"Du Fu Zhuang's Travel Poems" is a representative work of mixed cursive script written by Song Ke (1327-1387) in the early Ming Dynasty. It is now in the collection of the National Palace Museum in Taipei. Shang Ren, a calligrapher in the middle of the Ming Dynasty, made a vivid comment at the end of the volume, saying: "The whip drives the bell king, and drives the tall and beautiful willows. They are as pure as washing, and as powerful as cutting. In spring, earthworms linger in front, and in autumn, snakes twine behind." Far-sightedness , The momentum is about to fly, even when it is close, I suddenly don’t know the spirit of the brushwork, and it is unpredictable." Although Shang Ren did not directly comment on this volume in detail, he pointed out its "clearness" and "vigor". The characteristics of "power" and "powerful to fly". In this volume, you can see that his stipples are strong, smooth, and continuous. They have the boldness of wild cursive writing, but also add many "rhythm points" to the boldness. The ripples of chapter grass add an ancient and spicy meaning to the work, and enhance the cursive script. expressiveness. This creative method has already been seen in the cursive "Poems of the Tang and Song Dynasties" written by Song Ke for his friend Xu Yanming. "Poetry Volume of Du Fu Zhuang's Travels" adds Huaisu's continuous posture and style on the basis of the "Poetry Volume of the Tang and Song Dynasties". The strange rise and fortitude of Kanglizi Mountain intensifies the changes in glyphs, making the turns faster and the stipples more neat. Using the pen, the Zhang Cao brushwork is more naturally blended into the wild cursive. The cursive technique in the "vertical force" is interspersed with the "horizontal force" cursive technique without leaving any trace, making it even more majestic. Weng Fanggang said that his small regular script "inherited the elegance of the people of the Yuan Dynasty and transformed it into the majesty of the people of the Song Dynasty", and his cursive script also shows this feature. Yu Youren's postscript to this volume said, "The combined chapter is now crazy and unified," and he also said: "Zhong Wen's genius cannot be restrained by "Yue Yi", "Leopard Slave" and other writings, and if he wants to create a big grass, We have to look for materials from modern cursive scripts, which is where the writing method of "Zhuang You Shi" comes from. Therefore, it is okay to call it a mixture of ancient and modern cursive scripts, but it would be wrong to call it "Zhang Cao"! "A mixture of ancient and modern cursive scripts" shows that this volume is a bold attempt in the creation of cursive scripts. It blends modern cursive scripts, wild cursive scripts and Zhang Cao scripts, breaking out of the Yuan people's cursive script barriers and becoming a masterpiece of cursive script innovations in the late Yuan and Ming dynasties. Jie Jin's comment on Song Ke's cursive script is as follows: "Peng can fight for ninety thousand, but he must rely on the swing", and this magnanimity can indeed be seen from this volume.
Historically, Jincao is a cursive script based on Zhangcao combined with the emerging regular script. On the basis of inheriting Zhangcao, it strengthens the echo between strokes. As Zhang Huaiguan described: "The characters The body shape is made up of one stroke, with occasional discontinuities, but the bloodline is continuous, and the connected ones are connected by the climate." And the cursive strokes with official meaning are completely removed. This is the form of cursive script. and the use of pens. In this change, Wang Xian, Wang Qia, Wang Xizhi, Wang Xianzhi, etc. all made important contributions. As Yu Shinan said: "Wang Xian, Wang Qia, Yishao, and Zijing analyzed the former In ancient times, everything was done, and the eight styles and six essays must be based on their principles. They gathered all the beauties and combined them into simple ones to form the modern style. "Kangcao, which was formed on the basis of modern grass, was written by Zhang Xu and Zhang Xu of the Tang Dynasty. Huaisu is the most famous, which is characterized by the continuous and convoluted strokes, varying sizes, rich changes and continuous flow. Song Ke's cursive calligraphy masters Fa Erwang and Wang Miao, and his mastery of Yu Xu and Su Zhi Kuang Cao, coupled with his extraordinary skills in Zhang Cao, merged into one furnace to form a creative hybrid, showing the three characters of Zhang, Jin and Kuang Cao. Characteristics of grass.
