Zhu Yizun, a Zhejiang scholar, is also in his "Loushu Pavilion", where plaques and couplets written by Zheng Zhi are hung everywhere, which is overwhelming. Kong (1648- 17 18) and Kangxi (1689), who used to work in Yangzhou, spent the Mid-Autumn Festival with Zheng * * *, which was the night when Zheng fell in love with him and earned more than a dozen papers. Kong Shi condescension, "this! Among more than 80 official scripts handed down by Zheng Zhi, there are some well-known recipients, such as Cao (1634- 1698) and (1632- 17 12). ), Yan Guangmin (1640- 1686), Jin Zhijing, etc. It is worth noting that many of Zheng Zhi's friends are epigraphy scholars, such as Gu, Zhu Yizun, Wang Hong and so on. The development of epigraphy in the early Qing Dynasty was closely related to the revival of official script. Although Zheng Zhi not only inspired the official script of the Qing Dynasty, but also influenced a large number of contemporary and later official script writers, due to the changes in the aesthetic concept of epigraphy after Ganjia, calligraphers advocated the simple and simple official script style represented by Yi Bingshou, and Zheng's once highly respected "flying" was dismissed as ingenious and not fashionable. This reflects the change of the concept in the early and late stages of stele study, among which it is difficult for Zheng Zhi to gain the sympathy of later theorists.
In the Yongzheng era, it is not only the inherent logical requirement of calligraphy history, but also the symbol of success in people's eyes at that time to seek a way to break the rigidity of official script since Yuan and Ming Dynasties. After Ganjia, epigraphy paid more attention to introversion, emphasizing massiness and simplicity. Yi Bingshou's operator-style cloth white is regarded as a new idol of epigraphy because of its heavy stippling and great structural tension. In this case, Zheng Zhi was severely criticized and even ridiculed because he was weak, capricious and out of date. Of course, we can't deny Zheng Zhi's achievements and his important position in the history of stele study, but we can get a glimpse of the internal evolution of the concept of stele study in Qing Dynasty. At first, stele study did not appear as the opposite of stele study. People who were keen on inscriptions in the early Qing Dynasty never vilified them. They studied the inscriptions in order to seek the origin of the calligraphy of the two kings. They also studied the inscriptions of Tang Dynasty, regular script and cursive script. At that time, in inscriptions and inscriptions, even if there was no boundary of the monument, the monument was often called a post. Some calligraphers who advocate inscriptions also attach great importance to calligraphy posts. Kang Youwei's (1858- 1927) so-called "the prosperity of stele learning, the bad of learning after taking advantage of it" only tells a part of the situation when stele learning flourished, which is not the same as the actual situation at the beginning. Critics also try to find out the relationship between Zheng Zhi's jumping pen and the erosion of the Han tablet. He Chao (166 1- 1722) once mercilessly mocked Zheng Zhi's official script: "It is very disgusting for a human body to suffer from malignant sores." The so-called "malignant sore" means that Zheng's pen pressure is large and the contrast between the thickness of stippling is too large. It is unacceptable to exaggerate the proposal in the era of "opposing the entry and leveling out, and making Qi Li a city for ten thousand people". However, he believes that the purpose of Zheng Zhi's doing this is nothing more than to show the superficial phenomenon of the erosion of the Han tablet. There is a saying in Qianlong Zhang Sike's Song of the King of Chu: "The erosion of Jinling Zhengzhou Company has been controversial for a hundred years." Lu Yao (a juren in the seventeenth year of Qianlong) also said in the "Adult Proposition Linben Xiyue Huashan Monument": "Without painting sand or inkpad, the world will compete for ancient stomatology (Zheng Zhi). I don't know if mottling is true, but when it gets rid of it, it shines. " They believe that the stippling of the Han tablet is smooth and the erosion is the result of natural weathering for thousands of years. While describing the erosion of Han tablet, Zheng Zhi insisted on its end and abandoned its foundation. Weng Fanggang also criticized Zheng Zhi's fuzzy simulation of erosion. There is a sentence in Gui Wei Gu Zhi Ba Shu Song: "In recent years, Zheng Zhi's generation has been dry in Fu Shan. Ancient feelings have nothing to do with appearance erosion, and the taste is vague. " He believes that "ancient" does not lie in the emergence of class refutation. Zheng Zhi's description of the trace of class refutation is to get rid of it deliberately, but it can't get its ancient meaning. In order to praise Yi Bingshou and Gui Fu (1733- 1802), Qian Yong also criticized his commendable contribution to the revival of Han Li. The calligraphy book says: However, Taniguchi made a mistake when he learned of the erosion of the Han tablet. Zhu Yi learned of the charm of the Han tablet and added and damaged it without authorization. Someone who knows. ..... Although the ancient monument is built, it is not handed down with a pen, and there is no source of giving and receiving, which refers to painting. ..... Today, there are Wengqin Xige School in Beiping, Zuo Shangui's Grand Order, Wu Men with money Gong Zhan, Yangzhou History, Fujian Yi, Bajuan Tanghuang every day, Sima in Song Xiao, Zhejiang, and Xiang Xiaolian in Jiangxie, all of which can pretend to be China people, and scholars have become increasingly prosperous since then. Here, Zheng Zhi's brushwork and Zhu Yizun's structure became the objects of his criticism. Qian Yong believes that Zheng Zhi used his pen to "brush" in order to imitate the erosion trace of the Han tablet. In Qian Yong's view, Zheng Zhi's contribution to official script is nothing more than grass-roots creation. The prosperity of Lishu is Weng Fanggang, Gui Fu, Qian Daxin (1728- 1804), Jiang Deliang (1752- 1793), Yi Bingshou and Baweizu after Ganjia. Because the calligraphers of this era are well versed in the placement techniques of flat pen, horizontal pen and vertical pen, the stippling is heavy and solid, and the structure is neat and tidy, which is the ancient meaning of Han stele in their understanding.
