The state of mind does not have to worry about the ground without standing. "(3) As for Kang Youwei's accomplishments in calligraphy and stele studies, we can generally see it from "Guang Yizhou Shuangji·Shu Xue": When he was eleven years old, he took "Le Yi Lun" and Ou Zhao Shu as models when he came to the pond, and later He dabbled in Xiaoou's "Daoyin Stele", and copied it from "Guifeng", "Yu Gonggong", "Yuan Mi Pagoda" and "Yanjia Temple". For cursive writing, he took Fa Sun Guoting's "Book Book" and "Ge Tie". At the same time, I took Fa Zhang Zhi, Suo Jing, Huang Xiangzhang Cao, and Lin Sumi to attack Taifu's "Xuanxuan", "Rongxi", and "Recommended Jizhi" in small regular script at the age of thirty-eight. The achievements in this area can also be regarded as the summary of more than 20 years of studying regular script in the "Tie School". At the age of 25, he failed to pass the examination in Beijing and bought hundreds of inscriptions from the Han, Wei, Six Dynasties, Tang and Song dynasties. At the age of thirty-three, he wrote "Guang Yi Zhou Shuang Ji" and put forward a whole set of calligraphy theory of "respecting the stele". The calligraphy ideal of "the one who succeeds, combined with the Han Dynasty, Qin seal script, and Zhou Dynasty" laid a solid foundation. However, due to the large amount of time and energy taken up by political ideals and social practice, he really accepted the monument. The practice of incorporating ancient and modern works into monuments and pastings was still carried out during the years of exile after the failure of the "1898 Reform". Judging from the calligraphy works handed down, this ideal calligraphy style of "desire to combine all kinds of beauty" should be in. It was formed only after the end of his exile, when he was already in his fifties. Kang Youwei said that he "understood the origin of the seal through the divisions, used the official meaning in the middle to enrich its spirit, studied the cursive in the side to get its changes, and observed from the bottom." The steles are prepared for the method, the tiles and bricks of the Han Dynasty are observed and the wonders are discovered, the ideal is immersed and lustful, brewed and fermented, and the spirit makes it clear." (4) The ideal has been practiced and honed for decades, and it has been completed. The calligraphy style he created has become another unique sight in the history of Chinese calligraphy. Kang Youwei's own evaluation is: "I have created something that has not been seen in thousands of years." The new style was recognized by Shen Buzheng and Zipei. Uncle Zheng also recognized it and snatched it. He gave it to the ministers and got it! "(Postscript to Kang Youwei's "Tian Qing Shi Bai Lian" collected by the Art Museum of the Chinese University of Hong Kong) This is a new style that is completely different from people's aesthetic habits, and is called "Kang Style" by the calligraphy circle.
Ma Mr. Zong Huo believes: "Nanhai calligraphy was transformed into one aspect in the Six Dynasties, which was mainly based on the "Shimen Inscription", and was also referred to by "Jingshiyu", "Sixty Figures" and "Yunfeng Mountain Stone Carvings". " ("Xiao Yue Lou Bi Tan")
Mr. Zhu Jia believes that Kang "wrote his mother's tombstone, trying his best to imitate "Cuan Longyan", but the body shape is closer to "Portrait of Sixty People" , is it possible to break your arms three times? " ("Yu'an Shuhua")
Mr. Shang Chengzha believes: "His 'respect for the Wei Dynasty and the Tang Dynasty' is not true and prejudice, but to cover up his hypocrisy. To know this, we must start from its history. In his childhood, he wrote on Ou and Yan steles, as well as on Zhao Mengfu, and also worked hard on Wei steles. "Qianqiu Pavilion" written in the 19th year of Kaiyuan of the Tang Dynasty (731 AD) was carved on a rock on the bank of a river in Ba County, Sichuan Province. Not many people know about it. After Kang received this rubbing, he regarded it as a treasure. Deliberately copying and further exaggerating based on the engraved strokes, it became "Kangti". I compared this Tuo with the word Kang and immediately stripped off his disguise. "(5)
Mr. Sha Menghai believes: "He is most effective in "Shimen Inscription", followed by "Jingshiyu", "Sixty Figures" and Yunfeng Mountain. He likes to write "big characters with big characters", although it is because of his broad intention, but his posture is purely derived from Wang Yuan (there are also several layers of Chinese characters), which can be seen by everyone. Deng Shiru and Zhang Yuzhao were the ones he admired the most, and he often incorporated their brushstrokes when writing. But there was another one that he derived from his various methods of writing large and small characters, as well as using pointillism. But he himself never said it clearly, that is Yi Bingshou. Take a look at their casual writing. The drawings are flat and long, with many rounded turns. How similar they are. Chic and natural, with no hint of human smoke and fire, this look is so natural. "(6)
Although Kang Youwei wrote all kinds of inscriptions, he did have some emphasis. Which inscriptions had a decisive influence on his calligraphy style? People start from "Kang Ti" Analyzing its origins from the perspective of formal beauty of calligraphy, we have come to different conclusions. Looking at Kang Youwei's calligraphy works in his mature period, we believe that Mr. Ma and Sha attributed the most fundamental origin of his formal beauty to the following. The viewpoint of "Shimen Inscription" is the most insightful.
