Perhaps the most precious thing in life is talent. Talent is the rich mine of life.
Confucius said, "You are sensitive and eager to learn, and you are not ashamed to ask questions." It is said that learning needs a spirit and good study habits, because learning is a hard process, and it needs a spirit of racing against time, an attitude of not being ashamed to ask questions and perseverance. Learning, as a process, is actually a process of self-improvement and self-shaping in the eyes of China ancients. The ancients compared learning to "book farming" and writing to "pen farming", meaning that, like farmers' farming, no pains, no gains. At the same time, the ancients also used "there is no limit to learning the sea, but not to make a boat" to warn people that they need a kind of endurance for the painful process of studying. For example, during the Warring States period, Su Qin went out to study abroad because of ignorance, and the whole family ignored him, which prompted him to study hard and commit suicide. Finally, he hung the national seal of the six countries to unite against Qin. Kuang Heng people are full of ambition, so they dig the foundation to borrow light to study, and finally become a member of the DPRK by saying the Book of Songs, and the official is Stuart. Sun Jing hanging from the roof, Che Yin who studied with fireflies, Sun Kang who studied hard with Snow White, and Ni Kuan who worked hard were all praised by later generations.
The accomplished intellectuals in ancient China all had the same advantage, that is, they worked hard in their studies, and the concrete embodiment of this virtue was to concentrate on their studies and write books. In the history of thousands of years in China, countless thinkers, writers, historians and scientists have created rich spiritual wealth through their hard work, which not only left us precious cultural heritage, but also made outstanding contributions to the cultural development of all mankind. These are inseparable from sensitivity and eagerness to learn. In the history of our country, there are many such examples worth learning.
"A calligrapher must establish a career, with the purpose of casting the past and getting married as the purpose. Otherwise, the habits are not removed, and you can't see feelings outside the pen and ink. " Casting the ancients should be widely used for reference. However, learning from the ancients is by no means an effective example, in order to learn from the ancients and get married. Liu Yong studied pine snow and fragrance when he was young, and studied Yan, Su, Huang, Wang in his prime. In his later years, he fell in love with the inscriptions of the Northern Dynasties, and gradually moved towards the personalized road of calligraphy. He integrated all the techniques of the sages of the previous generation, and finally wrote his own unique words, becoming a master of stamp collectors in the Qing Dynasty. Zhang Weiping put it well: "Liu Wenqing was a snowman at the beginning of his book, but after middle age, he was not locked in a cage by the ancients, and he was detached and superior." At that time, calligraphy was widely recommended by Weng Fanggang and Liu Yong, but the biggest problem of Weng Fanggang's learning books was that he only sought stability, obedience and incisiveness, without his own personalized characteristics. Therefore, Ma Zonghuo said: "Sex rules and Tang laws remain unchanged. If Weng Xiqin is intentional, he should be laughed at by Shi An. "But Liu Yong is not like this." Shi An was unstable after 1980s, and even more unstable after 1970s. But when I write, I always have an adventurous heart, so I am unstable. The more unstable the better. "
Liu Yong's pursuit of instability and individuality in his later years is undoubtedly correct.
He Ying, a Manchu writer, studied calligraphy under Liu Yong, and had the most contacts with Liu Yong. He once recorded such a dialogue in his notes: "Liu Wenqing tasted the cloud:' I have three arts in my life, and the inscription is the first, the poem is the second, and the word is the second.' Yu Yin invited:' The name of the teacher is all over China and foreign countries; Koreans also ask for books, why is He Qian?' Teacher's Day:' I am not modest. I refused when I was young, and I didn't achieve much success. Today, I still have the opinion of riding a wall. This shows Liu Yong's understanding of his calligraphy, inscriptions and poems.
In any case, later generations fully affirmed Liu Yong's calligraphy achievements, and also held a positive attitude towards his poems and inscriptions. Books such as A Brief Introduction to the Official Affairs of the Zhou Dynasty and the Records of the Painters and Calligraphers of the Zhou Dynasty have all quoted what He Ying said in the inscription and postscript of the Collection of Liu Wenqing's Public Legacies, saying that Liu Yong "has learned hundreds of classics, and his poems are refined and elegant, but those whose poems are not famous will be abandoned."
Liu Yong's calligraphy began with cypress people, and after middle age, he merged with others and became a family of his own. It has both form and spirit, got rid of the cage of the ancients, was detached and independent, and was promoted to the crown of a generation of calligraphers.
