Master Hongyi's Calligraphy Font Appreciation 1
Master Hongyi's Calligraphy Font 2
Master Hongyi's calligraphy font 3
Master Hongyi's calligraphy font 4
Master Hongyi's Calligraphy Font 5
On the Charm of Master Hongyi's Calligraphy
Charm has always been an important criterion for China's artistic creation, evaluation and aesthetics. No matter in the fields of music, literature, painting or calligraphy, the theory of verve has been explored and pursued for a long time.
From Laozi's Tao Te Ching? Tao gives birth to one, two, three and everything. Holding Yang is negative for everything, but also rushing to think that it is peace? From the very beginning, Qi was regarded as the noumenon of all things in the world and the source of life, and became one of the basic concepts of China's philosophy. Extending to calligraphy, the qi of calligraphy is the qi of yin and yang, which is nothing more than utility. It is the embodiment of the existence of life and truth. It is the externalization of his comprehensive qualities such as virtue, cultivation, temperament, interest, talent, knowledge, life experience, aesthetic pursuit and even real-time emotion relative to the writer himself. Qi is the power and source of calligraphy creation, and it is also the life of calligraphy works.
Through the materialization process of calligraphy practice, qi condenses between pen and ink and rhyme is generated. Rhyme plays an important role in China's calligraphy. Compared with calligraphy itself, the rhyme of calligraphy has pure aesthetic characteristics, is a natural expression of writing skills and the spiritual connotation of pen and ink images, presents a charm, style and elegant aesthetic orientation, has musical rhythm and rhythm beauty, has a variety of aesthetic pursuits, is also an emotional communication between the aesthetic object of calligraphy and the aesthetic subject as an appreciator, and is an aesthetic experience produced by the four elements of calligraphy as an object, but the subject can't act on it.
? Charm? The word "six laws" was first seen by Sheikh in the Southern Dynasties. First, the charm is vivid; Second, the bone method pen; Third, it should be pictographic; Fourth, color with the class; Fifth, it should be positioned in business; And sixth, transfer and model? Vividness is the characteristic of charm, that is, full of vitality and rhythmic rhythm. In a word, the charm of calligraphy has implicit characteristics, and its core lies in the constant movement of yin and yang transformation, which is a state of endless taste. Qi is the basis and connotation of rhyme, and rhyme is the externalization of musical rhythm and charm. Although abstract, it can be perceived. The harmony between them is the highest ideal of China's calligraphy aesthetics. It is the perfect embodiment of people's temperament endowment, aesthetic experience and other qualities in calligraphy techniques, relying on the ontology of calligraphy art but higher than it. Pursuing verve means pursuing the aesthetic realm of harmony between man and nature, and pursuing simplicity and nature.
Master, common name Li, young name Cheng, scientific name, word Shu Tong. After becoming a monk, he played the French horn. 188010/kloc-0 was born in a wealthy scholarly family in Tianjin on October 23rd. His father is a scholar of Daoguang and an official in charge of the official department. Later, he inherited his family business and became a salt tycoon in Kinmen. In his later years, he loved to study Zen. Li Shutong's mother is an impartial person. She was only 20 years old when she gave birth to him, and her father had spent 68 years in cold and hot weather. After the death of their father, the mother and son were in an extremely difficult situation. She was ordered by her family to start an arranged marriage with Yu, who was two years older than her, and gave birth to a son, but she died young. 19 1 1 Japan graduated and returned to China. When he was a painter in Tianjin, it coincided with the Revolution of 1911 and the Li family was on the verge of despair. 19 12 went to Shanghai, and then applied for Hangzhou No.1 Normal University to teach Chinese painting and music. 19 18 Li Shutong, in his prime of life and at the peak of his art, resolutely became a monk at the Hupao Temple in Hangzhou. Since then, he has been indifferent to fame and fortune, devoted himself to practice, traveled around the world, promoted Buddhism, started the life of an ascetic monk, vowed to save the country with Buddhism, and changed his identity from Li Shutong to Master Hongyi to become a master of legalism. 1942 died in the yat sen villa room of Wenling Nursing Home in Quanzhou.
Throughout Master Hongyi's life, his calligraphy charm can be divided into three periods. The first period is before becoming a monk, and the second period is after becoming a monk 14 years ago (19 18 years? 193 1 year), and the third issue is 1932? The decade of 1943.
First, the charm of Master Hongyi's calligraphy before becoming a monk
Before Master Hongyi became a monk, there was no imitation in writing seal script, official script, running script, cursive script and regular script of the Northern Dynasty. Plagiarists must be the same person as creators. From the point of copying, whether it is Zhang's Wang Meng tablet, they are written by them, both in form and spirit, but they are not themselves after all. Judging from the master's calligraphy creation in this period, the regular script creation generally presents the calligraphy appearance of the northern dynasties, but it is most influenced by Zhang Menglong's stele. It is not difficult for us to understand that the calligraphy charm of the masters in this period obviously bears the imprint of others, and their own personality is slightly insufficient.
