Yang Shoujing devoted his whole life to study, meticulousness, and rigorous scholarship. This was not only the way to his success, but also the precious spiritual wealth he left to future generations. When he was eleven years old, he dropped out of school to make a living and began to study business. However, he still did not give up his studies. He stood at the counter during the day and studied hard under the lamp at night, often not going to bed until the cockcrow. The following is what I collected and compiled, I hope it will be helpful to you.
Yang Shoujing *** June 2, 1839 - January 9, 1915 ***, courtesy name Xingwu, nicknamed Linsu, in his later years he called himself Linsu old man, a native of Lucheng, Yidu, in the late Qing Dynasty He was an outstanding historical geographer, epigrapher, bibliographer, calligrapher, numismatist and bibliophile in the early Republic of China.
Yang Shoujing passed the imperial examination in 1862, the first year of Tongzhi; in 1865, the fourth year of Tongzhi, he was admitted to the Jingshan Palace School to teach; in 1874, he was admitted to the National History Museum; from 1880 to In 1884, he served as attaché of the imperial envoy to Japan; after returning to China, he successively served as a lecturer at Huanggang Academy, a teacher at Lianghu Academy, and after Qincheng became the chief dean of Cungu Academy. In 1909, Yang Shoujing was promoted as an advisor to the Ministry of Rites, and in 1910 he was also employed as editor of the Hubei General Chronicle Bureau. Yang Shoujing died in Beijing on January 9, 1915, at the age of 76.
The main works of Yang Shoujing, the master of Chinese studies
Yang Shoujing is a famous historical geographer recognized in the academic circle. He spent his whole life's energy and knowledge studying "Shui Jing" and "Shui Jing Zhu" using various methods such as epigraphy and archaeology, which lasted for forty or fifty years. It has gathered the culmination of hundreds of years of research on the Water Classic in China, and has written the representative work "Annotations on the Water Classic", compiled and drawn "Map of the Evolution of Geographical Evolution in the Past Dynasties", "Evolution Map of the Geographical Evolution of the Past Dynasties", and "Annotation Map of the Geographical History of the Ancient Dynasties".
Yang Shoujing is an epigrapher and has profound attainments in catalog editions. He has written books such as "Hubei Epigraphy Chronicles", "Japanese Epigraphy Chronicles" and "Wangdang Epigraphy Records". The editors include "Huanyu Zhenshi Picture", "Sanxu Huanyu Visiting Stele Records", etc. His catalog-edition works include "Japanese Book Visits" and the co-edited "Guyi Series", etc., which were highly praised by scholars and celebrities at that time, and are still rare masterpieces today.
Yang Shoujing's calligraphy and calligraphy theory are famous both at home and abroad. He is good at regular script, running script, official script, seal script and cursive script. He has written "Tracing the Origin of Kaifa", "Comments on Steles", "Comments on Posts", "Xue Shu Yi Yan" and many other monographs on calligraphy. While in Japan, Yang Shoujing shocked Japan with his exquisite Chinese calligraphy and impressed many famous calligraphers. He was also invited to give lectures, exchange calligraphy skills, and recruit disciples. He created a "worshiping Yang" trend in the Japanese calligraphy circles at that time, and its influence still exists today.
The calligraphy achievements of Yang Shoujing, the master of Chinese studies
Mr. Yang Shoujing was an outstanding scholar in the late Qing Dynasty. He was knowledgeable, wrote a lot of works, and made great achievements. Tong Yudi wrote 40 volumes of "Shui Jing Commentary", which brought China's historical geography to its peak. Together with Wang Niansun and Duan Yucai's primary school and Li Shanlan's arithmetic, they were known as the "Three Wonders" of the Qing Dynasty; Jinshi became an epigrapher with "a wealth of wealth, rare in the world"; he was good at calligraphy, and he was good at regular script, cursive and seal scripts. He has a long history and is known as the "ancestor of modern Japanese calligraphy" ***Wang Xuezhong said***; he has a rich collection of more than 100,000 volumes of books, including more than 10,000 unique volumes at home and abroad. He is a large collector of Chinese cultural classics in modern times. The storage is indispensable. In addition, he is also very knowledgeable in tablet bibliography. Therefore, Yang Shoujing was a great scholar who integrated geology, epigraphy, calligraphy, book collection, and tablet bibliography.
