Lacquer books are written on paper and silk with lacquered black ink.
Q and sh ūㄑㄧㄕㄨ lacquer book (lacquer book) ① words written in lacquer. According to legend, the ancient books and records of China found on the wall of Confucius' residence were named after lacquer. In the Southern Dynasties, Zhou Xingsi's thousand-character inscription: "Lacquer Book Wall Classic"
② Calligraphy form. In the Qing Dynasty, Jin Nong broke the stippling of characters into squares, which were thick and straight, as if they had been painted with a paint broom. Calligraphy in the Kanggan era was mainly based on "sticking to learning". Jin Nong and Zheng Xie carried the banner of rebellion and became the leading figures in the revival of calligraphy in Qing Dynasty. Jin Nong's calligraphy art, like his paintings, has simple and profound characteristics, and has the artistic characteristics of "perfection". Judging from the traces handed down from ancient times, his official script is simple and unique, simple and generous, and his running script is vigorous and chic. The first lacquer book has the greatest influence. The source of the word "lacquer book" can't be painted, so the head is thick and the tail is thin, which looks like its ears. 2. Mi Fei, a great calligrapher in the Song Dynasty, commented on his calligraphy: "I use books to erase words." It can be seen that "lacquer book" refers to a special method of using ink with a pen. The ink used by Jinnong to write lacquer books is "500 Jin oil" made of self-selected ink and cigarettes. "Jinnong Ink" is as thick as paint. "Take a look, the place where paper and ink meet seems to be hairy and shiny." The written words are convex on the paper, and the fingers are stained when they touch the ink. The brush used is a "cutting pen", flat as a brush, dipped in thick ink, and can only be folded, such as the operation of a paint brush. The words written in this way seem vulgar and simple, but in fact they focus on the overall situation, eliminate the details and take the majestic charm. The steep and majestic structure and plain stone and stone interest are all integrated in the black, thick, heavy and condensed style.
Jin Nong's cursive script is the best embodiment of his calligraphy artistic realm. He did not develop along the road of Wang Xizhi or Yan Zhenqing, but integrated regular script, official script and seal script, forming a unique style. Jiang Zhuo, a calligrapher in the Qing Dynasty, said in his essay "Postscript on Winter Heart": "Mr. Winter Heart's book is pure and ancient, and it was collected from the Han people. They overflow into the grass, like flowers on old trees, and they are charming. " It shows the gas bureau and pen road of planting grass by farmers. His cursive rhythm is calm and implicit, natural and vivid; "Write without stopping, write without engraving, turn gently and press again, like flowing water, uninterrupted, and business will last forever." His stippling script is also grass. The long horizontal and vertical hooks are all in the shape of regular script, and the pen posture is often close to Wei Bei. At the corner, there is a school of vegetation. Sometimes flying white and thirsty ink alternate, which is particularly strong. There is no trace of an axe in the whole cloth, but it runs through from top to bottom, echoing from left to right, and it is wonderful to move. Especially those poems that are handy, Gu Zhuo is elegant and light, "stable, not strange, not old, not fat"; Emotion and personality overflow from the interest of pen and ink, and converge into a natural landscape, which makes people fondle it.
Because of Jin Nong's life experience, he made a living by selling words and paintings, which inevitably brought business habits into the art field. Many admirers are not bosom friends, and many works are obviously suspected of entertainment. There are even cases where "a primary school student sells paintings for money, and his paintings also depend on the teacher's biography" and "his paintings will surprise the world, and his brush with thick ink will shock the world", which led to the dispute of "Jin Nong has no painting theory". Although these circumstances have brought some difficulties to the appreciation and criticism of Jin Nong's paintings and calligraphy, it cannot be denied that his style of works conformed to the trend of historical and cultural development at that time and made contributions in expressing individuality, attacking the shortcomings of the times and advocating new thinking. Jin Nong's Lacquer Book of Crane's Warp Axle was written on 1752, with a longitudinal length of 156 cm and a transverse length of 37 cm, and was collected in the Palace Museum in Beijing.
Jinnong lacquer book shaft
Jin Nong's "Shu Qi Jiguchi Chu and Siyan Lian" was written on 1744, with a length of 63.5 cm and a width of 14.2 cm, and was collected in the Guangdong Provincial Museum.
Jin Nong's theory of lacquer painting and calligraphy
Modern lacquer book: