It seems that no one can say a point that convinces everyone. Take calligraphy as an example, whether it is intentional or unintentional. Being reconciled will reflect an external dignity; Being unintentional and good can better reflect an external force.
People who regard calligraphy as art usually prefer the latter. Because we are used to the popular saying, the highest standard of art is lyricism. According to the lyric theory, it should be our direction to abandon the inherent rules and gain the freedom of spiritual expression.
Therefore, this kind of wild grass is considered as the most artistic style, and the expressive calligrapher like Yang Ningshi has naturally become the object that critics often mention.
Huang Tingjian once wrote a famous poem: "Folk books only know the face of Lanting, and they want to change every bone without elixir." Who knows that Yang Fengzi went to Wu Si Bar when she was writing in Luoyang? "("Valley Collection "Volume 28," On Yang Ningshi ") This is considered to be the most profound and appropriate evaluation of Yang Ningshi. But it is a great pity that the number of people who can really understand Huang Tingjian's poem is probably less than one thousandth compared with the "layman" criticized by Huang Tingjian. The reason is that people misunderstood the last sentence of this poem, and the focus of misunderstanding is on "Wu Si Column".
Wu Si fence, that is, the boundary line of Zhu Mo painted or woven on paper. There is no doubt about it, but how to understand "writing to Wu Si Bar" has become a problem. At least two statements are problematic.
First, I think "Lan" in the poem refers to "Preface to Lanting", and "Write to Lan" refers to the realm of Wang Xizhi as soon as it is written.
Secondly, I think "Wu Si stick" refers to a calligraphy pen. Feng Wu's True Story of Calligraphy in Qing Dynasty contains the cloud Samadhi Calligraphy: "He who has a hairspring fence is like a boundary between two sides of regularity." Both statements seem to make sense. However, these two creative interpretations of Wu Si Lan are not in line with Huang Tingjian's original intention. There is another version of this poem, and the last sentence is "When I write, I go to Wu Bi column". Obviously, if I understand "when I go to Wu Bi column" as a positive pen-front effect, it seems that Yang Ningshi should not be excluded by this word "que".
Huang Tingjian's understanding of Yang Ningshi is profound and unique, and Yang Ningshi's outstanding and unique artistic creation also makes it more difficult for people to know him. Many people pay lip service to his calligraphy. Huang Tingjian said: "If you want to know Yang Zhishu deeply, you should be like a horse of nine parties."
The Nine-Party High-spirited Horse pays attention to its inner spiritual bearing, while the metaphysical Huang Ma is among the abandoned ones. This is an intuitive observation method. People who can observe in this way often have a pair of eyes and can find problems from places that others can't see. Similar to the nine-palace grid high horse method, it is a method of "Brahma turning socks" and an intuitive observation method.
Huang Tingjian has a deep understanding of this method. He believes that Mao Rong's practice of killing chicken rice with grass in Han Dynasty can gain the essence of the method of "turning socks". Unfortunately, people who study calligraphy lack such wisdom and courage to directly explore the beads. At that time, people were more accustomed to excavating traditions with a ready-made idea.
Taking the study of Preface to Lanting as an example, we often use the word "forever" to open our eyes and pursue superficial iconicity. It also made a footnote for the disadvantages of the "academy-style book" in the early Song Dynasty. Courtyard calligraphy has been shrouded in the book world since Wu Tongwei's Brothers in the Tang Dynasty. Wang's Xiao Wang Shu in the early Song Dynasty inherited this tradition. Huang Tingjian despised this practice of obeying the law and dying under punishment. He compared Wang Zhu to a "little monk who tied the law". The so-called young monks should be said to be the lowest group on the road to becoming a Buddha.
Nowadays, many people who write regular script are actually turning over lettering to seek the ancient, without elegance and truth. The whole article is uniform and of the same size, without the vitality of regular script. Although the pen is excellent, it lacks feelings and elegance.
Yang Ningshi's cursive script, like a cloud like a dragon like a snake, is unpredictable and full of paper meaning. Although he went out of bounds as soon as he put pen to paper, it was somewhat questionable from the perspective of statutes, but from the perspective of expression, it was inconsistent with the regular army. As a symbol of rules and regulations, "Lan" has lost its meaning.
Huang Tingjian deeply agreed with Yang Ningshi's practice. He believes that this is a bone change, breaking through the limitations of "Lanting's face". From this, Huang Tingjian summed up the general method of learning the Preface to Lanting. "The Lanting Pavilion after a Tour" says: "Although the Lanting Pavilion is an original, there is no need to paint it with one stroke. For example, Duke Zhou and Confucius could not live without minor mistakes, so they were saints. Poor scholars and saints learn from their mistakes, so one song covers a hundred. There are many people who study Lanting in this world.
