He Shaoji's calligraphy, in its early years, was beautiful and smooth, hovering between Yan Zhenqing, Li Yong, Wang Xizhi and the inscriptions of the Northern Dynasties, with a sense of purity and integrity; Middle-aged people are getting older and older, and their brushwork is more and more leisurely, with a trembling pen and a mellow taste; In his later years, He Shaoji's calligraphy has reached perfection. The following is a selection of He Shaoji's calligraphy works that I compiled for you. I hope it will be useful to you!
appreciation of He Shaoji's selected calligraphy works
He Shaoji's selected calligraphy works 1
He Shaoji's selected calligraphy works 2
He Shaoji's selected calligraphy works 3
He Shaoji's selected calligraphy works 4
He Shaoji? Biography
He Shaoji (1799? In 1873), born in Daozhou, Hunan Province, Zizhen,No. Dongzhou, alias Dongzhou Jushi, andNo. Houyi. He was a poet, scholar and calligrapher in Qing Dynasty. He Shaoji's representative works include "Xi Dao Wei Zhai Jing Shuo" and "Dongzhou Caotang Poetry? Wen Chao, Shuo Wen Duan Zhu refutes Zheng, etc.
his father, he linghan, is the minister of government and household affairs. He Shaoji was a proté gé of Ruan Yuan and Cheng Enze in his early years. In the 15th year of Daoguang (1835), he took the first place (Xieyuan) in the provincial examination of Enke, and in the 16th year of Daoguang (1836), he was a Chinese-style second-class scholar. Later, he served as editor of the Hanlin Academy and proofreader of Wenyuan Pavilion. In the 2nd year of Xianfeng (1852), he served as a political scholar in Sichuan, and dismissed officials for slander, giving lectures on academies in Jinan and Changsha. He Shaoji was born in a scholarly family, and his father, He Linghan, was a famous bibliophile. He Shaoji's four brothers all learned to write good books, saying? He Sijie? .
Jiaqing was born with Di Shaoye in December of the fourth lunar year in Dongmen Village, Dongmen Township. When he was a child, his family was poor, and he and his younger brother followed their mother to eat at Liao's home in Xiaoping, West State. He entered Beijing with his mother at the age of 8 and was a protege of Ruan Yuan and Cheng Enze in his early years. At the age of 18, I should take the Jingzhao test and take the record as soon as possible. In the eleventh year of Daoguang (1831), he was awarded excellent tribute. In the fifteenth year of Daoguang (1835), he was awarded a position as a scholar in the following year, and was awarded editing by the Imperial Academy. He has served as the school manager of Wenyuange and the promotion of the National History Museum, and has served as the examiner after having obtained the provincial examinations in Fujian, Guizhou and Guangdong. In the second year of Xianfeng (1852), he was appointed to study politics in Sichuan. He was an official for only two years, and the following year he was dismissed as? Nonsense? , hurt by slander, demotion and transfer. He resigned from his official position, founded Caotang Academy, and gave lectures and apprentices. In the sixth year of Xianfeng (1856), he set out from Sichuan and arrived in Jinan via Shaanxi and other places, giving lectures at Shandong Zhuowu Academy. After giving lectures, I visited Daming Lake, Baotu Spring, Pearl Spring and Qianfo Mountain in Jinan, leaving many poems. In the tenth year of Xianfeng (186), he left Jinan for Changsha at the invitation of Changsha Chengnan Academy. He has been teaching in Chengnan Academy in Shandong and Changsha for more than ten years. In his later years, he presided over Suzhou and Yangzhou Bookstore, published Notes on Thirteen Classics, lectured on Zhejiang Xiaoliantang, traveled to and from wuyue, and taught students and apprentices. I have drunk and traveled all my life, visited many famous mountains and resorts, and visited the ancient times. In the fourth year of Guangxu (1873), he died in Suzhou Province and was buried in the southern suburbs of Changsha.
Calligraphy brushwork, brushwork and brushwork
The brushwork is the essence of China's calligraphy art, also known as brushwork, which refers to the method of brushwork with a sharp edge. The brushwork is the core of calligraphy techniques and the first. Without brushwork, there is no calligraphy at all. When it comes to brushwork, the first thing that can't be ignored is the problem of writing.
first, the writing method (combined with students' training)
Writing is the premise and foundation of calligraphy pen. When it comes to writing, the first thing to remind is some wrong ideas about writing. Some people emphasize the difficulty of writing, so some people think that writing is a very profound problem. We believe that writing is important, but for calligraphy art, writing is only a prerequisite, not the ultimate goal. Writing with pen is like eating with chopsticks. Chopsticks can be held firmly and the food is delivered to the mouth, and the purpose is achieved, while the specific law enforcement of chopsticks can naturally be different. When writing with a brush, we should pay attention to the method of writing, but the purpose of writing is to write good words, so don't stick to the law enforcement of the brush. As long as the words can be written well, what kind of writing method is not the most important. Let's take a look at several main writing methods in history.