According to records, Ge Yuan, a bachelor of Hanlin, was the son-in-law of Weng Fanggang, a bachelor of cabinet, and the master of Liu Yong. He also wanted to learn calligraphy, so he wanted to know the advantages and disadvantages of Liu Heweng's calligraphy, so he asked his father Weng Fanggang for his understanding of the essence of Liu Yong's calligraphy. Weng Fanggang didn't agree, and said with a little sneer, "Ask your teacher, and ask which of his words is from the ancients?" Ge Yuanyuan told Liu Yong in the words of his father-in-law and asked Liu Yong what he thought of his father-in-law Weng Fanggang's calligraphy. Liu Yongben is quite complacent about his calligraphy, and he is naturally unhappy to hear Weng Fanggang's views. But since they are all friends, it's hard to say anything, so they said to Ge Yuan, "The words of the old people are not copied from the ancients, but they are expensive in vain." Go back and ask your father-in-law, which pen is his own? "
Later, Ge Yuan's son didn't quite understand this, so he told the famous calligraphy connoisseur Bao about this pen and ink lawsuit and asked him to explain it. Bao replied: "In my opinion, Mr. Weng's calligraphy really belongs to craftsmen's fine works. He practiced calligraphy and collected a wide range of inscriptions for pondering and learning. He must have written almost the same, but he didn't pay attention to the brushwork. Not just his own. Liu Zhucheng Wen Qing Guo Xiang practiced calligraphy, focusing on the study of brushwork. With a little flexibility, he really gained the essence of ancient calligraphy. But if it must be said to be self-contained, there will be exaggerated elements. "
To this end, Bao talked about his experience in writing books with Liu Yong:
In the summer of the ninth year of Jiaqing, Liu Yong was sent by Emperor Jiaqing to Nanjing, Jiangsu Province to study politics. On his mother's birthday, Bao, who is also obsessed with calligraphy, went to Jiangyin to visit Liu Yong. They talked about the famous inscriptions since the Southern and Northern Dynasties. Liu Yong said to Bao, "Mr. Wang's comments on ancient calligraphy are very accurate. Why not evaluate the gains and losses of old calligraphy? "
Bao replied: "nave's writing style is a tall foot of Mr. Hua Ting Dong Qichang."
Liu Yong was greatly wronged and said, "Why are you so frivolous and old-fashioned? I will win the book and think I am better than Zhong You. "
Bao said, "Did Guo Xiang ever see the original Zhong You? Zhong You's original works have been handed down from generation to generation, and there are only two inscriptions: Zen and Yi Ying. Zen is solemn, while Ying Ying is elegant. However, Zhong You's tablet only means "Rong Lu" copied in the Tang Dynasty, and "Ji Zhi Biao" is just a fake of someone who is close to others and has little knowledge. How can nave use it as a model? Nave's strength lies in Mr. Hua Ting Dong Qichang.
However, in his later years, Mr. Dong Qichang's calligraphy tends to be simple and clumsy, while Guo Xiang is better than Mr. Dong Qichang. "
Liu Yong was silent after hearing this. After a while, he said regretfully, "My husband has worked hard for decades, but he hit the nail on the head!" "
Shi Yuyu said that at the beginning of Jiaqing, he and Liu Yong went straight to the study and heard about it every day. Gong Changyun: Although my book is not good, I can take advantage of it, so I don't have to die. Another day: after 30 years of hard work, I began to write plane paintings. I can't tell the difference between the two languages.
It is reported that when Liu Tongxun became an official, his book was The Last Years of Qian Wen. Qian said to Liu's real estate manager, Wang Lushan, "I congratulate you. You have a great instrument under your door, and you will be successful in the future. " At that time, Qiantang Liang's poems boasted in calligraphy, and Qian warned: "Two gentlemen should not be arrogant, but must look to good people." After Liu Yong and Shanzhou studied together, they were influenced by family studies. When Bafa was crowned, the big books on the tablet shone everywhere, and the title was on his father.
Liu Yong's poems are full of vitality, fresh and refined, with Su Dongpo's style, which really makes people feel "fresh and refined". Most of the poems and postscript preserved in Liu Wenqing's public heritage collection are neat, fluent and catchy. As a poem wrote:
Clouds are allowed on the mountain. Water is flowing under the gurgling mountain.
There are Chinese fir trees outside the clouds, and the water is full of orchids.
It is always cloudy when there is no wind.
Like a person, fiddling with oranges in the blue waves.
Reading his poems, I seem to see a mountain covered with white clouds in the distance, and there is a gurgling stream at the foot of the mountain; Beyond the white clouds on the mountain, there are lush Chinese fir and maple trees, and beside the gurgling stream, there are dense fragrant flowers and beautiful grasslands; There was silence and no wind, as if Yue Xian was playing in the sky; You can also vaguely see a young girl washing colorful clothes in the crystal clear water by the stream. It's really a good landscape painting.
"Title Shi Jingbo Atlas IV" wrote:
The pines and cypresses are green and sandwiched by mountain roads, and the clouds are heavy and heavy.
Looking up, I saw a glimpse of the horizon and countless cliffs.
The snake bow changed slightly, and the gentry dragged the stream repeatedly.
It's full of people, and only the sages live in the deepest place.
People in the Yellow River Mountain are never tired of mountains, but they love mountains and look at paintings.
Sometimes, when you are proud, you will suddenly go to the real world.
The painters were very lively, and nymphs put pen to paper and flew over.
Contemporaries compete, and then Chou He will chase.
Looking at the picture, I suddenly saw smoke, and I was afraid that the peak would break through the house.
The green snail is beautiful, hungry and easy to treat, and can lie down during the day.
Copying seems to want to get rid of the shackles, and I am tired of falling into a former sage.
I don't need grandeur, I'm glad I'm not left out.
The Inscription Song wrote:
Painting pine is suitable for painting pine at the same time.
The molten gold and bent iron are mottled and decorated with green products, vying for land.
Iridium weaving is different from occasional weaving, and the combination of wonderful pens makes it dry.
The picture is absolutely gorgeous and hates spring scenery, and the knots in English and Chinese can be amazing.
Language is natural, not piled up or carved, and naturally becomes interesting. Liu Yong has great talent, which is the result of his hard work.