Mr. Yang Shoujing’s calligraphy ranks third among his many achievements, but this does not affect his reputation in the history of Chinese calligraphy. ***Yu Yifu*** The status is mainly reflected in two aspects.
A great calligraphy theory that will shine through the ages
Yang Shoujing advocates that calligraphy should "change", and change means innovation. He elaborated on the calligraphy of later generations and the calligraphy of predecessors: "The pens seek to resemble each other, the characters seek harmony, and they are like laymen in the end." His "Tracing the Origin of Kaifa" has 14 volumes and 1 volume of table of contents. As the name suggests, he is exploring the origin of regular script, and also discussing the transformation of writing and the innovation of calligraphy. "Gu's Libian is divided into chapters according to rhyme, which is convenient for searching. However, the radicals are mixed and complicated, which is not enough to see the changes of the eight methods."
"Each Northern Dynasty Tang stele has its own stele, and there is also a stele's stele, and some are not allowed to come in or out. We can combine the strengths of all families. If we use one word for Northern Dynasty and one word for Tang stele, how can we overturn the rules and regulations? This book is written I want to enable scholars to understand the changes in calligraphy." Yang Shoujing repeatedly discusses the changes in calligraphy in this book, and his sense of innovation naturally overflows between the lines. Calligraphers of the past dynasties have concluded that in order to have new attainments in calligraphy, one must have "three essentials", namely, first, talent, second, knowledge, and third, writing. While Yang Shoujing affirmed the three important points of his predecessors, he added two more important points, namely, high moral character. He believed that "high moral character means writing elegantly and not falling into the secular world." Qi naturally overflows between the lines." It should be affirmed that this is his perception of calligraphy and life over decades.
Mr. Yang Shoujing is not only knowledgeable, but also of high moral character. One is that he concentrates on art and has no interest in official career, and he hates the people in power who rule the people. He was once elected as the magistrate of Huoshan County, Anhui Province by the Ministry of Rites, but he refused the appointment because he "cannot bear to speak hard and write thinly". After Yuan Shikai stole the presidency, in order to win over people's hearts, he hired him as an adviser and participated in political appointments. He also refused to go to Beijing to take office because he was "old and has no intention of going out." The second is to subsidize the township and care for the people. Third, he loves his motherland. During his stay in Japan, he bought back a large number of Chinese classical cultural books that had been lost to Japan. Many of them were single copies, making an indelible contribution to the preservation of Chinese cultural classics.
Malging the Han Dynasty and casting the Tang Dynasty, he excelled in the calligraphy art of Yilin.
Yang Shoujing is good at calligraphy. He is good at all styles of calligraphy, including Zhen Cao Li, Xing Kai and Xing Kai. His disciple Xiong Huizhen said that Yang Shoujing's calligraphy was "unparalleled in the world with its ancient calligraphy handed down from generation to generation, rivaling that of the Han and Wei dynasties". Although it is somewhat exaggerated, it can still be seen. The record in his chronicle that "people seeking letters came to the door one after another, and their eyes were filled with confusion all night long" shows the influence of his calligraphy at that time. Mr. Chen Shangmin has a special liking for Yang Shoujing's calligraphy handed down from generation to generation. "The calligraphy of the Han Dynasty and the Tang Dynasty was combined with the merits of dividing the official script and introducing regular script. In the late Qing Dynasty, it can be said that it carried on the past and opened up the future, and stood out in the art world." There are three reasons for this: First, he has extensive knowledge. Generally speaking, as a calligrapher, only if you are well-educated can your eyes be high, and only if your eyes are high can your hands be high. This is the case for Mr. Yang Shoujing. The ancients said: "Read thousands of books and travel thousands of miles." Another saying goes: "Reading thousands of volumes, writing is like a spirit." Mr. Yang Shoujing said: "Read more and you will be able to compose; read more and you will be able to write." This is a wise saying. Bi Baoli said in the preface to "Tracing the Origin of Kaifa" that Yang Shoujing "collected strange things and selected differences, and accumulated them into a mountain". There is no doubt that extensive knowledge is the solid foundation for the formation of his calligraphy style.