before the Tang dynasty, because there was no big desk, the way of writing was different from what we usually do today. The female history in Gu Kaizhi's famous "A Picture of Women's History" stood up and wrote with a pen, while the posture of the assistant calligrapher in the "A Picture of Northern Qi School Books" which was passed down in the Tang Dynasty was also very different from today. And after Huai Su, a famous cursive writer in Tang Dynasty, got drunk? Suddenly, it was called three or five times, and the wall was full of words. ? Writing on the wall with a pen, his writing method must be different. In the Song Dynasty, Su Shi emphasized? There is no fixed way to write, so make it empty and wide? He writes by himself but uses the three-finger writing method. The so-called three-finger pen-holding method is to hold a pen with three fingers, which is similar to the way we hold a pen today. It is said that when Su Shi writes, his wrist does not leave the desktop, but slides gently on the desktop. With Su Shi? Song Sijia? Mi Fei, one of them, thinks that writing should be light. Lighten the pen, naturally guilty, and naive, out of accident. ? This is similar to Su Dongpo, but he also thinks that writing should be suspended.
Dong Qichang, a calligrapher in the Ming Dynasty, believed that when writing, the pen should be lifted and the writing brush should be turned upside down. He Shaoji, a calligrapher in the Qing Dynasty, is different from others. He thinks that the wrist-returning method is the best choice. However, Gao Fenghan, whose right hand was disabled due to illness, switched to his left hand and became an accomplished calligrapher.
generally speaking, what modern calligraphers admire more is the biography of Lu Xisheng in the Tang Dynasty? Five-character writing method? . So-called? Write in five words? , refers to use? "Pledge", "pledge", "hook", "check" and "offset"? Five words to illustrate the writing method. Because this method uses five fingers, it is also called? Five-finger writing? . Shen Yinmo, a modern and contemporary calligrapher, has a detailed explanation of this. He thinks, the so-called? Hey? , that is, the belly of the thumb is close to the inside of the pen tube, which is equivalent to holding the flute hole with the finger when playing the flute. So-called? Bet? , refers to the use of the first section of the index finger obliquely to stick to the outside of the pen tube, and cooperate with the big finger to hold the pen tube steady. So-called? Hook? When the thumb and forefinger have caught the pen tube, use the middle finger to bend and hook the outside of the pen tube. So-called? Ge? When using the nail meat with the ring finger, cling to the pen tube, forcibly block the pen tube with the middle finger hook inward and push it outward. So-called? Arrive? Put the little finger under the ring finger to help the ring finger block the inward hook force of the middle finger. When writing with five fingers, you should make the five fingers cooperate properly and avoid using too much force. The depth of writing varies from person to person and should not be too paranoid.
Second, writing skills (combined with students' training)
Generally speaking, writing skills include pointing skills, wrist skills, elbow skills and whole body skills.
the so-called fingering means using your fingers to carry a pen. Touch the brush with your fingers, which is often used when writing small words. It is superior to make the fingers move without knowing the wrist, and the fingers and wrists cooperate seamlessly.
Yunwan is talked about by many calligraphers. The basis of wrist movement is hanging wrist. The so-called hanging wrist means hanging the wrist. Wrist movement is to use the suspended wrist to drive the writing brush to write. Hanging the wrist seems difficult, but if you persist, it will be effective in two weeks. Some people take the method of pillow wrist instead of hanging wrist. So-called? Pillow wrist? Is to write with your left hand resting under your right hand. In our opinion, this wrist pillow method can only be used occasionally when writing small characters. As for some people, it is nonsense to use the pillow wrist first and then hang it slowly after proficiency.
what about the elbow after the wrist is suspended? The ancients had a so-called? Wrist lifting? Put your elbow on the table and hang your wrist to write. Of course, if you write in small print, you can still lift your wrist. This method puts the elbow close to the desktop, and the elbow becomes a fulcrum, which is very inflexible and convenient to write. Therefore, one solution is to hang your elbow. When the elbow is hung up, you can use the wrist and elbow hanging in the air to work closely together, swing the brush and write handy works.
As for the whole-body pen-wielding theory, as mentioned earlier, we can't equate this theory with the whole-body shaking like juggling. If we want to use the whole-body strength, it can only be dark luck, and we should never make a simple understanding. If the fingers, wrists, elbows and even the whole body and mind are organically coordinated around the writing brush, then the written words will be not bad. Of course, this cooperation should be organic and natural, not mechanical, rigid, fragmented or even posturing.
These pen-carrying methods are closely related to body parts, and each pen-carrying method produces different effects. Whether writing or appreciating, it is an important way to improve the level by trying to figure out the methods of calligraphy in ancient times.
third, using a pen (combined with students' training)
1. Center and flank
The center uses a pen to point the pen to the paper, so that the pen tip runs in the middle of stippling. Side stroke refers to the method of using the pen with the pen tip biased to one side of the stroke. Center and winger are a set of dual categories. When writing, you can constantly use the winger when turning and collecting the pen, and the pen tip should be constantly adjusted to the center state. Xiao Zhuan is written by the center, while regular script and cursive script are mostly used by the side. Some people see the importance of center in Xiao Zhuan, so they emphasize the center of pen and brush, and deny the richness of other calligraphy styles, which is biased. On the contrary, some people see that there are many flanks in the cursive script, and all of them are swept by flanks, which is also an extreme method. What did the ancients call it? The center is strong, and the flank is beautiful? The theory highlights the dialectical relationship between them.
