All the achievements of the family are first manifested in the running script. Moreover, in the pen and ink practice of a large number of ancient prose movement leaders, they will naturally not be bound by the recent calligraphy style. Since the Jin Dynasty, especially after Li Shimin in Tang Dynasty urged Wang Xizhi to be "perfect", calligraphers had to take "two kings" as the standard. Huang Tingjian was originally from Zhou Yue, a student at school. Generally speaking, learning books is easy for people to learn, but it is also easy to become vulgar. With broad vision and high knowledge, Huang Tingjian was soon transferred to Two Kings and even Lanting. He has a poem praising Yang Ningshi, which can explain his profound experience in studying the Preface to Lanting: "The world tries its best to learn the Preface to Lanting, and there is no bone in it. Who knows that Yang Fengzi of Luoyang went to Wu Si Bar when he was writing. " Among them, we need to have a deep understanding of Xihe's calligraphy. In my opinion, Su Shi had the greatest influence on Huang when he traced back to the Jin and Tang Dynasties and studied the classic calligraphy of his predecessors. It can even be said that Huang Tingjian's calligraphy was largely imitated by Su Shi. As one of the four Su schools, Huang Tingjian cannot but be influenced by Su Shi's calligraphy style. In Huang's calligraphy theory, there are many comments on Dongpo's books, and most of them are admired. Su Dongpo is not only a teacher and promoter of Huang Tingjian's literature, but also a model of his calligraphy. The inscriptions in the valley reflect some news that Huang Tingjian learned calligraphy from Su Shi, such as "learning Yan Pingyuan from Dongpo". However, if you are all thumbs, you will never find a job. " Another example is "Dongpo's post is very similar to the inscription on Princess Yu Shinan's tomb. It is my nature to comment on Dongpo's good books. When I went to Dongpo, I saw two capsules of Shouze, including several pieces of paper like Liu Gongquan and Chu Suiliang, which were definitely better than Xu Hao's calligraphy. I also tasted a roll of Lu Gong's post to Yu Lin, and all 20 pieces of paper got six or seven, which was almost beyond my knowledge. " Huang Tingjian and Su Shi are eight years apart. Between two friends and a teacher. Judging from Huang Tingjian's handwriting, it is obvious that his calligraphy is characterized by a sharp pen, a flat shape and a rising trend to the right. It is even exaggerated and emphasized, but it is not as familiar as Sue. Huang Tingjian took the book of Zen Enlightenment as the interaction with Su Shi. For example, Su Shi's "Post for Rain" is like a valley, especially the numbers at the end, which are calm and elegant, and the pen is relaxed, like a valley ghost. As for Huang Tingjian's running script, it is another matter. The formation of the calligraphy style of the valley's big characters is that he saw the cliff "righteousness and brightness" in Jingkou, and never stopped studying Huang Tingjian's head.