The posture of "Kang Ti" is deeply influenced by the "Shimen Inscription" of the Northern Wei Dynasty. The structure is solemn and reveals the momentum of opening vertically and horizontally. Kang Youwei attached great importance to body posture in calligraphy. He said: "To learn calligraphy in an orderly manner, you must first be able to hold a pen, which is solid. As for writing, start with the structure, draw flat and vertical, first look for the body, and then focus on the direction of back, back and forth, and expansion and contraction. The words are appropriate. Next, I will talk about the chapters of branches and cloth. I will learn from the ancient stelae how to understand the structure and density of each family, as well as the distance and distance. After a long period of practice, the bones, flesh, blood, and spirit are all ready, and then the body is completed, and then the state of mind can be expressed. It cannot be written.” (7) He believes that “when the body, flesh, blood, and spirit are complete, the body can be expressed, and then the state of mind can be expressed.” Mr. Wang Tiankui said in the book. When analyzing the artistic characteristics of "Kangti" calligraphy, he said: "In the 'Kangti' of 'breeding breasts and soaking much', there is a vein of 'strong and dense' spirit running through it, in its strokes, structure and composition. It shows the relationship between the bones, tendons, flesh, blood and dynamic lines of the image. Kang likes to use reverse peaks to build momentum, and late strokes to hide the knife. The stone is as thick as blood and the bones are old, and the tendons hide the flesh. Zhang Yuzhao's "Buddhist Scroll" created by Kang in his later years (collected by Tianjin Museum) is magnificent, broad, and graceful. The entire calligraphy embodies the style of Wei stele. The folds are rounded, with few square edges and corners; the horizontal strokes mostly have official meanings, and the strokes are reversed and hidden; there seems to be a kind of "tension" in the pointillism, with the strokes flowing vertically and horizontally, hiding the calligrapher's unstoppable emotional power.
There is indeed a kind of extraordinary magnanimity." He also said: "Kang Youwei's five-character couplet "The horse on the open bank of the sky, the dragon in the Qiyi people" is a cursive version of the round style of the Wei stele. , seems to be casual, but not perverse, the workmanship and clumsiness are intertwined, and the uprightness complements each other. Kang's writing movements are reduced as much as possible, and the lines are naturally stretched, long and short, each according to its body, taking the shape of hundreds of things, and following the trend. Taking shape, using a jerky brushstrokes to create an elegant and vigorous momentum. This is a typical example of "Kang Ti" creating a simple and strange calligraphy style. The "Running Script Scroll" published in "Calligraphy of the Republic of China" is. Another type of "Kangti" character with a clear, lean and strong style. There are no common leaps and unbridled brushwork and penetrating and strange structures. It seems to contain a happy and dripping mentality in a smooth and detailed composition. If you look closely, you will find that this is another successful attempt by the calligrapher to create a solemn atmosphere with simple, elegant and thick stipples. The calligrapher faces the natural landscape of Qionglin Yao Island, and the thousands of trees in the river. , that auspicious Jinshan, a quiet and peaceful atmosphere overflows in the heart. This state of mind is transformed into the line image in the hand, forming a harmonious freehand image throughout the whole painting, fully demonstrating the style of "Kangti". Charm. As Ding Wenjun said in "The Essence of Calligraphy": "Kang's calligraphy is purely spiritual and does not care about the brushwork. This is unique, and it is difficult for ordinary calligraphers to describe it." (8) Kang Youwei's calligraphy "Kai Zhang Tian" is mentioned in the article. The five-character couplet "horse on the shore, dragon in the midst of strange people" was actually influenced by Chen Tuan in the early Song Dynasty. As mentioned in the previous article, Kang Youwei once observed the couplet "Opening the sky bank horse, Qi Yi people are among the dragons" written by Chen Tuan of the Song Dynasty. This couplet was written in full in the "Shimen Inscription", which also became one of Kang Youwei's in-depth understanding of the calligraphy of the "Shimen Inscription". The approach makes the spirit and connotation of the couplet he wrote closer to the calligraphy of "Shimen Inscription". It has an open momentum, a vigorous calligraphy style, a vertical and horizontal style, and a masculine beauty.
Kang Youwei's inheritance of the formal beauty of "Shimen Inscription" in calligraphy is different from Chen Tuan's. In Kang Youwei's calligraphy system, "Shimen Inscription" is a core, and around this core there are many aspects of content: Qin Seal script, Han Li, Bei stele, and Nan Tie were melted into one furnace, creating a "new style that had not been seen in thousands of years" - that is, "Kang style". Since Kangti strives to be straightforward and natural, its characters are indulgent and casual, rough and cluttered, simplicity is used to control complexity, and delicacy is eliminated. The stipple lines are straight and curved, full of tension, with momentum like thunder, capable of carrying a cauldron; the frame structure adopts vertical and horizontal momentum, the horizontal momentum is dominant, the insight is sparse, and it is magnificent and broad; there are many breaks between characters. Connected, open and closed vertically and horizontally, as a whole; inner emotions can be expressed freely, unobstructed and freely. With its grand, thick and vast ancient atmosphere, it stands out in the world of calligraphy with its magical realm.
