Xiong Bingming, a famous scholar, was very satisfied with the Drunk Shake Book written by Huai Su, Zhang Xu in his book The System of China and calligraphy theory, and called it the Book of Dionysus. They described their emotional state after drunkenness and the creation of Weeds with great interest: they "show the auspicious state of life when they are drunk, and their consciousness, subconscious, emotion and imagination are woven into unpredictable rhythms ... Dionysian school regards wine as the climax of life and the promotion of life, and regards the state of marriage as the hottest, most enjoyable and most creative state of life. At this time, the rational control and reserve are lost, and the repressed, hidden, primitive, instinctive and grassroots life in the subconscious is freely poured out. Wine is not a negative "sadness" or "anesthesia", but a positive liberation of people's spirit. What they don't want to say but dare not say when they are awake is singing, laughing and shouting. What I am afraid of when I am awake, what I am afraid of, what I am afraid of, what I admire, and what I obey have all been overthrown. " This time, it is impossible to let the feelings be leisurely and leisurely, and do my best. How strong and fierce this is!
Second, the inscriptions, onlookers and eulogies on the powder wall promenade are the best opportunities for weeds to know nature and transcend techniques.
A calligrapher who was good at weeds in Tang Dynasty. What a topic. According to "Forest Notes", "How did Zhang Xu swim in the world? Whenever I see the good walls and obstacles in other people's halls, I often forget the opportunity to make a fortune and write a few lines, such as insects flying away, ancient Zhang is hard to reach. " Why did Huai Su also write weeds on powder-walled corridors and barriers? Ren Hua made it very clear in Master Huai Su's Cursive Music: "Crazy monks have stunts, and high walls are not enough to show their pens." Ji Du's "Master Huai Su's Cursive Melody" says: "Fish and silk are not expensive, but they are too cramped and not suitable for children's play. There are dozens of corridors with white walls and tiles, which make them feel small and open-minded. " It turns out that the powder wall promenade and barrier expand the space for its weeds with its width and height. Hemp paper and silk are not only expensive, but also difficult to breathe freely because of the narrow scale. In the face of such a space and platform, the flying thinking of the wild grass masters also promotes the vigorous and unrestrained lines in the unrestrained waves.
Cai Xizong, a poet in the Tang Dynasty, commented on Zhang Xu in "On Calligraphy": After taking advantage of the situation, he carried the pen, or applied it to the wall, or tied it to the screen, and the group was self-shaped. If he flew, "the top dew shone on the Hu bed, which was called three or five sounds, and the wine was on the wall, and the pen was like a meteor." As a result, I called crazy walk, and the more I wrote, the weirder I got, and even the ink spilled on my head. When I woke up, I thought it was God's help and I could never get it back.
Huai Su's generosity can also be clearly seen in Ren Hua's "Master Huai Su's Cursive Melody": "After ten cups and five cups, I don't understand. After a hundred cups, I began to go crazy and shout excitedly, waving thousands of words, sometimes one or two words are as long as two words. If a whale splashes on the island, the effect is like a snake training deep grass ... ""The pen only looks at the rapids, and the word is successful. " In this case, the clouds at the bottom of the pen are scattered and the dots on the powder wall are messy. Even with the help of poems written by contemporary poets, we can see Shen Feng:' grotesque collapse like a canopy, flying like the wind'; "The Han Sea is gloomy and the Yangshan Mountain is abrupt and green"; "It's not too late to change special ghosts and gods." The fantastic scenery of the seclusion of the Five Mountains in Yun Teng naturally attracts countless people who are obsessed with it.
In the swaying of the calligrapher's waves, the viewer's mind also fluctuates because of the vibration: "the full house is not seen" and "the full house viewer is absolutely empty"; The poets and poets present also wrote and recited poems in the breeze. The crowd of onlookers, the sound of admiration and the sound of mountains and rivers like a tsunami naturally helped the weed masters cheer. The interaction between elites and civilians has also created a large number of admirers and creators who are eager to follow the heroes of the four seas. In essence, the popularity of Xia Wei steamed in clouds and the magnificent picture scroll of poetry books reflect the folk feelings of the "Voice of the Prosperous Tang Dynasty" and show the free and unrestrained spiritual connotation of Buddhism and Taoism culture: understanding nature and transcending techniques. This kind of "technology goes in and out", which is superior to nature, is also the source of the mighty wind spirit of wild grass romanticism.