Law breeds milk and becomes a family law. There is a misunderstanding in Gu's Tuoheming, that is, he believed it as a book written by the right army, so he tried his best to learn from the west. But it was also a mistake, which promoted the formation of Huang Tingjian's long gun and short gun style. Objectively speaking, Huang Tingjian and Su Dongpo are calligraphers who surpassed the cover of the calligraphy style of the Tang Dynasty 800 years earlier than that of the Qing Dynasty in the history of calligraphy in China, and traced back to the inscriptions before the Tang Dynasty or merged into one. As far as the origin of Su Shi's calligraphy style is concerned, we can get a clear answer by comparing his masterpiece "Cold Food Poetry" with Luoyang's "Longmen Twenty Products". Huang Tingjian clearly flaunted the model of "righteousness and clarity". Huang Tingjian once had a general confession of learning cursive script: "I have been learning cursive script for more than 30 years. At the beginning, I took Zhou Yue as my teacher, so for twenty years, my mind was full of common words. Su Cai Weng Zi's beautiful book was written late by the ancients. Later, Zhang Changshi, Huai Su monk and Gao Xian's Mo Bao were glimpses of the beauty of brushwork. On the road boat, I watched the oars for many years, and the group of people pulled the oars. I don't think I'm that advanced, and I'm happy, so I have to use a pen. " According to Huang's self-knowledge, he first learned grass from Zhou Yue, a school student. We can hardly see Zhou Yue's calligraphy, but we can still imagine its approximate scale from some literature records. Su Shi regarded Zhou as "dangerous and inferior" and Mi Fei regarded Zhou as "vigorous and fierce". Later, in a book talk, Huang expressed his views on Zhou Yue's calligraphy and calligraphy when his calligraphy thought was mature: "Wang's Lanting, On Yue Yi, Zen master Bu Yong and Qian Wen on Wednesday are all wonderful, and at the same time they are good at using pens. Thousands of books in the chest, not following the crowd, the book is not sick, wins Li Xitai, wins Lin Hejing. Wang Zhu, Gai Meiren, is sick; Strong people are sick, Zhou Yue-all the crimes of squatting, and non-scholars are ineffective. " Huang Tingjian's cursive works
There is no doubt that Valley's profound understanding and mastery of cursive brushwork should be regarded as "getting a glimpse of the wonderful brushwork with the ink of Zhang Changshi, Huai Su monk and Gao Xian". He wrote in "Postscript of Poems in this Temple": "In modern times, scholar-officials rarely got the ancient method, but they circled the pen left and right, hence the name cursive script. I didn't know that tadpoles, seals and officials agreed to the same method. For hundreds of years, only Huai Su and Yu, crazy monks in Yongzhou, knew this method. Su Caiweng was enlightened, but he couldn't bring his religious interest into play, and the rest were useless. " The maturity of Huang Tingjian's cursive script alone also benefits from his understanding of foreign art. In addition to what he mentioned above, "Watching oars in a boat for many years and pulling them in groups is a feeling of not making progress, and you need to use a pen for your own pleasure", he also explained the reason in a passage: "I live in Kaiyuan Temple in Sitang, Yi Xi, and sit down and watch the country. Every time you work here, you seem to get help from mountains and rivers. However, the long history and crazy monks all depend on each other, and entered the wonder. I don't drink, and suddenly 50 years later, although I want to do something good, I'm not good at it. I always stumble when I write, and I can't write back when I'm drunk. " Both Zhang Xu and Huai Su entered an irrational state of ecstasy through drunkenness, and they were often elusive and superb. Huang Tingjian doesn't drink, and the grass is all in his head, so that he can use a pen. But his meditation and wonderful enlightenment, though rational, can also be opened and closed, gathered and closed, and entered the realm of writing. And its pen, by contrast, is more calm and elegant, although ups and downs, but also can stay everywhere, stay everywhere. The cursive script of Buddhist scriptures such as "All Sitting Posts" written by the valley is really wonderful. Thus, Huang Tingjian created a new realm of China's cursive script. On the basis of inheriting the tradition and learning the calligraphy of predecessors, Huang Tingjian boldly innovated and became unique, forming his own style. However, his calligraphy also has some shortcomings. For example, some strokes are too thin and too long. For example, Su Dongpo ridiculed it as "hanging snakes on the treetops", and Huang Tingjian painted stone carvings by himself in Yibin, Sichuan.
Looks ugly. However, flaws do not hide Yu. Generally speaking, yellow book has his unique style. Huang Tingjian sent a poem post to Liu Ji.
First, the middle palace gathers, the strokes are long, and four exhibitions: in Huang Tingjian's running script, most words are long and vertical, but the middle palace ("middle palace" as the center) of each word seems to have a center, and other strokes radiate from the center. This "broken" and "radial" glyph structure has broken through the square and even the appearance that has been popular since the Jin and Tang Dynasties. With the help of his stippling, he not only grasped the center of gravity, but also exaggerated some strokes, which made his calligraphy show the spirit of elegance and boldness.
