Question 2: Zhao Meng (A.D. 1254- 1322), the author of Chibi Fu in former Hou Dynasty, a passerby in Song Xue, Huzhou, was an official with a bachelor's degree in Hanlin. Calligraphy and painting, poetry and prose are omnipotent. Calligraphy advocates the restoration of the statutes of the two kings, which has a beautiful and round style and won the charm of the two kings, which has a great influence on future generations. When learning Zhao characters, we must pay attention to the ups and downs of strokes, avoid smoothing, and go all out to write the connotation and strength of running script lines with our wrists. Zhao Meng's Before and After the Ode to the Red Wall, a paper book, is 27.2 cm long and 1. 1 cm wide. Zhao was forty-eight years old and was at the peak of his energy and physical strength. Tang Di wrote the postscript: "Two poems by Dongpo wanted to get the books, but lost their rights, so they got the calligraphy of the Jin people. In his later years, he became familiar with his brushwork. It was not until the Tang Dynasty that he realized that the intention of the morning meeting was so deep. " Zhao Meng is a master of calligraphy creation, and he advocates retro innovation. He is also a great man in calligraphy theory. His assertion that "calligraphy is based on the use of a pen, but it also requires labor to form words, and it is not easy to use a pen through the ages." Exquisite brushwork, although good and evil; The meaning of the glyph is wonderful, and the Buddha is wonderful. Although ripe, but still alive. His book "The book is expensive in reconciling paper and pen. If the paper and pen are not harmonious, even if you can read, you can't be good", which still guides later learners.
Question 3: Understanding before and after Chibi In Song Dynasty, Geng thought that "Dongpo's two poems on Chibi, once washed away, are like a word, which will not be available until the end of the world." Ba Jin once said that reading "A Thousand Red Cliffs Fu" can give people a unique and magical beauty. Similarly, reading Post-Red Cliff Fu can also bring us into a free world where we forget our troubles and improvise.
In chronological order, the full text describes the process of revisiting Chibi with my guests, which is a blend of scenes, reality and reality, and Zen is far away.
The first paragraph, write about the situation before going to Chibi, and explain the time, trajectory, companions and climate. The author depicts the autumn night and the moon scene with washed pen and ink, and points out the origin of traveling in Chibi. "The leaves of the wood are all off" is about the weight of autumn frost and the strength of autumn wind. "The figure is on the ground" sets off the brightness of the lonely moon. "Whatever, sing a song and answer it" to write about my self-satisfaction with my playmates. How to absorb the beauty of such a "Bai Yue breeze"? Then, I wrote a "no wine, no food" regret. Use a word "sigh" to form a fall with the "music" in front. Then I mentioned another one, in the words of my guests and my wife, that is, combining good fish with old wine to explain, and writing off the previous complaints was very comfortable. The bright moon is in the sky, guests know my heart, and women know my wishes and enjoy themselves. Isn't it soon? This has once again formed a gap with the previous "sigh", which is wonderful!
The second paragraph revisits Chibi with the guests. The author wrote what he saw when he rowed under the red cliff. There were only sixteen words, full of sound and emotion, and full of energy. "The river is gurgling, and the shore breaks thousands of feet" is a thrilling scene. The fierce waves are rushing, the rocks are rugged and jagged, giving people magnificent beauty, while "the mountains are high and the moon is small, and the bottom is clear" shows a gentle and wonderful artistic conception. The lyric "once the sun and the moon were geometric, but the mountains and rivers could no longer be recognized" tells the rapid changes of natural scenery and implies the brevity of life.
In the third paragraph, I wrote about my experiences and feelings of climbing cliffs and dangerous rocks and taking a boat on the river. A series of verbs, such as "shoes", "cloak", "crouching", "climbing" and "bending over", describe my impatience and excitement in longing for a panoramic view of Chibi in autumn night, and show the frankness and persistence of "old people talking about teenagers". "Two guests can't keep up" embodies my maverick posture, which gives birth to a kind of conceit and pride. Then write about the natural and unrestrained behavior of climbing high and looking far, screaming at the sky, touching the sadness and fear. "Quiet", "awe" and "fear" show emotional fluctuations step by step. From joy to sadness, it is a ups and downs process. Then I wrote that going aboard with the tide, listening to its looseness and calmness, and returning to peace and tranquility is another ups and downs.