The second is to respect both the inscription and the inscription. This is the brilliance of Yang Shoujing's calligraphy. Calligraphers in the past dynasties attached great importance to the study of southern inscriptions, while Yang Shoujing paid more attention to the study of northern inscriptions. During the Qing Dynasty, the study of stele was vigorously developed, but some people rejected the Southern Tie and compared the stele and the Tie. However, Yang Shoujing always respects the inscriptions and inscriptions, adheres to the aesthetic principles, breaks the tradition and establishes his own school. Therefore, its handed down calligraphy has both form and spirit, and is dazzling. "It has the vigor of the metal and stone tablets, which are like cutting with a knife and an axe, and the elegance of the Dharma posts. It is quite heroic but not effeminate." ***Chen Shangmin said***.
Use side edges more often
“Most of the calligraphy of the Six Dynasties uses side edges to gain momentum.” The so-called hidden edge refers to the outside edge in the painting. The cover is like a cone painted on the sand, Such as printing mud, broken hairpin strands, and leakage marks in the house. Later generations asked for the theory of hiding the front and could not find it, so they created it as a center forward. His explanation is also very argumentative, and those who learn his method will not be good at writing. Let’s not talk about others, let’s take a look at the two kings. Is there any one stroke that does not have a side edge? However, the side edge has opening and closing, yin and yang, direction and back, turning, weight, rise and fall, and pause. The ancients valued it and I can use it. In this way, if the sharp edge is in the painting, it is done with care and no power at all. How can it be able to penetrate through the back of the paper? And it can also be capable of the wonders of all methods?" This insight is refreshing. The point of view that "using a pen is never easy through the ages" was a major impact, and it also made people understand a philosophy that there is no absolute thing in the world. What is even more valuable is that Yang Shoujing does not make up out of thin air or make nonsense, but practices his own actions. theory, and made it popular. This contributed to his unique calligraphy style and unusual and interesting brushwork. At the same time, it also allowed people to see the ancient, profound, simple and elegant side of his calligraphy.
When he was the attaché of the Japanese minister Shu Chang from the sixth to the tenth year of Guangxu's reign, he extensively collected lost books in the country and brought more than 13,000 volumes of inscriptions from the Han, Wei, Six Dynasties, Sui and Tang Dynasties, dedicated to The teaching of calligraphy on the Northern Stele of the Six Dynasties made special contributions to Sino-Japanese cultural exchanges. He is the author of "Shu Juyao", "Comments on Tablets", "Xue Shu Yiyan", "Wangtang Jinshi", "Re-editing of Ancient Texts of Shuowen", and "Tracing the Origin of Kaifa". Commentators praised it as an eternal masterpiece. "Seven Character Couplets in Running Script", written in 1887***, the 13th year of Guangxu's reign, ink on paper, running script. There is one seven-character couplet, with 14 characters in the upper and lower couplets and 9 characters in the paragraph. ***23 words. Yang Shoujing is proficient in calligraphy theory. He once wrote a book called Calligraphy Theory, which expounded the theory of calligraphy and had many unique insights. His calligraphy had a great influence in Japan and was the first of modern Japanese calligraphy. In this running calligraphy work, the brush strokes are strengthened, and the strokes, strokes, and dews are all delivered with every stroke. It is very majestic and at the same time, it is changed within the rules. There are also some strokes, such as strokes and strokes, that are indulged in, making the whole work vivid and full of personality. The structure of the characters is horizontal, which is a characteristic of the Six Dynasties tablets. Judging from the writing style, it is not entirely the same as the Six Dynasties writing style. There is a strong stickiness between the lines; the structure of each character is uneven, simple and clumsy, and has a natural interest. The overall composition is completed in one go and has a coherent momentum.
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