Weng Fanggang has a portrait of the seventeenth year of Qianlong (1752), and was admitted to the examination as a scholar with a bachelor's degree in cabinet. In the thirty-eighth year of Qianlong (1773), the Qing court opened the Siku Quanshu Museum. Weng Fanggang was appointed as the editor of Sikuquanshu, and concurrently served as the editor. During his tenure in Siku Library, he and Zhu Jun, Qian Daxin, Gui Fu, Huang Yi, Ding Jie and others frequented Liulichang Bookstore, and more and more rubbings were made.
During his stay in Beijing, Weng Fanggang traveled with Huang Jingren to Taoranting and Yaotai, and wrote couplets for Taoranting. "No one came to Yanzang ancient temple, and the couch leaned against the deep hall for a month." This pair of couplets is hung on the pillar in front of Taoranting. This couplet depicts the scenery of the ancient Taoranting. The upper part of the "smoke cage" refers to smog. It was quiet during the day, the ancient temple was shrouded in smoke, and no one came here; On a quiet night, the deep hall is in the forest, and only the bright moon shines in. The comparative description of "nobody" and "moon" shows the deep and peerless face of An Tang, which contains extraordinary charm. The author was a senior official at that time. He used to live a luxurious life, but he was also tired of the worldly noise. Finding this "empty" and "moonlit" ancient temple in the city is really like entering a paradise. This couplet expresses his yearning for seclusion. Now it has been turned into a park, and this couplet is no longer the original one. It was rewritten by Weng Tonghe, the teacher of Guangxu. Even the "quiet" described by this association was cut by the laughter in the park.
Weng Fanggang taught editing in the scattered museum, graduated from the cabinet with a bachelor's degree, and Zuo Honglin was a temple minister. Later, she was awarded the second-class title of Rong Enyan. He has presided over the provincial examinations in Jiangxi, Hubei, Jiangnan and Shuntian, and has supervised the study of politics in Guangdong, Jiangxi and Shandong. Weng Fanggang is good at textual research, epigraphy and calligraphy, and he is also the pioneer of "muscle theory" in Qing Dynasty. Learn from Europe and America and obey the law. In Shu, it is said that Weng Fanggang can write fine print on melon seeds, and his skill in this field can be seen. Painting and Calligraphy in Qing Dynasty called him "Weng, Liu, Liang and Wang" with Liu Yong and "Weng Liu became an iron". Bao said, "Wan Ping's calligraphy is just a craftsman's ear, always looking for inscriptions silently, so writing must have its own style, but the brushwork is unknown." Ma Zonghuo's "A Brief Discussion on the Moon Building" said: "Western Qin abides by the law, which is quite ridiculed by critics; However, its original calligraphy is neat and heavy, much like the classics written in the Tang Dynasty, and its quiet environment is not caused by the residual words in the stone classics. "
Weng Fanggang is the author of 35 volumes of Collected Works of Fuchuzhai, including 4 volumes in foreign languages, 42 volumes of Poems of Fuchuzhai, and many epigraphy works, such as Records of Stone Relief in Han Dynasty, An Introduction to Stone Relief in East Guangdong, Textual Research on Residual Characters of Stone Relief in Han Dynasty, Textual Research on Ding Ming in Jiao Shan, Inscriptions on Temple Monuments and Tang Dynasty, and Shizhou Poetry. Those who speak the world will push Weng's family.
Fang Gang's notes that caused the autumn fever are included in Notes on Draft Clearance.
Features of Calligraphy Weng Fanggang is knowledgeable and has made great efforts in Yan Shu, European Shu, Tang Jing and Han Li. But his calligraphy art level is not very high. His calligraphy pays attention to all sources, but his own things are very few. Running script is a typical traditional post-learning style. Coherent and soft, not anxious and impetuous, well-behaved, very distinctive, without losing everyone's demeanor. In the works, the warm and rich thick ink is in sharp contrast with the slender hairspring. In the process of using ink, the transition buffer is from thick to light, from thick to thin. Therefore, the shade, thickness and movement have a sense of rhythm. The whole painting is mainly round and gentle, without any impatience. It can be inferred from the soft and smooth brushwork that the author uses his wrist flexibly in writing. On the whole, this work is one of his representative works with heavy pen, thick ink, full strokes, strong bones and muscles and wonderful charm.