In the last paragraph, I wrote about what I saw in the middle of the night and my dream of going home at night. The author created an outstanding solitary crane image with ethereal words, and endowed himself with the interest of not colluding with the common customs. I also used my romantic imagination to write the encounter and dialogue with Taoist priests in my dreams, revealing a kind of open-mindedness that is uncontested. Taoist, solitary crane and I, all in one, are both real and illusory, which fascinates people with Wan Ren. "When a Taoist laughs, he is also surprised and enlightened." Between "laughter" and "enlightenment", the hardships and pains of life seem to be temporarily released. The conclusion "Open an account, but you can't see where it is" is the reality after waking up. Between the reality of nature and the nothingness of fantasy, the author forgot all the troubles and struggles in the world, and his traumatized mind was appeased and detached in an instant. This poem came to an abrupt end when the author woke up from his dream, leaving a blank for readers to ponder and find, and a wonderful winding path leads to a secluded place. No wonder Jin Shengtan said after reading Su Dongpo's Fu on the Red Cliff: "There is no crane, no road, no fish, no wine, no red cliff, only a vast expanse of whiteness." Su Shi once said in a poem, "If you keep things all your life, you will learn to forget the Zen at home" ("Send Wu De and Jane Chen Jichang"), and "The wind and rain have changed several times, and you have paid vanity all your life. It's good to go home unintentionally, and the white clouds seem to forget the clouds. " This kind of nothingness is the place where poets support suffering, overcome suffering and precipitate their hearts. This is the projection of the author's Zen view.
On the surface, the full text talks about the pleasure of visiting Chibi, but in fact it is a tortuous way of venting his depressed life, and it is also a vivid interpretation of his life philosophy. The article focuses on music, but the feelings are ups and downs, graceful and graceful. As Su Shi said, "My writing style is like a fountain, which can be found everywhere, and the flat land is easy to flow, although it is thousands of miles a day." It twists and turns with rocks, shapes with things, and is unknown. As we all know, things are often done in what they do, and often end in what they can't stop. "("self-evaluation ")" preface to Yan Xi "said:" Gai Dongpo is always honest and generous, so he is like a man. Su Shi lived in Yuanfeng, Song Shenzong for five years.
Question 4: How to write the five-word seal script of the front and back red wall fu?
Question 5: How to learn Zhao Meng's "Before and After Red Cliff Fu" and "Before and After Red Cliff Fu"
\ (1254- 1322), a native of Wuxing, Zhejiang Province, was a descendant of Zhao, a royal family in the Song Dynasty. Zhao Meng was elected to North Korea in the 23rd year of Yuan Dynasty and served as an official all his life. After his death, he chased Wei Guogong and sacrificed Wenmin.
Zhao Meng is a man of great learning. He is good at poetry, painting and calligraphy, and has temperament. He also bypassed Buddhism. He Liang Jun was known as "Wan Li for thousands of years" in the Ming Dynasty. However, he was a royal family in the Song Dynasty, and later he was demoted as an "enemy country" and became a second minister. Therefore, upright people such as Fu Shan and Kang Youwei all despised his books and made a lot of mockery.
