Hui Zong's three unique poems, books and paintings. Calligraphy is an inseparable whole, which calls itself "thin gold book", and later generations also call it "thin gold body" or "thin rib body" Hui Zong's thin golden brush and ink are similar in style, but slightly different. It can be divided into two categories: gentle and graceful and strong. The former seems to be his early style, while the latter should be his later mature book style. His thinness and strength were particularly sharp in the later period, and he was described as "bending iron and breaking gold".
Huizong's thin golden body features: thin knot, quite strong. The pen is tall and straight, erratic and fast, like grass, smooth and easy. The strokes are thin, steep, hard, strong and sharp, without stagnation. The traces of the turning point in Teton are very exaggerated and strengthened. The vertical hook is very similar to Huang Tingjian's long painting, and the end is as sharp as the tip of a knife. The fine print highlights the charm of Zhu Lan. There is hairspring between strokes, but it is not obvious in the early stage. Let's enjoy his thin golden body together!
Song Huizong's Fangfang Stone is a regular script, with two words per line and 20 lines. This is the masterpiece of Evonne's Thin Golden Body. In the Qing Dynasty, Chen Bangyan once wrote for Evonne's thin gold edition "Fang Fang's Poems": "This volume is written with paintings, and all the pen and ink are gone. The lines are like blue bamboo and the style is like rain. " It is not only a comment on this poem, but also a good summary of the artistic effect of The Book of Thin Gold.
Ruihetu was written by Song Huizong Zhao Ji at the age of 30. It is recognized by Song Huizong as a realistic flower-and-bird painting with meticulous brushwork, and it is a rare "imperial brushwork" in Song Huizong. On the right, in Zuo Shu, the colorful sky reveals the roofs and arches of the palace. Eighteen red-crowned cranes flew over the palace gate, and two cranes stood at the end of the temple ridge. After the painting, the thin gold book inscribed poems and recorded them, and the fund department "closed the book to imperial painting", with the signature of "One Man under the World" and the seal of "Imperial Book".
So thin gold body is so famous, why did later generations learn thin gold body with little effect? This issue has always been a hot topic in the book world. First of all, the thin gold fuselage has its limitations. Judging from the thin gold strokes and knots, this font is suitable for writing small characters, but not for writing big characters. The bigger it is, the harder it is to master. So many people are reluctant to learn thin gold body. Although some people learn thin gold body, but the technology is not enough, so they are rarely famous.
Another reason is that Song Huizong was the emperor of the Song Dynasty, and his calligraphy was royal calligraphy. At that time, no one dared to imitate his calligraphy, which led to its lack of popularization. In addition, Song Huizong was called a bad king, and few people learned his calligraphy. Therefore, although Song Huizong's calligraphy attainments are profound, it is not deeply rooted in people's hearts. In addition, the thin gold body needs profound calligraphy skills, which makes many scholars flinch.
After hundreds of years of controversy, people finally recognized the position of the thin gold body in the book world. Hand-strength style was once evaluated as calligraphy style, lacking artistic beauty, and not the mainstream aesthetics in the book world, so it was not valued by future generations, and there were not many calligraphy handed down from generation to generation. It was not until later that people discovered the beauty of the thin gold body that they were slowly admired and learned by future generations.