One of the interesting stories about calligraphy, Weng Fanggang mainly studied Tang Kai, first Yan Zhenqing, then Yu Shinan and Ou Yangxun, especially Huadu Temple Monument in Ou Yangxun, and his running script mainly studied Mi Fei, Dong Qichang and Yan Zhenqing. Weng's academic works emphasize the origin of pen and pen. Bao's "Art Boat and Double Drum" records a story in which he and Liu Yong mocked each other: "During the Qianlong period, both wrote books to publicize (referring to Liu Yong) and Weng Wanping (referring to Weng Fanggang). Ge is a bachelor, Wan Ping's husband and the owner of Zhucheng. After tasting Zhucheng's calligraphy, Wan Ping said,' Ask your teacher which pen is ancient'. The bachelor told Zhucheng, and Zhucheng said,' I am my own book. Ask Ruyue Weng which one is me.' "This shows that Weng Fanggang's attitude towards learning books is rigorous. In terms of learning books and practicing basic skills, he has really reached a high level. "Garden of Dreams Cong Shuo" contains "Mr. Weng Xiqin can write the words" Peace in the World "on a sesame seed". But he only works hard on technology, but he always sticks to the rules and does not seek innovation. After all, he is only good at his job. Bao is right to say that Weng Fanggang's calligraphy is "a master of one craftsman" (Art).
Secondly, among Wang Xizhi's rubbings of Preface to the Lanting Pavilion, Dingwu Lanting is the best imitation, the most widespread and the most famous. In the Southern Song Dynasty, Zhao Zigu bought a copy from Lu Zong for 5,000 yuan. On his way home, he fell into the water in a boat on the mountain. He held the rubbings out of the water and shouted, "My life can be abandoned, but this one can't be abandoned!" Therefore, later generations called this book "Falling into the Water Lanting". From the Song Dynasty to the Qing Dynasty, The Orchid Pavilion in the Water has been collected by 265,438+0 famous collectors and dignitaries, which is quite a story. In the forty-seventh year of Qianlong (1782), Weng Fanggang personally saw this post in Cao Wenyuan. So he borrowed the view that "playing against the sky is still long", and even "sleeping in the rain, sitting and lying in daily life, always on the side of' falling into the water Lanting'". During this period, Weng Fanggang borrowed Song Tuoben from Tianmu Mountain House for proofreading, and spent a day copying the book Lanting in the Water with poor eyes. This volume of silk is inscribed with Gong Duo's official script "The Treasure of Molin". Later, the preface to Lanting Collection was written in yellow silk, with 324 words, mostly blunt pens and hidden fronts. When pressed, it was hidden, and the Lanting carved stones and painted squares. Radium-damaged cracks in the original stone are all marked on silk with ink lines, "like clouds and smoke buds". Weng Fanggang, a great calligrapher, wrote nearly 6,500 words in 30 chapters from the forty-six years of Qianlong (178 1) to the last thirty-two years of Jiaqing (18 12), so that he couldn't hold the paper.
Weng Fanggang (1793) wrote a running script seven-character poem. Literature advocates Weng Fanggang's works on poetry, including Zhou Shi Shi Hua, but his basic views can be found in monographs. His texture theory is actually a reconciliation and revision of Wang Shizhen's verve theory and Shen Deqian's mode theory. He said: "Today's people mistakenly hold verve, which seems to be empty talk. Based on my opinion, I want to tell the truth with texture. In fact, texture is also the charm. " (on verve) "Poetry is not as good as style. It is self-evident that Li and any generation made mistakes. The followers of Li, He, Wang and Li are all constrained by style and faked. " If you don't go into the season, you will get sick if you go into the mud. "("on style ") and he said," in fact, style is verve. Weng Fanggang gave a new explanation of "verve" and "style" with the theory of "texture", so as to revive the theory of retro poetry and continue to contend with Yuan Mei's theory of "soul".
