Kang Youwei's sudden fame in modern history benefited from the Reform Movement of 1898. This political change, which took place at the turn of summer and autumn from 65438 to 0898, was summarized as "Hundred Days Reform" and was called "Kangliang Reform" in history.
After the failure of the reform, Kang Youwei left his hometown and lived in exile 16 years. After passing through 32 countries, his travels around the world totaled about 60,000 miles.
A few years ago, authoritative media such as China Calligraphy magazine selected the top ten calligraphers in China in the 20th century, and Kang Youwei was impressively tied with Wu Changshuo, Yu Youren and Lin Sanzhi.
Is this a good thing or a bad thing for Mr. Kang Youwei of Nanhai, who devoted his life to state affairs, indulged in "roaming the sky" and regarded himself as a "plain king" and a "saint"? Is it "time surpasses poetry" or "intentionally planting flowers but unintentionally planting willows"? But in any case, one thing is clear: Kang Youwei's "inaction" calligraphy can never be ignored.
Kang Youwei (1858- 1927) is a native of Nanhai County, Guangdong Province. He is a child prodigy, and he has made progress in his studies. After "suddenly see everything in the world and I as one, called' long element'. Although he was promoted at the age of 36, he was promoted at the age of 38. However, in the political and ideological process of modern China, Kang Youwei can't be ignored.
Kang Youwei, with a strong philosophical temperament and a strong desire for power, also strives for "discourse hegemony" in calligraphy. He is also a calligraphy theorist.
At the end of the Qing Dynasty and the beginning of the Republic of China, Kang Youwei advocated "respecting monuments to suppress the Tang Dynasty" and "respecting monuments to suppress posts". This proposition has a far-reaching influence on China's classical calligraphy thought, which is no less than the influence of Kang Textual Research, Confucius Reform and Datong Book on China's traditional political thought.
Kang Youwei's calligraphy masterpiece Guang Yi and Zhou Shuang Tan was completed in 1930s. After Ruan Yuan and Bao, he once again praised the study of steles and pushed Weibei and Beibei to the supreme position. The so-called "ten beauties" in the inscription can be summarized as: vigorous and vigorous, bold and bold in brushwork, full of interest, broad in spirit, natural in structure and full of flesh and blood.
These are not only Kang Youwei's calligraphy standards, but also his own pursuit of creative practice.
Kang Youwei's calligraphy is not smooth at first glance, and the details are even a bit rough and fierce, similar to the light and sweet style of posting. However, it is straightforward, overbearing, majestic, informal, dynamic and quiet, and aggressive ... This prestige is eye-catching and very "moving". As his opinion, as his thought, as Mr. Nanhai's temperament of "eyes shining like electricity under rocks", it is unforgettable.
Kang Youwei's calligraphy creation is in the same strain as his calligraphy thought. This is also consistent with Kang Youwei's academic thoughts and political activities. Kang Youwei's calligraphy style draws rich nutrition from the inscriptions, especially in the inscriptions such as Yunfeng Stone Carving, Sixty Portraits, Mount Tai Stone Valley Diamond Sutra, etc., he devoted himself to creating a unique Weibei running script-Kang Nanhai Style.
Kang Youwei wrote a running script on the North Monument, with a compact center and stretching around, pursuing the charm of "sparse but impenetrable" and vigorously rubbing the round pen on the Monument. Kang Shu's words are tight inside and loose outside, the opening is steep, the pen is late and powerful. Sometimes it tries its best to let go and sink, and sometimes it comes to an abrupt end and its spine disappears. His stippling is like a broadsword halberd, and his pen strokes are open, and the ink falls on the paper, often like casting, with great force and swing.
Appreciate Kang Youwei's calligraphy, which is diverse, eclectic and dazzling. The book is full of tension, expansion and struggle in the change and wandering of dryness, density, dullness and turbidity.
Kang Youwei's insistence on calligraphy is consistent with his pursuit of political change: "The world has become a fait accompli and people's hearts are changing. If we focus on change, those who change will win, and those who remain unchanged will fail. And the book also has an ending. "
Kang Youwei's calligraphy theory, like his political theory, is full of difficulties and dangers, especially the praise and criticism of the Tang Dynasty's calligraphy traces, which is not lacking in bias, but the effect is ultimately unforgettable.
Even at the creative level, it is not unique for the book circle to hold critical opinions on Kang Shu. Ma Zonghuo, a disciple of Zhang Taiyan, said that although Kang Youwei "turned into a face in the Six Dynasties, he mainly wrote inscriptions on Shimen", "However, there is no need to refer to it, just talking about Teton, suddenly turning around, splashing ink on the front, and taking Peng Lei as his face". Shang Chengzuo, Shang's son, the last flower-exploring scholar in the Qing Dynasty, is even more despicable. According to the records of Shang Dynasty, Kang Shu was completely born out of the rare secret copy of Qian Qiu Pavilion, an inscription in the Tang Dynasty, which was located on the bank of the river in Baxian County, Sichuan Province, supplemented by Chen Tuan's book in the Song Dynasty. Kang combined the two and expanded them, that's all.
"I am the biggest in China, and I hope to play the soul of China. Looking up at the sky, there is no one like me. " In any case, Kang Youwei, known as the "Heaven Walker", is a thunderbolt, a lightning bolt, not just a landscape, but a sigh.
Whether you like him or not, he is like this, which can make people shine at the moment and be unforgettable.