On the other hand, although wizards also study during this period? Two kings? Calligraphy styles along the way, such as post-learning, are still dominated by stele studies on the whole, and even cursive scripts obviously have the shadow of north stele, which is of course related to the current social atmosphere of stele studies, but the key lies in the influence of the mage on his education. He studied Confucian classics such as the Four Books since childhood and was deeply influenced by them. Cultivate one's morality, keep one's family in order, govern the country and level the world? The influence of thought, combined with the practical application in the late Qing Dynasty and the early Republic of China, and Kang and Liang? Reform? Encouragement made Li Shutong ambitious and actively joined the WTO. Under the influence of this mentality and ideal, his calligraphy art reveals the Confucian spirit everywhere and condenses into the charm generated by pen and ink. I only see that stippling is dignified and heavy, angular, chic and vigorous, with deep ink color, full of positive feelings and vigorous vitality. We can see that the cursive scripts of Huang Tingjian and Wang Xizhi copied by the masters are also full, heavy and steady, and the lines are slightly thicker than the original posts, which is also the embodiment of Confucian spirit in their calligraphy.
When Master Hongyi studied painting in Japan, influenced by the layout of western paintings, his calligraphy was endowed with the aesthetic concept of holistic view, and he was more natural and rigorous in the handling and transition of details, which reflected the artist's spirit. We can see from the golden songs written by Master Hongyi a few days ago that composing music inevitably makes people feel that the left is light and the right is heavy, and the top is heavy and the bottom is light. However, the contrast factors such as line thickness, knot size and escapement. After studying western painting in Japan, the master wrote more muddy and richer than before, with a stronger sense of skill, especially in composition, which is more in line with the neutralization thought of the unity of opposites of Yin and Yang and has a more patterned charm. The formation of this calligraphy charm may be more or less influenced by his profound artistic categories such as music, drama and literature. Of course, more evidence is needed to support this speculation.
In addition, in addition to specialized calligraphy creation, the charm of letters and feet written by masters on weekdays is also worth studying. Before becoming a monk, the mage wrote letters to his friends in cursive script, with dense rules, drastic changes in size and thickness, obvious and strong sense of rhythm, and often deliberately drawn strokes embedded in it, revealing the artist's temperament and talent. During this period, the charm of the master's calligraphy is similar to his daily calligraphy creation to some extent, but a little more comfortable and bold, conveying a more real temperament.
Generally speaking, Master Hongyi's calligraphy in this period showed a charm. Turbidity and qi are the same? Yang Qi? On the basis of full of positive attitude towards WTO entry and great hatred, it shows a thick, bold and angular charm, full of a kind of vigorous and masculine beauty, revealing Confucianism everywhere and emitting pure artistic light, but calligraphy creation can never get rid of the shadow of imitating predecessors.
2. Master Hongyi's calligraphy charm in the 13 years before becoming a monk
The first thirteen years after Master Hongyi became a monk, that is, 19 18? 193 1 year is the second important period for us to analyze the charm of master calligraphy. This period can be said to be a transitional period of the master's calligraphy career.
19 18, Master Hongyi gave books, oil paintings, clothes, books, seals, etc. at home to Xia Mianzun, Liu Zhiping and other people and groups, and then became a monk in the Tiger Running Temple, ending his brilliant artistic career. All kinds of arts are no longer involved, but calligraphy is hard to give up. At this time, calligraphy became a means to promote Buddhist teachings, so its charm was not as good as before.
At this time, it is also a process in which the master gradually becomes familiar with, understands and understands the Buddhist precepts, thus influencing his family to deepen their understanding of Buddhism. During this period, Master Hongyi began to explore the calligraphy style that Buddhist monks should hold on the basis of previous calligraphy inscriptions, revealing his concern for Buddhism and Taoism everywhere. The Indian mage has repeatedly advised him: Are there different screens for writing scriptures? To write Buddhist scriptures, we must write strategies like scholars, and we can't afford to simplify them. Its body must conform to the correct body. If you sit down, can you use it? This can be said to have played a key role in the transformation of Master Hongyi's calligraphy style. So his calligraphy began to increase the accumulated experience of writing posts before, and then merged with Zhong Hao's regular script to neutralize the rigidity of writing tablets before. It can be seen from some works that although there are still traces of the calligraphy of the northern dynasties, the strokes are no longer as angular as before they became monks, but they are replaced by round pens, which adds a restrained and Buddhist charm.
However, from 1929 to 193 1, Master Hongyi's calligraphy gradually stepped out of the shadow of the inscriptions in the Northern Dynasties, and his personal style of writing classics gradually emerged, making him more handy and comfortable in writing. He used a pen to increase the use of the flank, and the previous danger began to be rehabilitated, which made it easy to understand a little calm.