Lu said behind closed doors:' I want to learn from you, and you can learn from books. "
Huang Tingjian thinks that people who are good at learning in ancient and modern times have probably not surpassed Lu, because Lu Nanzi was once Confucius' favorite object. Confucius' family story records an allusion. If Lu people have private rooms, neighboring widows also have private rooms. The widow's room was broken because of the storm in the middle of the night. Come for help. The people of Lu refused to accept it. The widow said to the window, "How can you be so unfriendly and shut me out?" Lu said, "I heard that people's lust doesn't wane until they are 60 years old. Now that you and I are so young, there will be problems, so I dare not let you in. " The woman said, "Can't you learn from Liu Xiahui?" Lu people said: "this is ok, but not for me;"
I will learn what Liu Xiahui can do with what I can. (learners form a circle and knock on the blackboard)
"Lu people's theory of wonderful learning" from the impossible to the gram "won the appreciation of Confucius. Confucius said, "No one like this wants to learn from Liu Xiahui. "As for Liu Xiahui, the story of him sitting still is a household name. Lu Nanzi is good at learning, and the key lies in her ability to learn from appearance.
Xuanzang's calligraphy was transferred to Huai Su, and his name was more important than the cursive script in the world. Finally, he thinks he is smart and slim, but he lacks strength. It is difficult to have Huai Su's leisurely and simple flying posture, and the spear and shield are highly balanced. Today, people who study Xuanzi can still see its traces. Dong Qichang said: "The same ability is better than going it alone. Nothing is perfect in the world. It is said that Lunanzi should learn from Liu Xiahui. Yang Ningshi is undoubtedly such an excellent scholar. He learned from the right army's "not going to the Wu Si fence" by "going to the Wu Si fence", which embodied the principle of "being good at learning" based on appearance.
The misunderstanding of "writing and going to Wu Si column" is mostly because it has nothing to do with the first half of the poem as a whole. In fact, the key word of this poem is "turning mortal bones", and "writing and going to Wu Si column" is just a footnote of "turning mortal bones". Hui Hong said: "Surprise makes it difficult to speak, which is called bone-changing method." Yang Ningshi studied Wang Xizhi's brushwork, but he used his own calligraphy language. This is different from the method of "Brahma turning socks". In Huang Tingjian's eyes, "Wu Si Bar" has become a symbol, while Yang Ningshi's "writing to Wu Si Bar" has gained a spirit. This spirit is self-centered subjective consciousness. Everything is ready for me,
In his words, "all the scenery in the world is for our generation." For artistic creation, there should be no "balance fence" not only in the eyes, but also in the heart. However, this method faces another danger.
It is quite difficult to weave a tulle fence on silk. During the Wei and Jin Dynasties, the system made by the Xi family was the most famous, and later Wang Sengqian acquired its skills. Zhang Zhi has a short book, which was handed down from the Tang Dynasty, while Zhang Chang and Mao Hong also have short books. Later generations were amazed when they got old books. Wang Xizhi's Preface to Lanting and Wang Xianzhi's Ode to Luoshen are both written in orchid.
After the Tang Dynasty, paper became more popular and orchids became scarce. There are more than 100 poems by Xu Hun Youlan, a poet in the Tang Dynasty. As a kind of boundary, "Wu Si Lan" has been making rules for writing since ancient times. Only dexterous hands can cross the boundary without losing its correctness. Huang Tingjian is so generous.
However, the quality of Wu Si stick affects the writing effect. Zhai Zhan once wrote a poem by Su Zizhan and Tao Yuanming with the title of "Begging for Huang Tingjian" by Lan. Wu Si's improper rule influenced his writing style. However, this practice of learning from the past made Huang Tingjian realize the advantages and disadvantages of Lan Shu. In Huang Tingjian's time, the Wu Si fence became the pleasure of the study.
Just like Li Tinggui's ink and integrity paper, it doesn't always exist. At that time, the columns woven with notes in Shu were the most famous. Both Ouyang Xiu and Su Shi were asked to write poems in Wu Si's column, but neither of them was handy. Because faced with such a beautiful and rusty element, it is hard not to think about it. Mi Fei's Shu Su Tie is a blue book. When he wrote his poems on precious Shu Su, I don't believe he would have this kind of pleasure.
Between law and intuition, the choice of artists often determines their style trend and the height they can reach. Although Yang Ningshi's practice of "writing in Wu Si Bar" shows the artist's superb skills and boldness, Huang Tingjian, who loves him, cannot but feel very sorry for his poor performance in regular script.
Although Yang Ningshi entered the sanctuary by dispersing monks, compared with the perfect Wang Xizhi, we feel that he really lacks something more valuable. This kind of thing is given by the "Wu Si Bar Association" which represents the law. Zhou Zizhi in the Southern Song Dynasty praised Wu Chuanpeng: "The ancient characters are big, but the fine books are insurmountable." Don't go to Wu Si Bar "and" Write to Wu Si Bar "have the same effect.
However, Wu Shuo is different from Yang Ningshi. Wu Shuo has a black fence in his eyes and a black fence in his heart, but Yang Ningshi has no black fence in his eyes and heart. The level of their realm has long been unknown in the words of different people. (Throw a brick to attract jade, personal words are different. )