The word "elegant room and secluded orchid" comes from Zheng Banqiao's couplet in Kangxi period: "Why elegant room? Not many flowers. " Similar to Liu Yuxi's "Humble Room Inscription", "I am a humble room, but I am virtuous."
Although Zheng Banqiao was born in a scholarly family, his family came down in his early years, and the problem of survival ran through his life, which made him deeply feel the hardships of people's livelihood. Under the influence of Confucian morality, aiming at being an official, striving to "contribute to the world" and "add welfare to the people" became Zheng Banqiao's subjective motivation after three imperial examinations in Kang Yong, and finally he became the magistrate of Fanxian County at the age of 50 in the seventh year of Qianlong.
Although, Zheng Banqiao once lived in Mount Tai for more than forty days as an official of calligraphy and painting because he followed the emperor for thirteen years, he was deeply "healthy enough". However, when the business of selling paintings improved slightly, he left home hundreds of miles to be an official. We can still see that Zheng Banqiao's self-improvement is not only a personal pleasure, but also an opportunity and possibility to "serve the people".
Therefore, the orchid embodies his service to others and ambitious personality, which can be said to express his feelings and will through things.
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Zheng Banqiao's calligraphy is one of the three musts;
Zheng Banqiao's calligraphy, which is a mixture of official script and running script, calls itself "six and a half books" and is called "Banqiao Book". Most of his paintings are bluegrass and bamboo stones, and Zheng Banqiao's calligraphy art with bluegrass and bamboo as its soul is unique in the history of China's calligraphy.
Judging from his 23-year-old Ode to Autumn Songs by Ouyang Xiu and his 30-year-old Poem of Xiao Zhuan, Banqiao learned books from Ou Yangxun in his early years. Its font is neat and beautiful, but slightly stiff: this is related to the neat and charming pavilion style prevailing in the book world at that time, and it is the standard font for selecting candidates in the imperial examination.
In this regard, Zheng Banqiao once said: "The flies stop too evenly, fearing that the book will damage the spirit." After becoming a scholar at the age of 40, I seldom write again. Zheng Banqiao's calligraphy is most praised as "six methods and half a book", that is, "Banqiao style" with "eight-part essay" (a kind of official script) as its unique style.
"Six and a half minutes" is a ridiculous title given by Zheng Banqiao for his original calligraphy. There is a kind of "eight-point script" with more strokes in official script, that is, the so-called "six-thirty", which refers to official script in general, but is mixed with other regular scripts such as Kai, Xing, Zhuan and Cao. The Poem Axis of Cao Cao's Running Script (now in Yangzhou Museum) is a masterpiece of "six and a half" style.
This poem about Cao Cao's "looking at the sea" has a large format, with an average of more than 10 square centimeter per room. Fonts are quite rich, including seal characters and kai characters. The shape is flat and long, and the house is mainly square, slightly downward. Simple and broad, just like Cao Shixiong's broad style.
Zheng Banqiao once praised his calligraphy in a poem "To Pan Tonggang": "I paint clouds by Cao Cao, sweeping the sky. A line of two lines of book characters, Nanxun Beidou rows of stars. "
The composition of Zheng Banqiao's calligraphy works is also very distinctive. He can insert the size, length, Fiona Fang, size and density, such as "paving the road with stones", which contains rules in vertical placement. It seems to follow the flow of the pen, but the holistic view produces a sense of rhythm of jumping and agility. For example, it was written in the twenty-seventh year of Qianlong, and he was seventy years old, which was his masterpiece in his later years.
Su Dongpo likes to use the Qifeng pen of Xuancheng Zhuge, which is very satisfying to write. Later, when he changed another pen, his palm didn't correspond. Banqiao himself likes to use Taizhou Deng's sheep hair, and it is satisfactory to write it tactfully. So he compared Taizhou Deng's wool to Zhuge Qifeng in Xuancheng, and finally said, "How dare you imitate Dongpo?" Moreover, writing a book with a pen loves fat rather than thin, and it also means slope. "
The whole work is characterized by big summary, thick and thin brush, oblique posture, stippling and pressure lifting, which makes it like music to the ear, birds in the air and fish swimming in the water, expressing strength and spirit with arbitrary rhythm: how can people say that his words are "blue and bamboo, especially interesting"? From the composition, structure and strokes of this crystal, we can't see his "quaint and graceful" Zhu Lan Lou God. ?
Baidu Encyclopedia-Zheng Banqiao