It is 3 1.5cm long and 1 172cm wide, and written on a whole piece of writing paper depicting Un-yong Kim. This is Evonne's masterpiece at the age of forty. His brushwork is unrestrained, fluent, unpredictable and spectacular in one go. It is a masterpiece after Zhang Xu and Huai Su. Today, Liaoning Provincial Museum. Cultural Relics Publishing House and Shanghai People's Fine Arts Publishing House each have photocopies.
Qian Wen Zi is an ancient children's book in China. It is a thousand words in Wang Xizhi's calligraphy collected by Zhou Xingsi in the Southern Dynasties. It is composed of four-character poems, including knowledge of nature and social knowledge. The overall atmosphere of this work can be described as full of vitality, and the whole article is endless, and its visual realization has always been an important factor to attract the attention of viewers, as Tao explained in Shangshu: "Intention is natural, and it is necessary to seek form." As a long scroll, writing cursive script on it restricts the exertion of calligrapher's temperament to some extent. Why do you say that? Because the expression dimension of calligraphy is top-down, especially cursive script, it often produces some spontaneous strokes in vertical space, but the space for horizontal expansion is limited after all.
Throughout this position, I am full of vigor and spirit. Although it is a long scroll, my pen is full of vitality and enjoys it. In the case of relatively small vertical space, Evonne's use of long lines is also very appropriate. For example, the words "Hao", "Emperor" and "Ye" in the text are far from drooping, which not only adjusts the spatial proportion, but also appears spacious, undulating and agile, full of lofty feelings, and at the same time plays a role in guiding and accommodating, making the works more coherent. From this work, we can easily find that Evonne is good at using scattered composition. Perhaps he got inspiration from Huang Tingjian's cursive script. Huang's cursive script is patchy. His masterpiece Li Bai's Poems of Remembering the Past makes good use of the invasion and interpenetration of lines, which makes some words cross the region and invade the line space of other words. This treatment makes the presentation of rules no longer stay in a single line or a single line, but gives people the aesthetic feeling of "paving streets with stones". The performance of this invasion in the works can be described as the essence of Huang: at first glance, it is strange, then it is strange, and then it is wonderful.
From this volume, we can also see the "free" state of Evonne's creation: for strokes, on the basis of ensuring the quality of lines, they are very fast and powerful, and Wang Yang is arrogant, inspiring Liuhe, and there is a tendency to "give up who I am"; This work is written on Un-yong Kim paper. Because the paper is smooth, pen and ink penetrate slowly. In this way, the sharp strokes are mostly in the whole article, and the implicit and blunt strokes are less, which may be a manifestation of blindly pursuing momentum and losing some aesthetic feelings. In this case, skimming the drawing and dealing with the turning point will be too fast and sharp. If we can do what Zhang Jie, a poet in the Song Dynasty, said, "If we let it go, it will go on and on like the Yangtze River;" When I accepted it, I disappeared, and when I first came out, my posture was different. "If you are indulgent and can accept it at the same time, then the beauty brought by this volume may be more abundant-after all, subtlety can arouse the aesthetic mood of the viewer.
"Implication" is the main expression of cursive script, and it is the hinge of coherent upper and lower characters. A calligrapher who is good at writing big grass has a wonderful grasp of the meaning: sometimes it is as thick as the main pen, and sometimes it is as fine as a hairspring; Sometimes the vertical pull-down has the momentum of flying down; Sometimes cable-stayed has the toughness of bent iron plate steel. As can be seen from this volume, Evonne is good at using implicit cable-stayed methods. On the one hand, it shows its confident writing state: for example, unstoppable, leisurely and unrestrained; But on the other hand, it also reveals that he lacks flexibility in dealing with implicature, and there are many oblique lines, which makes the whole article appear miscellaneous, similar and monotonous. Like all calligraphers, Zhao Ji likes to write thousands of words. I don't know how many volumes he wrote in his life, only two volumes remain. One is the book of thin muscles, which is now in Shanghai Museum. Written in the third year of Chongning (A.D. 1 104), he was 22 years old. After the volume, the inscription "To Tong Guan" was written by Tong Guan, who was worshipping Jin Ming Bureau at that time. The scroll is a cinnabar column, plain notebook, the words are big and long, and each line is cross-shaped, with hundreds of lines before and after. Calligraphy has been basically stereotyped, but this fashion is too thin and stiff, which is not as fat, smooth and tough as my old age.