However, Zheng's pen method is not to describe the erosion trace as criticized by the above scholars. On the contrary, he did it to get close to the original Chinese writing. The so-called "pick" is exactly the brushwork that Zheng Zhi saw from behind the edge of the Han tablet. When talking about the inscriptions, Zheng Zhi particularly emphasized the clarity of calligraphy and painting, and his admiration for Cao Quanbei was related to the integrity of calligraphy and painting in the inscriptions. When talking about the monument in the Western Qin and Han Dynasties, Zheng said: "The Shijing peeled off, and in Heyang, it came out of the Weihe River, which is very true. The ancients used pens, which are vividly visible. " Although he thinks that "Cao Quanbei" is "one word, one method, one drawing and one square inch", it has no definite form. Your intentions can't be much worse unless you work hard for ten years, but after all, you can clearly see that the ancients used pens, which naturally makes you more expensive. The author saw five inscriptions written by Zheng Zhi for Cao Quanbei, all of which emphasized the clarity of calligraphy and painting, from which we can see the truth of using a pen, so Cao Quanbei was appraised as "a monument in the Han Dynasty" by Zheng Zhi. Obviously, for Zheng Zhi, clarity can not only identify words, but also help trace the process of writing Dan with a pen through stone carvings. In the case that Han bamboo slips have not been unearthed, Zheng Zhi has no reason not to see the ink of Han Lishu, but he thinks that clear stone rubbings can convey the modality of pen and ink. In this sense, his efforts not only gained more "ancient meaning" in the structure and form of Han script than those of the official script writers in Yuan and Ming Dynasties, but also were closer to the actual situation of China script than those of the later official script writers. Zheng's early manuscripts, ritual tablets and Yiying tablets are quite bright and clean, and there is no written description that holds up half the sky. However, his mature official script writing is quite rhythmic and the overall speed is relatively fast, so there is no possibility of "tracing". Therefore, people's criticism of "traces of imitation of law" is not in line with the actual situation in Zheng Zhi. The commentator just found an excuse to deny Zheng's sense of writing, rhythm and flying. It is not until recent years that epitaphs are really keen on the mottled stone spirit. The more vague the inscription, the more favorable it will be to them. They imitate the traces of sand and stone wear, amuse themselves with trembling pens, and even regard "integrating points into lines" as a symbol of their skill, hoping to gain a historical and natural significance. Although this interpretation is understandable, it is quite different from the true face of history.
Ma Zonghuo, a close friend (1897- 1976), while affirming that Zheng Zhi did not damage his elegance, bluntly said that he was not ancient: "When he was separated from Li, he had a unique name at that time, and we learned that he was not ancient." The evaluation of "unfashionable" is a devastating blow to the truth of pursuing quaint and true alcohol all his life. Zheng Zhi's official script, because of its emphasis on writing and freehand brushwork, has been criticized for its weak style and too many jumps. Therefore, the criticism of Zheng Zhi is "not ancient" and "not ancient" is naturally "not expensive", which is largely due to the contemporary interest of scholars since Ganjia. The revival of epigraphy in the early Qing Dynasty directly contributed to the upsurge of learning Han steles and the lofty status of official script. At that time, as long as we studied the Han tablet, we could get a high evaluation. Zheng Geng is at the right time, and his official script is not only a symbol of strength and momentum, but also a symbol of "antiquity". A calligrapher in cloth was listed as a "saint" on an equal footing with Gu and Huang Zongxi by Yan Ruoqu, a great scholar. Is there a second calligrapher in Qing Dynasty?