Objectively speaking, Zhao's wind power enveloped the Yuan, Ming and Qing Dynasties, which should be attributed to his profound artistic attainments and accurate interpretation of tradition. Zhao Meng is a very complicated figure. We can criticize his backbone, but we should look at his calligraphy in two ways. The author thinks that the evaluation of contemporary Mr. Jiang is more accurate: "Calligraphy has finally established the status of' graceful school'. The emergence of Zhao Shu is not accidental, but the induction of the trend of the times. " (See History of China's Calligraphy Thought)
As a founder, Zhao Meng studied Song Gaozong in his early years and specialized in "Two Kings" in his middle age. Yu Ji called it "exploring Luo Shenfu with the model method, taking its standard and merging it with the holy teaching order. As for the cursive script, it was deformed when it reached seventeen posts". At the same time, he studied Zhao, Zhu and others assiduously, and devoted himself to research in his later years. His profound traditional accumulation made Zhao Ti brilliant.
Before and after Red Cliff Fu is a famous work written by Su Dongpo when he relegated Huangzhou. At that time, his life was the most frustrating and gloomy. When Zhao Meng, 47, reread this article in A.D. 130 1, his inner pain came to his mind. At this time, when Brother Mingyuan (later recorded in the book) presented paper for a book, his inner depression and sadness flowed with Dongpo's language. His graceful and graceful writing style, written leisurely, is quietly venting his feelings. This is the creative background of Zhao Meng's calligraphy works (the attached figure is partial).
Second, the preparation of writing
Before preparing for writing, we should be prepared in two aspects: one is accurate thinking, and the other is the choice of related tools.
Fu before and after Chibi was written by Zhao Meng at the age of 47. It was at the stage of his in-depth study of the calligraphy style of the "two kings" in art that he had a high understanding of cursive techniques. Ideologically, at this time, his official career is proud, but his heart is still a little gloomy, first, because of the indifference of his friends, and second, because of some kind of depression from the heart. He needs a pure land to carry his heart, and he has integrated into the world of pen and ink.
"Graceful and restrained school" is euphemistic and implicit, so Zhao Meng's calligraphy does not have too many "emotional ups and downs" (in Xiong Bingming), nor does it pursue the ups and downs between paintings. Before writing, you should adjust your mentality and be calm. First of all, we should be as close to it as possible ideologically.
This volume is a banner of running script, with simple paper color, exquisite brushwork and very elegant. As the fine print of Two Kings (about 1.6 cm square), you must choose fine wolf hair when writing. You should also know what kind of ink to use. Too thick ink is easy to stagnate the pen and disperse the front, too light will seep into the spirit and affect the refreshing spirit of the lines. You can drop a proper amount of water with calligraphy and painting ink. The choice of paper is also very particular. Don't use crude propaganda, choose familiar ones. When writing, you can use draft paper to create and spread gold propaganda. Sprinkling gold propaganda can not only show outstanding changes in pen and ink, but also show subtle lines, which is helpful to stimulate creative desire.
If conditions permit, we can learn more about Zhao Meng's life, read his poems, paintings and calligraphy, and study the development history of "Four Treasures of the Study" in Yuan Dynasty, which is of great benefit for us to understand the tradition more accurately.
Hope to adopt.