Second, changing edges without binding: The second feature of Huang Tingjian's calligraphy is that the font stroke structure is not bound. His horizontal paintings are uneven and his vertical paintings are crooked. The parts of each word often cooperate with each other in a good or corresponding oblique form, which is contrary to the flat and rigid structure of the predecessors, making his words look chic and gorgeous. Su Dongpo appreciates the characteristics of the Yellow Book, and once said: "Lu Zhi's character of the Yellow Book is the concept of equality, the truth is a trick, and trivial matters are open, which can be described as' three evils'. ("Dongpo Continued" Volume 4, "Postscript Lu Zhi as Wang Jinqing's Little Book Erya").
Third, the point does not provoke, a generation of wonderful books: The third feature of Uncle Huang is that when writing three points of water, it does not provoke the next point, such as the words "Fan", "Gu" and "Confucianism" in the biography, the word "Jing" in each postscript, and the word "Tao" in Song Fengge's poems. Words such as "Zen" and "Shen". In particular, the running script "Poem Volume of Jingfubo Temple" contains 17 words, which are divided into three parts. Except for the words "Ze" and "De", the last part of the other words 15 are not provoked. In Song Dynasty, Yuan Wen commented on Huang Tingjian's calligraphy, saying: "Those who follow the water will seal the characters and cover them with water. Official script does not use the word *, but it is more of a three-point, and it is also a water word. But among the three points, the last one is annoying and meaningless, which is the text of the word; If you don't mess with it, it looks unsightly. Huang Taishi, the only official in this dynasty, does not provoke him at three o'clock, and his body is more beautiful. He believes in a wonderful book. " (Review Between Urns, Volume 4).
4. Change the left pen into a dot and frown: Most yellow books are characterized by a large left pen and a long stroke, which is an obvious feature of yellow books, but sometimes the strokes of some words are intentionally shortened and collected, the most prominent being the words "Xiu" and "Shen" in Wang Chunzhong's Epitaph, Poem to Forty-nine Nephews and Poem of Song Fengge. This is another feature of the Yellow Book.
5. Dynamic and static combination, harmonious unity: Huang Tingjian writes some words with four points below in continuous waves, such as the word "concurrently" in Huangzhou Cold Food Poetry Volume Postscript, the word "Xun" in Huaqi Poetry Post, the word "Ma" in Jingfu Temple Poetry Volume and the 17 Ambassadors of Scenery Road, which makes the upper part of the words more correct.
Six, not stick to the ancient method, take the meaning outside the pen: Huang Tingjian's cursive script, like a dragon flying in the wind, is praised by the world. Although he studied under Zhang Xu and Huai Su, he did not stick to the ancient law and strived for innovation. Shi Yisheng, a poet in the Jin Dynasty, praised Huang Tingjian's cursive script and said, "Stop doing things and rectify chaos. I don't know if I waved my hand, but my heart is empty. " (Zhong Zhou Ji, Volume II, Bagu Caoshu) Zhao Bingwen said in After Selected Works of Fu Weng's Caoshu: "Fu Weng took part in Huanglongchan, and used the Tathagata method to print it back, so his book has an implication beyond the pen, such as Zhuang Zhou's generous talk, which is unpredictable." Although some glyphs of Huang Tingjian's cursive script are similar to those written by Zhang Xu and Huai Su, he is good at using a pen, so profound that the lines of Huang Shu are varied and varied. Although many of Xu's and Su's brushstrokes are extravagant, they are mostly known for their simplicity, while yellow books are full of twists and turns, or they are full of twists and turns, or they are light and pointed, and they are wonderful and multifaceted. Personally, I think shine on you is better than Blue, and Huang Tingjian's cursive script has surpassed Zhang Xu and Huai Su. In addition, Su Dongpo said: "It is not enough to retreat like a mountain. Reading thousands of books is the only way to understand God." Huang Tingjian's life experience, articles and knowledge are far richer and deeper than those of Xu and Su.