Representative works of "Kangti" such as "Fei Bai Shu Shi Ming Screen", the writing is calm, the words are flying, the power and rhyme are both full and hearty; 》The square and round twists, sticking to the stele method, and the seal script and cursive feelings are integrated into one; "Recalling the Reform Movement of 1898 and Thanking Pu Yi" has been lost on the stele, and it is fast and informal, and it is made by nature.
In addition, works such as "Xiongqi Articles Couplet", "You Cunlu Completion Poems", "Guangwu General Stele Postscript" and other works fully reflect the artistic achievements of "Kangti". From these works, you can feel the brushwork, style, charm, and connotation of the calligraphy of "Shimen Inscription" everywhere. The calligraphy of "Shimen Inscription" has been subtly integrated into "Kangti" and became its calligraphy form. core elements of beauty.
Mr. Zhang Jinliang summarized the characteristics of Kang Youwei's calligraphy into four words: Xiong, Bo, Gu and Yi, which is very appropriate. He said: "After reading many of Kang Youwei's calligraphy works, I feel It is more appropriate to use the four words "xiong", "bo", "gu" and "yi" to summarize it. Xiong means that Kang's calligraphy is majestic, vigorous and bold, with a masculine style. His brushwork downplays his technique and flaunts his style, which has the potential to sweep thousands of miles. , this is unmatched by other calligraphers; Bo means that the Kang character structure is broad and broad, the method is broad, and the knowledge is profound. Kang's character structure is mostly horizontal, broad and stable, and the bigger the better. He also has a broad mind when studying calligraphy. He wants to "gather northern steles and southern calligraphy" and "combine the Han Dynasty and divide the Qin seal script and cultivate it." Without extraordinary knowledge and superb eyesight, it is impossible to come up with such a shocking theory. In terms of blending the past and forging the present, there are few calligraphers in ancient and modern times who can match him. In ancient times, it was said that his calligraphy has an ancient and solemn atmosphere, his pen is clumsy, his structure is simple, and his meaning is ancient and elegant, which is rare and commendable. Yes, ancient things are not necessarily good. If you use the ancient to bring out the new, eat the ancient and transform it, and the ancient but not the old, you will be a master. Kang Youwei has exactly these qualities; that is to say, most of Kang's books are written in a careless way, and the whole text is careless. The movement is free and unrestrained, and the mood is natural. Among the "Kangti" calligraphy, it is rare to see rigorous and rigid works. The pen in the hand is like a horse, unfettered and not rough. "(9) It is said. The "majestic" and "elegant" in "Shimen Inscription" are inextricably linked with each other. "Vigorous and bold", "elegant and unrestrained", and "natural mood" constitute the "healthy body" and the calligraphy of "Shimen Inscription". The unique formal beauty features reflect the past and present.
References
[1] Qing Kang Youwei's "Guang Yi Zhou Shuang Ji", see: "Selected Papers on Calligraphy of the Past Dynasties", Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979 edition, 757 Page.
[2] Qing Kang Youwei's "Guang Yi Zhou Shuang Ji", see: "Selected Papers on Calligraphy of the Past Dynasties", Shanghai: Shanghai Painting and Calligraphy Publishing House, 1979 edition, 790 pages.
[3] Qing Kang Youwei's "Guang Yi Zhou Shuang Ji", see: "Selected Papers on Calligraphy of the Past Dynasties", Shanghai: Shanghai Painting and Calligraphy Publishing House, 1979 edition, 790 pages.
[4] Qing Kangyouwei's "Guangyi Zhou Shuangji", see: "Selected Papers on Calligraphy of the Past Dynasties", Shanghai: Shanghai Painting and Calligraphy Publishing House, 1979 edition, 850 pages.
[5] Shang Chengzuo's "Some Experiences in the Process of Learning Calligraphy", see: "Selected Papers on Modern Calligraphy", Shanghai: Shanghai Painting and Calligraphy Publishing House, 1980 edition, page 71.
[6] Sha Menghai's "Calligraphy in the Past Three Hundred Years", see: "Sha Menghai on Art", Shanghai: Shanghai Painting and Calligraphy Publishing House, 2010 edition, page 22.
[7] Qing Kang Youwei's "Guangyi Zhou Shuangji", see: "Selected Papers on Calligraphy of the Past Dynasties", Shanghai: Shanghai Painting and Calligraphy Publishing House, 1979 edition, pages 848-849.
[8] "Kang Youwei's Calligraphy Art" by Wang Tiankui, see: Jin Kaicheng, "Chinese Calligraphy Culture" edited by Wang Yuechuan, Beijing: Peking University Press, 1995 edition, pp. 621-622.
[9] Zhang Jinliang wrote "The Charm of the Six Dynasties in Si Weng - A Brief Discussion on Kang Youwei's Calligraphy Art", see "Friends of Calligraphy" Issue 4, 1997, pp. 23-24.