2. Tibetan front and exposed front
Tibetan front means that the pen front is hidden in pointillism and not exposed, corresponding to the exposed front. . and? Tibetan front? On the contrary? Lu feng? It refers to writing in the direction of strokes and strokes, and the pen tip is exposed. The hidden front and the exposed front are mainly reflected in the pen starting and closing. Generally speaking, the stippling form written by Zang Feng with a pen is round and muddy, while that written by Lu Feng with a pen is sharp. What was the hidden front when I started writing? Want right first, left first, want to go down first? . For example, to write a horizontal stroke is to write to the left first, and then to the right after hiding the pen tip; When writing a vertical stroke, you should first stroke upward, hide the pen tip inside the stippling and then stroke downward. By analogy, all Tibetan fronts use this method. The hidden front at the pen-closing place is to raise the pen and close the front at the end of the stroke in the opposite direction of the stroke, forming a round stippling form. This kind of pen-using is also called? Back to the front? . The exposed front of the pen is to write directly in the direction of pointillism, and the form of pointillism is sharp. When the pen is closed, the front of the pen is also gradually raised and gently closed along the direction of the stroke, and the end of the stippling is as sharp as a needle. Commonly known as? Is it vertical? Is the Tibetan front collecting the pen, and? Hanging needle vertical? It is Lu Feng's pen collection.
3. Lifting and pressing
refers to the lifting movement of the brush in operation. Lifting and pressing make stippling have light and heavy points and thick and thin points. Su Dongpo has a very appropriate metaphor. He thinks that lifting and pressing in writing is just like the rise and fall of the feet in walking. You have to put it down when you first mention it, and then you have to put it down and mention it again. Only in this way can walking be meaningful and writing be successful. The lifting and pressing in Xiao Zhuan is relatively implicit, while other calligraphy styles are very obvious. The weight of stippling is paid great attention to in many calligraphy works, and sometimes it is even a sign to distinguish between authenticity and quality. For example, Huang Tingjian's running script "Han Shan Pang Yun Shi", the National Palace Museum in Taipei and American John Jr. m? Gu Luo Fu each hides a roll. The contrast of the books collected in the National Palace Museum in Taipei is obvious, and the tapering pen shows the good flexibility of the new pen used by the author. However, the stippling collected by Gu Luo Fu is heavier, and the contrast of stippling is not so obvious. We started from? Ping? Word sum? Arrow? Word,? Such as? It is not difficult to see the difference between the two in the comparison of horizontal paintings of Chinese characters. Careful observation of the two works will reveal that the former stippling has great ups and downs and changes, while the latter stippling is relatively flat and the changes in lifting and pressing are not so rich.
4. Rhythm
The rhythm of using a pen refers to the speed of using a pen. The writing speed directly affects the writing effect, and the rhythm of writing is also an important aspect of using a pen. Compared with western writing paper, hand-made China calligraphy and painting paper is rough and not smooth, which leads to the writing speed of brush is not as fast as that on machine-made paper, but has greater friction. Because of the water absorption of paper, the pen must keep a fairly fast pace. The speed can be a little slower, but the rhythm must be accelerated, which produces a series of variables in writing and the effect is constantly changing. Too fast or too slow is the same as a single rhythm, and it is difficult to produce vivid works. Generally speaking, most of the works that are infectious because of speed and rhythm are cursive, while regular script, seal script and official script can be completed at a relatively close speed and a relatively monotonous rhythm. But a good calligrapher can also be interested in cursive writing when writing seal script, official script and regular script.
5. Gesture
In the above pen methods, except for the up-and-down movement of the brush in space, almost all other pens move on the plane. The gesture emphasizes the use of the brush in the air, just as a hydropower station must rely on the potential energy generated by the drop of water to generate electricity, so the effect of calligraphy also needs the drop of the pen tip in the air to achieve vivid results. In the history of calligraphy, the more vivid the calligraphy works, the more pens are used in the air. The echo between turning the pen and strokes mentioned by the ancients mainly depends on this kind of pen. When practicing, you can lift the brush and look for the landing point in the air. Once you find it, you will write quickly and quickly like an eagle catching a chicken.
Fourth, posture
The posture of writing is very important for practicing writing. Correct writing posture can not only guarantee free writing, reduce fatigue and improve writing level, but also promote the normal development of children's bodies and prevent myopia, strabismus, spinal curvature and other diseases. Therefore, we must pay attention to it.
The correct writing posture is: sit upright with your shoulders flush; Head straight, slightly forward; Back straight, chest erect, chest about a punch from the edge of the table; Feet flat on the ground shoulder width; Put your left and right arms flat on the table, press the paper with your left hand and write with your right hand. The distance between the eyes and the paper should be kept at about one foot.