At present, calligraphy creation is in a period of social transformation, facing a pluralistic and open pattern: the intersection of eastern and western cultures, the collision of elegance and vulgarity, and the arrival of various schools and appreciation interests. It can be said that opportunities and challenges coexist. We should reflect on ourselves when combing the road we have traveled. Where should our creation of Weeds stand? Are all romantic passions stimulated and released at the right time? If the answer is difficult to determine, then what is the reason? Zhang, a native of the Tang Dynasty, had a classic exposition: Appreciation of Weeds "only depends on the spirit, not the shape." When readers and audiences consider Weeds, although they don't pay much attention to its words and expressions, they pay more attention to the spiritual vitality expressed by lines in the flow and intersection of time and space. However, the embodiment of this style is inseparable from the author's artistic skills. Huang Tingjian, a poet in the Song Dynasty, said: "If you want to learn cursive script, you must be proficient in regular script, and you can only know cursive script if you know how to write it backwards." Because there are quite a few glyph structures in cursive script that come from seal script, it is also essential to learn from others. The freshness and solidity of Zhang Xu's regular script work Bamboo Notes in nirvana in fire, as well as the boldness and clearness of his poems, make it easy for us to see his calm and solid skill behind the weeds. Although it is difficult for us to find the ink of Huai Su's regular script works, we can still see his truth, deeds and calligraphy from historical texts. Yan Zhenqing and Huairen collected Wang Xizhi's Preface to the Holy Teaching. Because we ignore the training of basic skills, there is no discipline, no change, and no consequences, we have to take pen as the body and gather ink. In order to cater to the exhibition effect and stimulate the eyes more, it was difficult to control for a while, so we had to patchwork and graft to meet the needs at that time. This splicing production may have some evaluation effects, but the form and quality are not yet available. How can we talk about temperament?
The literacy is shallow and broad, and the literary mind catches the naked time.
The ancients were all brushwork, and words were born with words. Most of the contents written are improvised poems and songs, and they are well versed in cursive writing, showing a variety of forms, making the cat evaporate and the charm naturally overflowing. When we do grass, we often spread ancient poetry and literature first, copying books and texts, which broke away from the trend, dwarfed the emotional ups and downs of like-minded, and slowed down the writing speed. Once the weeds are less and faster, the lines will definitely lose their agility and change in the running and stretching of time and the cutting of space; In addition, there are many sentences written by so many famous artists in the book. Regardless of the charm of grass, the old content has gone from elegance to vulgarity. What's more, it's not a word that often hides pens, such as typos, or an unbalanced combination of complexity and simplicity, as well as confusion and mistakes between year numbers and names. As Huang Tingjian said: "Learning books requires morality in the mind and extensive knowledge of sages. Books are valuable. Otherwise, even if the pen and ink are impermanent, it is only the ear of the layman. " A layman calligrapher is a calligrapher. Without humanity, how can we pursue high quality in the spiritual connotation and personality style of our works?
Comparing the two, we can easily see the crux of the problem. The Wild Grass in Huai Su Zhang Xu is a performance process with both hands and feet, and it is a process of galloping freely and releasing stagnation. Is completely free and easy, straightforward, Wang Yang passionate writing. It is a halal that washes away the lead, and it is an undisguised carnival and shouting. What you get is great liberation, great liberation and great freedom.
Our current wild grass writers, too driven by utilitarian considerations, frequently devote themselves to entertainment or perfunctory market activities, resulting in a distorted mentality like weeds: extreme, impetuous, artificial, kitsch, and so on. Passion is subject to the theft of fame and fortune, and the so-called pen is full of waves. Although it is difficult to achieve, it is difficult to achieve a smooth transition. Passion is related to the breath of calligraphy works, and it is the divergence and refraction of calligrapher's knowledge accumulation and mental situation in writing, which is bound to be inseparable from literature.
"Literature is the soul of all arts. A true calligrapher must have the same source of literature. Only with this background can he become an excellent calligrapher. China's literary background is not strong, so he can't be an excellent calligrapher. Calligraphy has no text, but a craftsman's pen. " Wei Minglun, a dramatist, made clear the relationship between calligraphy and literature. Regrettably, how many of the so-called crazy grass masters who are now included in the book industry are writers? The great decline of the personality charm and cultural content of the creative subject is precisely the confusion of the survival and development that Crazy Grass is facing at present, and it is also the direct internal cause that our creation of Crazy Grass is far less than that of Zhang Xu, Huai Su and other sages.
Taking history as a mirror, this is the rich spiritual legacy left by Zhang Xu and Huai Su, and Zheng Yisu's works are becoming more and more meaningful to us after repeated pondering.