Weng Fanggang advocates "texture", which includes two aspects: one is "righteousness" and learning based on Confucian classics, and the other is "arts and sciences" of ci chapters. He said: "Scholars are born today, and the light of classics overflows the world. Textual research is the basis of learning, and texture is the basis of poetry. " (preface to Yan Zhiji) "Righteousness is arts and sciences, that is, texture." (As before) He said: The poems of the Song, Jin and Yuan Dynasties changed the pulse of the Tang Dynasty and slightly changed the sound. However, the poets in Ming Dynasty only followed the fashion, and none of them had real talent and practical learning. Only when the Qing Dynasty developed the study of Confucian classics, could they write poems with Confucian classics (under the theory of verve). This thought is a literary reflection of the rulers' advocacy of Confucian classics and textual research at that time.
On the "poetic method", Weng Fanggang advocated the banner of seeking Confucianism to restore the ancients. He quoted Du Fu's poem "Fa Zi Ru" alone, which was interpreted as "big and always coherent, thin and single and double, down-turned, bamboo shoots connected one after another, advanced in culture, opened and combined, and will be sought after by the ancients" (On Poetry). Weng Fanggang's retro style is not to respect the Tang Dynasty, but to worship the Song Dynasty, especially Huang Tingjian of Jiangxi Poetry School. In his view, "the beauty of Song poetry lies in its truth" (Volume 4 of Zhou Shi Shi Hua), which unilaterally emphasizes the textual research function and historical value of poetry and confuses poetry with "Confucian classics" and historical materials. The so-called "Shi Jia Wen Yuan meets the Confucian forest, learning from ancient times to modern times." Where else can you find vowels? "("Sixteen Books after Empty Books ") This is an idea that blurs the characteristics of literature.
Weng Fanggang, a literary work, wrote more than 2,800 poems, which can be divided into two categories. One is "learning poetry" in which the textual research of classics, history and epigraphy is written into poetry. Most of these poems are seven-character ancient poems, which are orderly or annotated before the poem. This preface and postscript itself is also a textual research text of classics or epigraphy. His poems can almost be read as academic articles, and they are often crooked and poetic. For example, "Song of Councillor Ertong in Chenghua Seven Years". Hong, a contemporary, criticized him and said, "I like visitors to talk about epigraphy best, but I think loving poetry is a bit too popular." (The Poems of Beijiang, Volume I) The other kind is poems describing the author's life whereabouts, world experiences or writing landscapes. Most of these works also lack life breath and true feelings. Some of these modern poems are occasionally excellent, such as: "It rains on the road for ten days, and the forest is green." I don't know about the summer heat in autumn, but it is directly related to Dai Huai. Old dreams are full of foam, thinking about finding a hundred steps of flood. As the sun sets, the mountain is red (the second time of "Gao Zhaode Zhong Chengzhao Qian Jiaxuan, working with Qiu Manshi, setting up a crane pavilion in Yunlong Mountain"), "Autumn soaks in a bay on the moon, and there are several rafters on the pillow. Weishan Lake is like a mirror, reflecting Jiangnan Jiangbei Mountain. " "Outside the Wan Li flow, crowded. Mountain light lake throughput, as a thick cloud crossing "("Han Zhuang Gate 2 "), the Song Dynasty is quite empty.