This volume of cursive script is strange, large and small, and some are like "Teng apes cross trees and escape from water"; Some are "or even absolutely, flying like flowers"; Some "if the pine tree lies on a high ridge, it will narrow the gap like a boulder"; Some "like birds rushing out of the forest and frightened snakes getting into the grass" ... are endless. This book was written in the fourth year of Xuanhe (A.D. 1 122), when the author had just turned 40, and was approaching his old age in his short life, which was the time when his calligraphy was successful. The two volumes of thousands of articles he wrote in Letters and Weeds are all based on Zhou Xingsi's version, and there is no difference between them because of taboo. Because cursive writing is greatly restricted, except Wang Xizhi's father and son, Zhang Xu and Huai Su, few calligraphers in past dynasties have made achievements in cursive writing. Since the Tang and Song Dynasties, cursive script has broken through the previous rules. Although there are many famous writers, they all learn from the tradition of "either king or Zhang". As for Cao Zhang's words, they are all written in Nine Chapters, which is an image of an emperor. There is no original opinion, but there is a mockery of painting a tiger. Therefore, our evaluation of cursive script should be based on the observation of the author's wrist, pen and momentum. The so-called "the grass runs straight, the wrist turns to the eyebrow, the hanging pipe gathers the front ... ups and downs, and it sucks and sucks", "or it is unstoppable, or it is easy to escape and deep, and it is not against the meaning of pushing your luck." The words "unfettered" and "unfettered" are extremely important to cursive script, and they are our criteria for judging it. Because cursive script and regular script are written differently, "stippling is the real form." The grass is so lovely that it can't be expressed in words. Drawing pictures and remembering words is really a loss. "So it is difficult to write in cursive, especially difficult to hire workers. The crux lies in the point of "turning". This volume of cursive script Gan Wenzi is valuable because the author has mastered the basic law of crazy grass, and "making it turn" does not violate the intention of using a pen, and basically achieves the artistic effect of "unrestrained mind", that is, the so-called "write first, then roam freely". Some people think this cursive script is so exquisite that they suspect that it is not Evonne's own work, but may be the basis for writing Huai Su. According to their view, this method of planting grass comes from a monk in Huai Su, and Huai Su's thousand-character script has four axes in the inner government, which is fully qualified for reproduction. We believe that this suspicion is not groundless, but it may not be completely in line with the actual situation. To be sure, Evonne's cursive script originated in Huai Su. At ordinary times, he not only copied Huai Su's cursive script Qian Zi Wen, but also visited other related cursive scripts. As far as the style of the times is concerned, cursive scripts in the Song Dynasty were mostly imitated by Zhang Xu and Huai Su, not only by famous artists Huang Tingjian and Evonne, but also by Lu You, a great poet in the Southern Song Dynasty. No matter what the foundation of temporary writing is, no matter how sophisticated and superb its skills are, once you look deeply, you will reveal some traces of introverted and stagnant brushstrokes. Besides, cursive script is difficult to copy, especially wild grass. This roll of cursive script flies in the sky, with a total length of dozens of feet, and it is done in one go, and there are few failures to be found. It is worth noting that between the lines of cursive script, there are several running script characters, such as "Yi Yin", "Yuan" and "Yong" calligraphy. The influence of Snow Ji has been exposed, which is quite different from the appearance of Huai Su, but it is the original feature of Evonne. When Sun Chengze wrote this volume in the late Ming Dynasty, he pointed out that "Huizong has a thousand words, and calligraphy is Huai Su". The word "calligraphy" used here has obvious meaning, and it is copying rather than copying, which is not well understood as "copying". This will certainly not cause any misunderstanding among readers. This rolling pen "Thousand Characters" is written on the full map of Un-yong Kim which is more than three feet long. Today, it seems that a piece of handmade linen paper more than 30 feet long is not so novel. However, in the Northern Song Dynasty 800 years ago, we had to be surprised that such a long-scale exquisite paper had been produced. From the paper quality inspection, the main raw material is hemp, the surface is smooth and there is no cord, and the ink absorption effect is very good. Paper-making in the Northern Song Dynasty has been quite developed, and this kind of roll paper certainly belongs to a special category. According to experts' calculations, boats can be arranged in a row by the river, and then poured with pulp to make them evenly and naturally dry. Thanks to the collection of collectors in past dynasties, the paper and ink are as good as new, which provides us with valuable information on the unprecedented development of papermaking technology in the Northern Song Dynasty. At the end of Yuan Dynasty and the beginning of Ming Dynasty, Cao Zhongming wrote such a passage in his book On Gegu: "I have tasted thousands of imperial books in the Song Huidian, which are long and strange, and the letter is like paper." The "five wonders" mentioned in Gegu Yaolun is to mistake "five" for "three", which refers to this volume. So as far as Yuan and Ming people are concerned, we can't help but be surprised by this whole piece of Song paper which is more than three feet long. It is also worth cherishing. On this 30-foot-long piece of writing paper depicting Un-yong Kim, the exquisite patterns were not printed by engraving, but were drawn on the paper by skilled craftsmen. According to the observation of the original physical volume, the skillful craftsman who drew the gold pattern was drawn by an unknown painter in the palace with a sharp pen dipped in gold powder. From the integrity of the whole picture, it is impossible to piece together, but it was completed by one person from beginning to end. It is conceivable that how much energy is needed for such a tall head, such a long scroll and such a complicated work of Yunlong pattern! The organizational form of the cloud dragon pattern is as follows: each group consists of 4 dragons and 24 layers of cloud patterns, and each group is continuous and particularly compact, showing an overall uniform effect. Although the pattern is exquisite, there is no drawback of stagnation. This is a characteristic of the Northern Song Dynasty pattern decoration inherited the legacy of the Tang Dynasty, thus playing a role. It is hard to see some artifacts in Jianfa and Bo Gu Map in the same period, and it is worth cherishing! Therefore, not only Zhao's thousands of "Weeds" have extremely precious artistic value, but also the related crafts are almost unprecedented masterpieces! (Yang 1996 rebuilt in Muyulou, Shengjing)