First, Zheng Zhi's official script
Jin Nong, an early farmer, was influenced by the current wind when he first arrived in Yangzhou. Originally "bad at writing", he chose the most convenient and quick way to learn directly from Zheng Zhi, the master of official script in Yangzhou at that time. Starting from the north of Xiacheng, I copied it again and again. Fan Shihu Biography Li Shu Axis is the representative of Jinnong's early official script. Judging from the whole work, its structure, brushwork and composition all reveal the shadow of Zheng Zhi. Compared with other official scripts in the Qing Dynasty, Zheng Zhi's official scripts are closer to Han Li's brushwork, with uneven structure, just right brushwork, flowing smoothly, and getting rid of the shackles of the equal treatment of official scripts in the Yuan and Ming Dynasties. The greater change is to deeply understand and learn from the arrangement characteristics of wide spacing and close spacing when learning books in Han Dynasty. Compared with Zheng Zhi's official script, Jinnong's "Fan Shihu's official script axis" is more prominent. For example, the words "Guo", "Ji", "Qu" and "Zhu" are more fluent, relaxed and colorful, and Fan Shihu's Li Shu Axis is better than Zheng Zhi's.
Secondly, the calligraphy style of Han tablet is official script.
? Aggressive Jin farmers are dissatisfied with the present situation and have made extensive efforts in official script, extensively studying the Han monuments such as Huashan North, Yiying Monument and Tingsong. In particular, "Huashan Monument" is regarded as the object of lifelong research. As Jin Nong himself said, "I just take a look at the civil history, which is vulgar and ashamed to be a calligrapher's handmaiden." Huashan flaky is my teacher. " Perhaps it is the nature of Jin Nong who is unwilling to be a "slave book" or a "servant book" that makes him obsessed with stone tablets and can see a versatile Jin Nong.
Biography of Wang Rong and Biography of Wang Xiu were written by Jin Nong after he traveled to Qufu in Shaanxi. Perhaps the journey to the north has brought some inspiration to the creation and created these two beautiful works. The works in this issue can't see the trace of the wind when Zheng Zhi was a beginner at all, and the pen is round and flexible. Compared with the previous "Fan Shihu's Poem Official Book Axis", it is a bit more mature and less reckless and arrogant. This can be regarded as a symbol of the maturity of Jinnong Lishu. Careful observation of this work, both the appearance of Han stele and the charm of Han bamboo slips unearthed in the 20th century, is enough to witness Jin Nong's thorough understanding of Han stele. Li Zaixi said of Jin Nong: "Pens and pencils come from Han Li, which are meaningful and can stand people's search. The world feels strange, and so do friends. Blame others, don't blame others. " Wang Kui wrote an inscription saying, "Han people have lost their autobiography since Zhao and Song Dynasties. Zhao He does this occasionally, but they just take the whole thing. When he arrived in Zhenggukou, he tried to restore the ancients. He mastered the north of Xiacheng with a pen and acquired the technology of the Han Dynasty. Whenever, anyone who is good at Li will live in it. Mr. Dong Xin, who can set an example, began to step into it. Later, he saw the "Xiyue Huashan Monument" and his brushwork changed. In this book, the calligraphy of the pure master "Huashan Monument" sometimes reveals a lot of direct brushwork, which has been covered by habit for a long time, but suddenly it can't be done. He is a true disciple of Zhong Lang because of his ingenuity and exquisiteness. Wu An's book reviews are only listed as energy products, but they are still not allowed to be bosom friends. " It can be seen that Jinnong's official script is superb, better than that of his contemporaries.
Third, Wei Ti Lishu
It is impossible for a farmer who dares to explore to be intoxicated with his achievements and admire himself. Therefore, we can see that after the age of 48, the farmer created Wei Ti Lishu with his own understanding of stone tablets. The representative works of this issue include Wang Shangshu Lishu and Niu Jianchuan. His works have almost the same thickness of strokes, slender glyph structure, and the last stroke of each word seems to be out, which has a charm of Han bamboo slips. The ending of Bocai came to an abrupt end, and his brushwork was bold and decisive, showing a boundless, simple and concise style. The works are separated by vertical lines and the composition is orderly. The creation of this period laid a solid foundation for the emergence of lacquer books in the future.
Fourth, "Shu Qi" official script
? Jin Nong didn't stick to the rules. After 50 years old, he created an avant-garde calligraphy style "lacquer book". At first, Jin Nong, who claimed to be a poet and painter, never imagined that hundreds of years later, he would become the "spokesperson" of "lacquer book". Until his later years, his lacquer book reached its peak. Jin Nong's achievements in "lacquer calligraphy" were not achieved overnight, but gradually matured. We analyze Jin Nong's Lacquer Book from the following three periods.
? (1) The initial stage of the creation of Lacquer Book. The representative work of this issue, Axis of Sima Guang's Lost Affairs, is a work of transition from official script to lacquer script in Wei Ti. Its pen is round, the horizontal painting is widened, and the nib is swept. As can be seen from the works, the method of "splitting" has taken shape, and the pen has begun to use the "inverted" brushwork to reveal the front, and it is also particular about ink color. There are some flying white pens, and the individual characters such as "Song" and "Xiang" on the glyph are slender and have elements of "lacquer calligraphy".
? (2) During the transitional period of the creation of Qishu, Shenzhou Narrative Axis and Erti Shu (Figure 7) are works of the same period, which can best reflect the characteristics of the transitional period. The works use "sweeping" strokes to replace the roundness and fullness of "eight points" in the original official script. The "split" and "inverted" pens are released perfectly and thoroughly, and the pens are decisive and skilled, and the knots are changeable.
? (3) The maturity of the Lacquer Book. Eight Chapters of Meng Tong was written by him at the age of 65. From Narrative Axis of Shenzhou to Eight Chapters of Meng Tong, Jin Nong has been constantly perfecting the details. Eight Chapters of Meng Tong, like Erti Shu, is a long book with only two vertical characters. His horizontal painting is decisive and refreshing, straight from left to right, and his vertical painting is subtle, delicate and steady. His "upside-down" brushwork in sketching is the most prominent, which increases the change of character thickness and is a little more lively and varied than the previous lacquer books. The glyphs are freely retractable, such as "Chen", "Tong" and "Yong", and are arbitrarily elongated, but there is no sense of contradiction due to the contrast between horizontal and vertical paintings. This work also pays attention to the use of ink, and "thick ink" and "flying white" are its most direct manifestations. The composition of Poems on the Wall of Past Tense Evil House written by Jin Nong after he was 70 years old is the same as that of Eight Chapters of Meng Tong ten years ago, but the details of strokes are different. The most obvious horizontal painting is constantly shaking in the process of writing, which naturally reveals simplicity. This book can be regarded as the final expression of Jin Nong's "lacquer book".
The formation of Jin Nong's official script is no accident, which reflects his keen understanding of calligraphy and extraordinary understanding of art. Jin Nong's mastery of various calligraphy styles has played a positive role in the development of his "lacquer book". Although his "Lacquer Book" did not become a model of praise and copying like the official book of Han Dynasty, it was even controversial, but it did not bury its position in the calligraphy field at all, and its artistic achievements and creative ability were second to none.