Book Story Weng Fanggang is famous for his rich books. He lives in Baoquansi Street outside Qianmen, Shi Jing. His books and documents are all beautiful things of the tea family. There are "Little Penglai Pavilion" and "Gift Bookstore" in the library. In the thirty-third year of Qianlong (1768), the library was renamed as "Bao Su Zhai" because it bought Tie Yang written by Su Dongpo in the sixth year of Jiading in Song Dynasty and Su Shi, an engraving of Cao in Huaidong, both from Song Dynasty. Baosuzhai was built for the possession of Zhu Sushi and Su Dongpo's Song Dynasty. Since then, every year1February 19, Su Dongpo's birthday, he will invite many celebrities to his home to pay homage to this book and write a postscript and inscription on it. It was called "Sacrifice to the Soviet Union" and lasted until the Republic of China, where Luo Zhenyu was still paying homage. There are also "30,000 Volume Zhai", "Three Han Painting Zhai" and "Graphite House", all of which are places where he collects books and cultural relics. His 30,000-volume poem named after himself said: "It is a shame to laugh at Cha Jia's signing Ye Hou." "The Han stele spread to Hong Mai hastily, and Song Xie paid little tribute to Xiaozhan." The collection is printed with Su Zhai Mo Yuan, Su Jian, Mi Ge Jiao Li, Bachelor of Cabinet, Bachelor of Hanlin's Attendance, Graphite Bookstore, Three-term Guangdong Learning Politics, Rare Edition of Daxing Weng's Bookstore, Enjia Second-class Banquet Qionglin, and Small. The works of epigraphy include epigraphy in Han Dynasty, which analyzes the details and uses the meaning of Shuowen to conduct accurate textual research. Poetry, classic self-annotation, historical biography, textual research, epigraphy and writing are all carried out in poetry. Later generations said that he could "learn to be an excellent official". He is the author of Supplementary Notes on Su Shi, Chronicle of Mi Yuan, Zhou Shi Poetry Talk, Incorrect Textual Research on Hanshijing, Lanting Textual Research, A Brief Introduction to the Stone Inscription in East Guangdong, Textual Research on the Stone Inscription, Notes on Xiaoshifan Pavilion, Complete Works of Fuchuzhai, Catalogue of Rites, etc.
The poem "Looking at the Luofu" is only vague. People are fishing in Los Angeles. The bell rang in front of the temple, but the firewood road was still not straight.
400 floors down, three thousands of feet fly. Who participated in the painting? Half of them are oblique.
"Two Poems of Han Zhuang Gate" is immersed in Mingyue Bay in autumn, and several rafters and huts pillow the river pass. Weishan Lake is like a mirror, reflecting the Jiangnan Jiangbei Mountain.
Wan Li flows outside the door, and the family area is like a boat. The throughput of the mountain light lake made a thick cloud hold the ferry.
"Listen to the song of Sun Yat-sen Room and write a poem for Shi Zhuotang." Listen to the rafters of Sun Yat-sen Room, and Xie Zilai first wrote a small building. Fayuan Shikai is a neighbor, and rice and porridge are ringing at night. At this time, the house was bound with ink, and I remembered the poems I used to travel. Going to the temple to see flowers in spring is like turning a candle for forty-five years. Coming out of the first palace, the old poet Fu Weng, the distinguished guest, actually came to Gu Jie. The banquet burns candles and shines red makeup, and the rhyme pot respects the old wishes. I'm in love with you. Thank you for not ordering the same year's record. Pointing to the neighbor Haitang, remember to look at the red tendons and the green temples. I wish I could not leave the Spring Festival couplets, but how many couplets continue to form an axis. When the wind blows, the catkins fall again. Who will look for the tea and cigarettes on the meditation couch? Yesterday, like Xie Zi, I was full of money and flowers. Lu Xiang Gong Fang also lives here, on the third day of Guimao Spring. My poem invited me to my previous dream. I took a basket under the flowers in Zhai Qing. Haitang proved his promise in his poems and seemed to have a deep talk with the old League. Time knocks on the fire for another century, and the ambassador of Zhuo Tang is in southern Chu. Yan language congratulates the flowers and believes in divination, and the warbler rejoices for the bell. Flowers are Buddha bells, and the fragrance of flowers enters the curtain. My titles are heavily pasted on the eaves and lintels, and my poems are widely used as references for Zen Buddhism. On the crescent moon at the west end of the street, it is raining in the west. When it comes to flowers, I plan to smell more fragrant and misty.
(Xie Zi: Xie Yong. Money: money. Shi Zhuotang: Shi Jieyu? . )
Weng Fanggang's letter to Zhenbei Weng Fanggang's Linxia tablet Weng Fanggang's letter running script is based on Weng Fanggang's letter.