Therefore, the charm of Master Hongyi's calligraphy at this time is a changing process of constantly grinding away the edges and corners, saving the day, and gradually increasing the quiet and calm charm on the basis of increasing his Buddhist cultivation. Turbidity and qi are the same? Fresh air? ,? Yang Qi? With what? Yin Qi? The process of struggle. Can the charm of this period be inferred as the combination of self-denial and deepening understanding and re-exploration?
During this period, the charm of Master Hongyi's books and letters also showed such a changing process. The envelop sent to Huangshandeng in the second year of becoming a monk is still full of vigor and vitality, which embodies distinct rhythm and charm and contains a lot of laity spirit. However, if we look at the three letters sent to Liu Zhiping at 1923, 1928 and 193 1, we can easily see the change of charm. The former is a little more stable and convergent than when he first became a monk. The prominent long strokes are gone, the contrast between thickness and thickness is not as exaggerated as before, and the calligraphy has become regular script. 1928 envelopes continue to weaken various contrasts on the basis of the previous ones, increase short lines, and widen the distance between big characters and characters. However, the letters of 193 1 converge more strictly and have shorter lines than the first two. This change fully reflects the deepening of Master Hongyi's study and work for the Buddha.
Three. 1932? The charm of Master Hongyi's calligraphy in the ten years from 65438 to 0943.
Starting from 1932, Master Hongyi's classic calligraphy can be said to have found his own writing style, and on this basis, it has developed in a more simple, quiet, harmonious and thin direction. Therefore, it can be understood that when a master worships Buddha with a book, his calligraphy is permeated with a strong religious connotation, just like paying homage to Buddha, calm, sincere and carefree.
During this period, the master seriously studied the Nanshan method, became a generation of masters, traveled around to preach the method, and integrated his understanding of the method and Buddhism into his writing, just as the Buddhists said? Would you be wise? Because? Settings? Slow and not slow may be an important reason for the formation of master Hongyi's calligraphy charm in this period. Master Yuan recalled what he saw when Master Hongyi wrote the fine print and said, Master? Holding the paper in his left hand, he stood up from the desktop like chanting, writing with his right hand and hanging his wrist? Although Master Yuan modestly didn't mention Master Hongyi's writing speed, we can infer from his writing posture that his writing speed is very slow, because if not, writing on standing paper will be easily punctured. In addition, Liu Zhiping said when recalling the big character Amitabha Sutra written by the master. Put pen to paper slowly, draw bit by bit, and go all out. It takes about two hours to make it. It can be seen that its writing is slow. It is also because of slowness that this seemingly powerless but tenacious charm is formed.
In his later years, Master Hongyi wrote scriptures and calligraphy more and more slowly, and the knots became more slender and the lines became more rounded. Stippling and stippling do not overlap, as if they were as spotless as fireworks on earth. Only tranquility and ethereal charm, only piety, is that what Buddhist practice says? Everything is empty? Color is empty, and empty is color? It's a manifestation. In his later years, he talked about his calligraphy in a letter to Ma Donghan. When writing, corrupt people try to arrange and harmonize the shape of the whole paper according to the rules of western painting patterns, which is consistent with the calligraphy and painting, brushwork, brushwork, structure, charm and even a monument, post and school that ordinary people pay attention to, and never try to figure out. Therefore, the words written by corrupt people should be regarded as a pattern. ? Both writing and engraving are enough to express the author's character. What do the corrupt characters show, plain, quiet and full of relaxation? .
To sum up, the charm of Master Hongyi's calligraphy in this period seems to be condensed with a strong Zen, which is revealed everywhere. Be strict with yourself? Qi combined his profound understanding of Buddhist precepts with his pen to produce what he said? Dull, quiet and full of relaxation? The charm of revealing a? Fresh air? With what? Yin Qi? .
Let's take a look at the calligraphy of the masters in this period, including two letters written to Liu Zhiping in 1939 and two letters written to Xia Mianzun in 1942. There is not much difference between the former and the calligraphy written in the second period, while the latter can obviously make people feel very similar to the calligraphy written in this period, with slender characters, thin strokes, sparse composition and separation of point painting, but it seems that they can feel the faint and quiet life breath when the mage writes. At this time, the charm of this calligraphy is not only the externalization of Buddhism, but the presentation of life.
Throughout Master Hongyi's calligraphy career, we can see that his calligraphy charm is constantly changing with the increase and strengthening of his own life experience, cultivation and knowledge. From expressing the positive feelings of Confucianism's entry into the WTO to carrying forward the Buddhism's four empty methods, from the changeable and rich writing rhythm to the slow and relatively unified writing, this is not only reflected in his usual calligraphy creation and writing classics, but also in his correspondence with friends on weekdays.