exaggerated, elegant and free, flying freely, light and heavy, with ancient meaning, and has the characteristics of modern Li, and boldly uses a pen.
? 6, horizontal folding, vertical folding: one is very natural writing, showing obvious lifting pressure, with lines and letters.
? Now only from the perspective of pure skill, people today will not be worse than the ancients. But it just can't surpass the "charm" of the ancients, which is the charm of Han bamboo slips. When studying, we must pay attention to the dignified and beautiful Han bamboo slips, which are neither exciting nor vigorous, but fully show its generous, elegant and chic charm. In Han bamboo slips, no matter how many strokes there are, most strokes are handled as lightly and concisely as possible, but they are light but not light, simple and tasteful, and pay attention to change. In the process of learning, we must have a dialectical understanding of Han bamboo slips, not only to absorb the favorable factors for us, but also to avoid its shortcomings. The most important feature is the exaggeration of brushwork and structure. In the process of temporary creation, we should be calm and change, be natural and moderate, be good at combination and coordination, and avoid being glib and follow suit. The advantages of Han bamboo slips are free and easy, straightforward and vivid. Willing and sloppy, casual and casual are only one step away, so it is more difficult to grasp. In order to avoid being frivolous with a pen, you can dabble in formal books and cursive scripts first, and then lay a solid foundation.
Outline of Mr. Wang's lecture
First, appreciation: painters and connoisseurs:
The creation of production and the creation of * * *. Seen from the cross, it reaches its peak on one side of the ridge.
Criticism of interpretation:
The Flower Beaver with Wealth in the Song Dynasty
[Ming] Shen Zhou's "Draw a Cat"
[Yuan] Zheng Suonan painted orchids
Criticism of impression:
[Qing] Wang Yi's "Xishan Mangrove"
Criticism at the essential level:
Yan Zhenqing's calligraphy
Chusuiliang calligraphy
Map of samurai in Tang dynasty
[Ming] Tang Yin's Autumn Fan
Second, picturesque: real scene and picturesque scenery
The tree is divided into four sides, and the painter has only one corner. Yamagata turns step by step, and it looks the same at this distance. People who can paint in deep valleys may not be able to see it immediately, and the scenery in front of them may not be completely painted. Painters wander among famous mountains, observe their momentum, explore their mysteries, and integrate the changes of rain, light and smoke between mountains and forests into their hearts. After some ceramic cutting, he can only show it in pictures.
A scene of Huashan Mountain:
[Song] Fan Kuan's Journey to the Western Hills
Yellow sea turquoise:
Huangshan Wolong pine in Jianjiang
[Song] Jia Sidao's "Yan Guan Xiao Ci"
[Yuan] Fang "Sailing in Huishan"
[Yuan] Zhao Mengfu's "Quehua Autumn Color Map"
Zhang Daqian's Swiss Snow Mountain
[Yuan] Ni Zan's "Let Knee Zhai Tu"
Third, pen and ink and color.
Brush is a special weapon in China's calligraphy, and line is the most important factor in Chinese painting. For thousands of years, Chinese painters have reached the pinnacle with their brushwork, and accumulated experience has formed various methods. Ink painting is the most important and characteristic of Chinese painting. The beauty of ink is enough to represent all the colors in the world. Ink is divided into five colors, ink has six colors, wet and dark, black and white. In fact, from thick to light, from thick to light, ever-changing, I don't know how many changes have taken place, of course, more than six colors. The concept of class coloring is different from the change of light and shadow.
Lan of [Ming]
[Song] Zhao, "Three Friends of Cold Years Old"
[Jin] Wu "Red Cliff Map"
[Song] Kai Liang's "Splash Ink Fairy"
[Ming] Xu Wei's "Flower Bamboo Map"
[Yuan] Zhao Mengfu's "Two Sheep Map"
[Qing] Wu Guxiang's "Gold is in this place"
[Qing] Cloud "Peony Map"
Fourth, calligraphy and painting are homologous.
The theoretical basis of the homology of painting and calligraphy is that painting and calligraphy are independent artistic creations. Using the same tools, books and paintings are often pursued by the same artist. Zhao Mengfu's poem: "Stone white as a fly, wood white as a brush. Writing bamboo requires eight skills. If anyone can learn this, you should know that painting and calligraphy are the same. "
[Yuan] Zhao Mengfu's Muzhushi
[Qing] Yang Yisun seal script
[Yuan] Zhao Mengfu's Portrait of Dongpo
[Song] Huang Tingjian's Biography of Lian Po and Lin Xiangru.
[Ming] Fu Shan's "Rock Hanging Blue Wall, Breaking Ground and Dangerous Blue Cold"
Chen Qikuan's Poems in the Republic of China
Verb (abbreviation for verb) Title, Seal, Literature and Painting, Advantages and Disadvantages and Authenticity:
Essential conditions, titles and seals of Chinese painting. Poetry and painting are unified, ingenious and fresh. There is a painting in poetry, a poem in painting and a trinity of poetry, painting and calligraphy. Heaven and earth into the chest; I cut the image. Seal and circulation of calligraphy and painting collection.
[Song] Ma Yuan Mountain Trail Spring Tour
[Ming] Shen Zhou's "Night Sitting Map"
[Song] Marin's Walking by Candle Night
[Song] Fan Kuan's Travel Map of Xishan and Travel Map
[Ming] Chen Lian's "Seeing the Big from the Small"
(Southern Tang Dynasty in the Five Dynasties) Zhao Gan's The First Snow on the River