Question 6: There are the characteristics of the words in the poem "Red Cliff Fu" written by Yuan people, and the famous saying "It's not easy to make a fortune through the ages" should be mentioned. For brushwork, the ancients had a set of strict rules. Today, Sun Xiaoyun's book Calligraphy with Laws also made a special discussion on this. But with the development of the times, the knot word is different, and it constantly deduces a new point-line segmentation. Perhaps "handed down from generation to generation" means that spelling will vary with the times, customs, personal tastes, hobbies and aesthetics. As an outstanding representative of artists, Zhao Meng certainly has his own understanding of calligraphy. He once said: "The book takes the pen as the key link, and the structure must also be studied hard." The following will focus on the analysis of the characteristics of the structure writing of Qianhouchibi Fu (1). Zhao Meng won the mantle of "two kings", but his handwriting was not as clear as Xihe's, but he had a unique style. Throughout this volume, most of his books are horizontal, and his generous physique makes his writing comfortable. Calligraphers' methods of developing the horizontal posture are extremely ingenious. For example, the characters "Shi" and "Cao" in the attached drawings highlight the horizontal direction, while the characters "Fang" and "Yi" indulge in painting, while the characters "Neng" and "Fu" shrink their vertical strokes, leaving a blank space between the characters "Xiong" and "Feng". Of course, this horizontal trend is only the main theme of its spelling, and there are also many square or long structures interspersed among them. Zhao Meng, who is "committed to structure", will not ignore this point. He used the large spacing between words, vivid and changeable glyphs, timely vertical posture, and occasionally uneven cursive script to make this horizontal posture a wonderful note. The author pays special attention to the individual "Zhi" in his works (see figure), and the calligrapher intends to write it as a vertical posture. Its long and narrow shape and continuous lines adjust the rhythm of his works well. 2. Meticulousness and Harmony Compared with Wang Xizhi's Preface to the Sacred Religion, Zhao Shu conveys a beautiful and graceful beauty. The acquisition of this aesthetic feeling should benefit from the meticulous harmony of Zhao's ci. The following case studies show that the stippling of the words "jade" and "magpie" in the attached drawings is more complicated, but the dense parts are not covered, the sparse parts are quite uniform and comfortable, and the thickness, position and collection of pens are accurate. In the drawings, the word "Miao" is light on the left and heavy on the right, but the calligrapher presses the left and lifts the right when writing, thus achieving a visual balance at once. The horizontal and vertical positions of the word "gold" in the attached figure are just right, and the division space measured with a ruler is symmetrical. The word "Ling" in the attached drawings is intentionally written with left contraction, compact sides and sparse middle, which makes the word interesting. In the same way, there is the word "Meng", but it is densely packed up and down in the sparse middle. 3. How to add an air of agility and freedom to the meticulous and even knot, besides the grass method mentioned above, there is also a patchwork of attention. In Qianhouchibi Fu, the characters with left and right structures make it long and short, high and low, such as the word "flag" in the right picture; The words in the upper and lower structure make it wide and changeable, such as the word "Jing"; The monograph makes his stippling uneven and his strokes vivid, such as the word "leaf" and "leaf". 4. The word characteristics of "dynamic and static contrast" inject some agility into Zhao's seemingly calm and natural words. The dynamic and static background of this volume includes the incorporation of lines and grass in composition processing and the application of typography. "Quiet" simply means that the strokes are quiet, and the treatment method is like regular script; Of course, "moving" refers to the pen flying, using cursive brushstrokes. For example, the words "smooth" and "static" in the picture on the right, with a semi-static and semi-dynamic line pen, enrich the expressive force of writing. 5. The combination of light and heavy If you look at the composition, the light and heavy changes between the lines in this volume are very clear; While paying attention to writing, light and heavy lines are everywhere. By pressing with a pen, or contrasting left and right, or different from top to bottom, or different from inside and outside, we can see from the word "environment" on the right. Of course, this writing should be handled naturally and appropriately, and should not be too mechanical. Generally speaking, radicals should be regarded as a unit, and strokes should not be regarded as a beat. The pen for writing varies in weight.
Question 7: Introduction to Chibi Fu "Chibi Fu" is an essay written by Su Shi, a famous writer in the Northern Song Dynasty, which is divided into pre-Chibi Fu and post-Chibi Fu.
Question 8: The differences of literary techniques before and after Chibi Fu. Before Su Shi, prose was mostly lyrical by borrowing scenery. Or write about scenery and colors. "Qian Chibi Fu" does not deliberately write about scenery, but mainly expounds philosophy and makes comments. Use the unique style of topic and scenery to run through the lines. Qian Chi Bi Fu is the representative work of this new type of travel notes. After Red Cliff Fu is a sequel to Before Red Cliff Fu, and it can also be said to be a companion piece. The former fu mainly talks about Hyunri, and the latter fu mainly describes the scenery; The former fu describes the night scene on the river in early autumn, while the latter fu mainly describes the activities on the river bank, and the time has also moved to Mengdong; These two articles are both written in the style of Fu. Everything is the same, but the meaning is different.