Calligraphers intentionally combine various calligraphy styles in their creations, which is what we usually call "hybrid style". There are two situations of "mixed style": one is the "mixed" between characters, the other is the "mixed" between lines or paragraphs. Song Ke's "mixed style" can be found in both situations. For example, his "Dingwu Lanting Eight Postscripts" are mostly the latter, but in Song Ke's calligraphy, there are more "mixed" characters in cursive script. His cursive script "Za" is a calligraphy style that combines Zhangcao, Jincao and Kuangcao's writing styles. Wang Shizhen once criticized this kind of creation as "the waves are too risky, and the tendons and moments overflow, resulting in the shape of a bian". This comment may be pointing out the characteristics of Song Ke's cursive script that expresses the "official meaning" in its agility and highlights the "yiyi" in its dangerous strength. To call it "廻卞" is because we cannot understand the characteristics of the era in which this style was written. The beauty and graceful posture in Song Ke's cursive script is due to the era since the Yuan Dynasty. He strengthened the wave in the mixed cursive script and distanced himself from the calligraphy style of Zhao Mengfu since the Yuan Dynasty. This reflects his originality in cursive script that borrowed from the past to create the present.
In Song Ke’s cursive writing creation, the consciousness of “hybridity” is reflected in many works. For example, the style of Song Ke's "Second Biography of Zhong Yao and Wang Xizhi" recorded in Volume 10 of "Tingyun Guan Fa Tie" is between the "Poetry Volume of the Tang and Song Dynasties" and the "Poetry Volume of Du Fu Zhuang's Travels". It incorporates more Zhangcao brushwork, showing a clear and solemn atmosphere. It has both Jincao's continuous brushstrokes and Zhangcao's wavy brushstrokes from time to time, but it is obviously not as majestic as the majestic momentum of "Du Fu Zhuang's Travels".
Song Ke's cursive scripts such as "Gong Yan Shi", "Seven Character Quatrains", and "Jin Xue Jie Juan" also use thin and vigorous writing styles to integrate cursive scripts, showing a bold and elegant style, but they are not as good as "Du Fu's Zhuang Tour Poems" The hybrid creative style of "Volume" is so strong and distinct.
Song Ke's "mixed styles" had many influences on calligraphers in the early and middle Ming Dynasty, but none of them could surpass them. Later calligraphers often had a "mixed" consciousness in their creations, and they were mostly related to seal script. For example, Zhao Hengguang mixed seal script with running script, Fu Shan mixed seal script with running cursive script, Bada mixed seal script with regular script, and Zheng Banqiao even mixed regular script with seal script and official script. These "hybrid" creations are obviously different from Song Ke's. , more of an exploration of ancient meanings after the rise of tablet learning
I don’t know if you are satisfied with this answer. Song Ke is a miscellaneous calligrapher. The following words can also be used:
< p> "Du Fu Zhuang's Travel Poems" is an outstanding representative of Song Ke's artistic achievements in cursive calligraphy. Based on "Poems of Tang and Song Dynasties", this volume adds the continuous style of Zhang Xu and Huaisu's cursive style, and naturally integrates the cursive writing style into it. , adding a wave of bold horizontal strokes to the fast and sharp vertical strokes, eliminating the disadvantages of the previous work being cramped and delicate. In addition, this volume is written with Langhao's new pen, which shows the strength and sharpness of the bones. A wild and spicy aura of heroism rushes towards the face, which is enough to explain Jin's "Peng fights ninety thousand, and he needs to rely on a swing." reputation. Shang Rui of the Ming Dynasty praised this volume highly: "The whip drives the bell and the king, driving the tall and straight Yan and Liu. They are as pure as washing and as powerful as peeling. In spring, earthworms linger in front, and in autumn, snakes twine behind. Looking at it from a distance, the momentum is like flying; when it is close, it is like flying. , Suddenly I don't know that there is a spirit in the writing, and it is unpredictable." Yu Youren believed: "Zhong Wen's genius cannot be restrained by "Yue Yi", "Leopard Slave" and other works, and he wants to create a big grass. , then we have to look for material from Jin Kuang, the origin of this writing method of "Zhuang You Shi". Throughout the history of the development of cursive script in the past dynasties, this work is based on the past but not on clay. It creatively integrates Jincao, Zhangcao and Kuangcao calligraphy styles. It not only greatly increases the lyrical color of cursive script, but also greatly expands the aesthetic level of the work. It can be said that it has been developed since the Song Dynasty. Cursive script draws on the past to produce the most dazzling masterpieces in new fields.Give me some points~~~~~for the sake of my hard work